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100% SILK
SILK 019EP BODY DOUBLE: My Life 12″ (SILK 019EP) 12.00
“Big, butch, bossy, industrial, and immediate, Body Double conjures KLF’s cult convictions, with the same stadium strength and flamboyant fire-technics. Imagine shirtless strobe-bro brawn, almost religious in its glory-grandiosity, Martin Gore-geous as an opulent outing. From shifted deep down vocal voids, construction/deconstruction factory fetishes, and bang-the-barrel-slowly tom fills on My Life to running man mounts, choral caresses, ghost-gospels, rally-reaching duets, and playful pitch stretches on ‘Be Strong,’ Body Double bass-bounds through the blues barrier. Mournful and masculine, sweaty and strapping, assertive and arresting. With a club-bump, 55 hour-energy boost remix from Sir Stephen, sure to congregate and convert.”
SILK 020CD MI AMI: Decade CD (SILK 020CD) 12.00
Follow-up to last year’s Dolphins on Thrill Jockey. “On Decade (Daniel Martin-McCormick) returns to work with Damon Palermo as half of Mi Ami, a record released by Not Not Fun offshoot 100% Silk, who helped establish Ital through a series of 12″ singles in 2011. It’s an apt way of tethering Martin-McCormick’s dual careers, of drawing an easy line between them, especially when the expansive deep house influence at the heart of Decade kicks in.” –Pitchfork
ALM 1001LP DULCES ANOS: Singles 1970-74 LP (ALM 1001LP) 32.00
“Dulces Anos (‘Sweet Years’) were a talented young Spanish band formed in the late ’60s by four 14 years-old guys. They were guided by Felix Arribas (drummer of famous band Los Pekenikes) who turned them onto a kind of Spanish Monkees. Between 1970 and 1974 they released five 45s, scoring a number one with their first single, ‘Almudena,’ an outstanding little number much in the vein of Los Brincos, full of heavenly vocal harmonies and lushy orchestrations, written by genius composer and guitar player Tony Marin.But Dulces Anos also recorded some of the best but lesser known pop gems from Spain during the ’70s. Here you’ll find exquisite baroque pop-sike (‘El Lobo Feroz’), superb sunshine-pop (‘Voy Buscando’), progressive pop (‘Caretas de Carton’), ace harmony pop (‘Lady Love,’ ‘Llegará el Otono’). Any fan of popsike, soft-pop and sunshine pop should check this out!! Highly recommended to anyone into Left Banke, Kaleidoscope UK, The Cyrkle. This is a limited edition of 320 hand-numbered copies, fully licensed by the band members and producers.” Includes a 8-page black and white insert with archival photos and notes (in Spanish).
AACD 063CD VA: African Scream Contest: Raw & Psychedelic Afro Sounds… CD (AACD 063CD) 22.00
…From Benin & Togo 70s. 2012 repress, originally released 2008; including a 44-page booklet and slipcase packaging. The mission of Analog Africa is clear: searching in dusty warehouses for forgotten music to keep it alive. All tracks have been officially licensed, usually from the artists who label-head Samy Ben Redjeb also met with for detailed research. He conducted 16 interviews in various cities in Benin and Togo with artists, producers and sound engineers to reconstruct the history of the ’70s music scene for the booklet which also includes many rare photographs directly received from the artists. Like most modern music in French-speaking West African countries, the music of Benin and Togo was influenced by a few main musical currents: Cuban, Congolese and local traditional music, as well as Chanson Française. Additionally, the geographical location of Benin and Togo — sandwiched between Ghana and Nigeria — exposed Beninese and Togolese musicians to highlife music. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin’s modern music. Benin is the birth place of Vodun (or, as it is known in the West, Voodoo), and some of the rhythms used during traditional rituals — sakpata, sato, agbadja, tchenkoumé and many others — were fused to soul and Latin music as early as the mid-’60s and later to funk. That fusion is the essence of this compilation. In the late ’60s and early ’70s, rock and soul music started creeping into the region. In particular, the music of James Brown and Johnny Halladay became immensely popular with university students. It was then that the music scene in Benin really started to take off. What made this musical revolution even more interesting is that most of the musicians could not read music. Often the music they made sounded one semi-tone away from being out of tune, but somehow they always managed to bring all the elements together into something new and exciting. One of the greatest bands of their era, Orchestre Poly-Rythmo de Cotonou, who are featured on this compilation, took the Afro sound to another level by showing their musical versatility in many forms. Although they were consciously copying Western artists, they would always inject a dose of psychedelic Afro grooves that would make their music unmistakably Beninese. Their biggest song, “Gbeti Madjro” is believed to have revolutionized the music industry in Benin in the ’70s when the country went through a period of political turmoil. The song is full of raw breaks and hypnotic rhythms, as well as screams à la James Brown. After this song, many bands in Benin started screaming on their recordings, hence the title of this compilation. Latin-influenced sounds are present on this compilation, too. Ouidah, a city on the Atlantic coast of Benin, is home to a large Brazilian community, or, as they are called in Benin, “Agoudas.” Members of that community are descendents of slaves who returned from Brazil at the end of the 19th century. Their dances and songs are still being performed and fused into the traditional Beninese rituals. That, too, can be heard in modern Beninese music. The proximity of the giant neighbor Nigeria can be heard on the track “Djanfa Magni” which features the amazing trumpeter/ saxophonist Tidjani Koné fronting the Orchestre Poly-Rythmo. Koné, whose career started in Mali as the founder and band leader of the Rail Band de Bamako, had played with Fela Kuti for a short while, hence the strong Afrobeat influence. There are countless stories to be discovered in the extremely well-researched booklet and the music is truly mind-blowing. So delve into the forgotten raw and psychedelic Afro sounds from ’70s Benin and Togo and experience the African Scream Contest.
ALN 027CD BELLE AND SEBASTIAN: LateNightTales Volume 2 CD (ALN 027CD) 15.00
“This selection delves deeper into their shared influences and inspirations, along with a subtle nod to digging for rare sampled beats; not perhaps a trait usually associated with B&S. World-wide psychedelic breaks thread the mix together; significantly so with two tracks from Broadcast bookending the first half that includes ’60s dreamers the Wonder Who? and Joe Pass, father of Ethio-jazz Mulatu Astatke, harpist Dorothy Ashby and the 21st century beats of Gold Panda. Following a mid-second detour through dissonant post-punk and deep jazz courtesy of the Pop Group and Stan Tracey Quartet; recent releases from fellow Scots Remember Remember and South Carolina’s Toro Y Moi rubs shoulders with Ce’cile’s 2002. Cure referencing riddim ‘Rude Bwoy Thug Life’ and Blood Sweat & Tears classic version of ‘Spinning Wheel.’ For the obligatory Late Night Tales cover version, Belle and Sebastian have chosen the Primitive’s 1988 pop-punk classic ‘Crash,’ recreated in the band’s own inimitable style. Two beautiful records close the mix: Steve Parks haunting soul vocal ‘Still Thinking of You’ and an excerpt of the calm improvisation ‘On the Other Ocean’ from David Behrman’s 1977 experimental album. As ever, the trip concludes with our bedtime story with the third part of Paul Morley’s ‘Lost for Words.'”
New release from this criminally-underrated project: Kithless is the first vinyl release from Pedestrian Deposit to feature member Shannon A. Kennedy (cello). “Pedestrian Deposit (Jonathan Borges and Shannon A. Kennedy) possesses a certain, restrained relationship to texture. Sources both electric and acoustic operate on a logic of hybridity becoming compositional elements organized through their activation of a shared acoustic space. This functions in multiple directions: in some instances, the cello is captured and converted to a subtle electronic variation, expanding the range of the tone through this capture, at other times it acts as a sort of mimicry, tools of one sort operating on the language of the other — the cello played like a burst of noise, or electronic presence informed by the technique natural to the bow. The compositional practice developed by the duo is strict, bearing the marks of tension informed by the rigor of live performance. The pieces on Kithless are documents of this practice; Drift Gently Down the Frigid Tides of Sleep was recorded live at ‘Activating the Medium XIII:ICE’ in San Francisco on April 17, 2010. The performance extends the use of hybrid and musique concrete forms by engaging with the physical limits of the body through voluntary hypothermia, transforming the performers state and relationship to compositional tools. Under a Veil of Living Light, a staple from the 2009 East Coast tour, is a drifting of the hybrid forms expressed above, weaving in and out of each other; traces of texture, combined and re-combined. In an edition of 500 copies.”
A&L 004EP STEINBERG, DANIEL: Joy & Happiness EP 12″ (A&L 004EP) 12.50
The first Arms & Legs Release of 2012 comes from Daniel Steinberg. Take some house and a pinch of minimal, add a dash of electronica and put some disco on top.
R1 7204HLP NASH, GRAHAM: Songs For Beginners LP (R1 7204HLP) 17.00
180 gram Rhino reissue of the solo debut from Crosby, Stills, Nash & Young’s Graham Nash, originally released in 1971. David Crosby, Jerry Garcia, Rita Coolidge and Dave Mason all play on this record. Features the hit song “Chicago.”
BMS 042CD ROLLIN, JEAN: The B-Music Of Jean Rollin CD (BMS 042CD) 15.50
Performed by various artists, 1968-1979. “Rising out of the smoky Parisian Mai 68 shrapnel and claiming his stake as the first French vampire movie director, the inimitable father of European Horrortica, Jean Rollin (1938-2010) has smudged the painted face of surrealist cinema for over five decades. Dragging his roots from beneath the Letterist/Situationist movements, avant-garde theatre, Belgian fine art groups and entwining them around the minds of sexual revolutionaries, the European comic book cognoscenti, the Parisian free jazz and rock scene, Rollin stopped at nothing to bring his macabre phantasies of zygotic vampirism and backward blood cults to Gallic cinemateques and beyond. Celebrating the immortal legacy of the late director Finders Keepers Records have compiled a detailed and comprehensive music cabinet of some of the finest musical moments from his initial directorial decade (1968-1979) that provided a much needed platform for the freak rock and free jazz that mirrored the distorted erotic visions in his own mind’s eye. Imagine Gong-Gone-Wrong meeting the Art Ensembles Of Châteauroux… Fantasy pop groups mutate and thrive within. Featuring early recordings from mod rockers Unity, free jazz legends Barney Wilen, François Tusque and Jean-François Jenny-Clark and musical co-conspirators to Walerian Borowczyk and Fernando Arrabal, this collection unites a wide range of previously unreleased material with some of Finders Keepers’ most collectable Rollinade vinyl moments for the first collection of this kind featuring music over forty years old.”
BEC 5161135 SOKO: I Thought I Was An Alien LP+CD (BEC 5161135) 25.00
This is the debut album from French singer-songwriter Soko. Intimate, lo-fi, crazy, sexy, funny, tear-stained, heartbreaking, often all at once, Soko’s songs have already touched people around the world, earning her a massive global following. At one mega-gig in Australia, she had 15,000 people singing along with her. Since her teens, Soko has been on a rollercoaster journey. From a stockpile of over 100 songs, she has now finally whittled them down to a selection of 14. Aptly-entitled I Thought I Was An Alien, it’s full of love and loss and worry — the kind of fundamental, life-dictating human feelings, which are so far beyond rational explanation, they really ought to be kept under lock and key. Like one of her absolute heroes, Daniel Johnston, however, Soko has the rare ability to sing openly about those feelings, in a way which is utterly compelling, sometimes devastating, but also, completely uplifting. Like innumerable bedsit troubadours of her generation, Soko started out with just her voice, her acoustic guitar, and GarageBand. After moving to Paris, her early demos were picked up by radio stations in Denmark, Belgium and Australia, making her too much of a new pop thing, without her own consent. In 2007, her music was used in a Stella McCartney show in Paris. Soko played gigs with Daniel Johnston, MIA, Babyshambles, Adam Green, Jeffrey Lewis, Seasick Steve and many others. Feeling under pressure, perhaps, she went from home studio recording to trying to record her songs in a proper studio, working with producers who would hire session musicians to play the other instruments. Soko’s acoustic playing, too, has grown up from the punky thrumming of before, often arriving at the complex, fluid picking of the “old ’60s folk dudes” she’s been listening to, such as Roy Harper, Michael Hurley, Davey Graham, Karen Dalton and Jackson C. Frank. In 2008, Soko moved to Los Angeles. Amassing more recorded versions out there, she soon realized she needed someone to help her sift through it all, and make sense of everything she’d created. In late 2010 she was eventually introduced to Fritz Michaud, who had her instant admiration, having worked on the late Elliott Smith’s final album, From A Basement On The Hill, which is one of her favorite albums. Having asserted her control over her music, Soko realized that rules are made to be broken, and allowed others — close friends, this time — to add their expertise. When she sings of a rootless existence, always sadly moving on with her suitcase and her guitar, you know that this is her existence — and it really is. I Thought I Was An Alien finally introduces a truly singular talent, at her point of fruition. Includes a bonus CD version of the album.
BEC 5161139 FACCINI, PIERS: Tearing Sky 2LP+CD (BEC 5161139) 26.50
A soulful and expressive singer/songwriter whose music fuses folk, acoustic blues, and West African textures, Piers Faccini was born in England to Anglo-Italian parents, and moved with his family to France when he was five years old. A graduate of the prestigious King’s College of Our Lady of Eton, in 1997 Faccini began making a name for himself on the London music scene with the group Charley Marlowe, which featured Faccini, spoken-word artist Francesca Beard, guitarist Lucas Suarez, and percussionist Frank Byng. While Charley Marlowe earned a passionate following on London’s acoustic music circuit for their unique blend of poetry and music, Faccini, who had been writing scores for British television on the side, felt constrained by their approach and left the band in 2001 to write and perform on his own. In 2004, Faccini released his first solo album, Leave No Trace, through the French Bleu Electric label and toured extensively following its release. Faccini signed an American record deal with the Everloving Records label and played a number of shows in Europe with like-minded U.S. musicians Ben Harper and Jack Johnson. J.P. Plunier, who had produced sessions for both Harper and Johnson, signed on to produce Faccini’s second full-length album, 2006’s Tearing Sky, which featured backing vocals from Harper and accompaniment from several members of his band, Innocent Criminals. Includes a free CD version of the entire album
BEC 5161141 FACCINI, PIERS: Leave No Trace LP+CD (BEC 5161141) 25.00
Because Music reissues the first album from singer-songwriter Piers Faccini, originally released in 2004. A soulful and expressive singer/songwriter whose music fuses folk, acoustic blues, and West African textures, Piers Faccini was born in England to Anglo-Italian parents, and moved with his family to France when he was five years old. A graduate of the prestigious King’s College of Our Lady of Eton, in 1997 Faccini began making a name for himself on the London music scene with the group Charley Marlowe, which featured Faccini, spoken-word artist Francesca Beard, guitarist Lucas Suarez, and percussionist Frank Byng. While Charley Marlowe earned a passionate following on London’s acoustic music circuit for their unique blend of poetry and music, Faccini, who had been writing scores for British television on the side, felt constrained by their approach and left the band in 2001 to write and perform on his own. In 2004, Faccini released his first solo album, Leave No Trace, through the French Bleu Electric label and toured extensively following its release. Includes free CD version of the album.
PTYT 047LP MCPHEE, DEAN: Son Of The Black Peace LP (PTYT 047LP) 20.00
LP version. West Yorkshire’s Dean McPhee releases his first full-length album consisting of four new tracks of his singular signature style of introspective, drifting instrumentals, masterfully-played eclectic electric guitar and efx meanderings. Quiet-time music; summer fields and winter fire-tending. Future dub folk from an olde English tradition that no one can quite put their finger on. Blast First Petite re-released his initial Brown Bear EP on CD in spring of 2010 to a growing press awareness of this young man’s talents with Boomkat, Brainwashed and Foxy Digitalis giving him the big ears kudos and MOJO and Tom Ravenscroft firmly planting the McPhee flag as a talent to watch out for. A steady rivulet of live dates are planned with sympathetic souls old (Michael Chapman’s Ecstatic Peace! tripping) and new (Richard Skelton psychogeographical séances with place).
CADENZA 075EP LAPS: Joyful Process 12″ (CADENZA 075EP) 12.00
Laurent Bovey as Laps presents Joyful Process. The title track takes initially slight steps, while vocal shouts bounce to the backdrop of a foot-shifting percussion pattern. Unfolding the rhythm with impending hats, shakers and a proud kick, Laps’ addition of freaky moans and sirens add a hide-and-seek element. “This Broken Heart” creates tension and intrigue — dripping water, blaring horns and creeping footsteps — so vivid you can almost reach out and touch them.
ST 11647LP BARTZ, GARY: Music Is My Sanctuary LP (ST 11647LP) 11.50
Exact repro of saxophonist Gary Bartz’s jazz/funk/soul hybrid from 1977. Featuring vocals by Syreeta Wright (on the title track), plus Larry Mizell (keyboard) and Nate Neblett (drums), among other top fusion musicians. The funk, soul and disco elements on this album make it a departure from Bartz’s previous recordings.
CEC 001CD CURLY, NICK: Between The Lines CD (CEC 001CD) 17.00
This is the debut solo album from Nick Curly. With a lot of soul, empathy and musical subtlety, the Mannheim native is making his way from the dancefloors of this world into the ranks of timeless house producers à la Moodymann, Move D or Larry Heard. Between The Lines is an album that wants to be heard and not just praised. Nick Curly has defined the image of the global club scene over the last few years like no other. As the driving force behind the so-called “Sound of Mannheim,” Curly was long considered the rising star of the international house scene. The world-famous Ibiza club Space even honored him with a residency — a distinction that is otherwise reserved for genre greats such as Carl Cox and Armin Van Buuren. With Between The Lines, Nick Curly is now taking the next step in his already impressive career. On this album, the Mannheimer presents himself from a different angle, offering the listener an insight into the man Nick Curly — away from the bright lights of the club circus. Contrary to the trend towards sterile tracks straight out of the computer, Curly gives us the classic tools of good music: real instruments, real singers, real emotion. In this sense, his debut is musically rich and spoils the audience with virtuoso bass lines, distinctive vocal parts and organic percussion. This can especially be heard on “Piano In The Dark,” for example. Its melancholic piano parts in combination with the emotionally-resonant voice of singer Worthy Davis exquisitely suggest the charm of legendary New York piano bars. Nick Curly has always remained faithful to the 4/4 beat without in any way compromising the diversity of his atmospheric tracks. Rather, the catchy rhythms further reinforce the message of his tracks. The dry, grooving drum patterns on “Wrong Hands,” for example, are beautifully complemented by the hypnotic synth chords. A piece of modern Detroit, which — typical of Between The Lines — works as well at home as it does on the dancefloor. Overall, with its intelligent arrangements and sophisticated production, Nick Curly’s first studio album presents a refreshing sonic experience that will appeal to music lovers and invite repeated listening.
CF 014EP SEPH: Suzbu EP 12″ (CF 014EP) 12.50
Seph comes with his hands full of bass energy in the form of the Suzbu EP. “Genbu” doesn’t play around, it goes straight to the deep bass kick and whirring, like a machine powering up after a long hibernation. “Suzaku” features vocal cuts, deep kick, and wide melodies. Produced together with Pablo Denegri, we come to “Unti” — a nightmare-ish world of machines and percussion.
DK 76908LP PROPHETS OF SOUL: Gregory James Edition LP (DK 76908LP) 11.50
A covers album from this Chicago funk trio. Tracks include “Ain’t No Sunshine,” “Shaft,” “Changing Things,” “Love And Happiness,” and “Make It Easy On Yourself.” Exact repro, originally released in 1972.
DESTIJL 088LP HYPE WILLIAMS: Find Out What Happens When People Stop Being Polite… LP (DESTIJL 088LP) 16.00
…And Start Gettin Reel. Restocked. “Hype Williams may or may not consist of two people named D. Blunt and Inga Copeland, it may or may not still be part of an 18 year relay project thought up by a lady named Denna Frances Glass. Lately there has also been rumor that it is the side project of singer Joss Stone (she evidently financed the making of it). Either way, when asked for a statement concerning Find Out What Happens When People Stop Being Polite, And Start Gettin Reel, we’ve been informed via email from Inga Copeland only these words: ritolin (sic) and rama lama 555 (sic).”
DL 044CD WELSCH, JOHANNES: Sound Creation CD (DL 044CD) 13.00
“The gong, one of the oldest instruments on the planet, commands the artist more than any other instrument. Except for the seventh improvisation which also uses singing bowls, the improvisations on gongs by Johannes Welsch feature only gongs of different types and sizes, most of them from the full Sound Creation Series crafted by the Swiss company, Paiste. The Paiste Sound Creation Series consists of four groups named after the elements of alchemy, fire, water, earth and air, with three gongs in each group except for earth that has four. Welsch in his improvisations works with two sound aspects of the gongs, that of dynamic range and the other of frequency spectrum. He has written: ‘I typically develop soundscapes which come out of and return to silence. While the amplitude increases the gong unfolds its full frequency spectrum, beginning with low frequencies (fundamental) and subsequently developing those beautiful overtones (harmonics).'”
DEL 75033LP DELTRON 3030: Deltron 3030 2LP (DEL 75033LP) 20.00
2012 repress. “The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz’ first 12″ and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz’ self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del’s vocal style and add the right amount of flavor to this classic period piece.”
DENCH 001EP PUSHERMAN: Still Feel/Perforate 12″ (DENCH 001EP) 11.00
Dench presents a 12″ from south London production duo Pusherman. “Still Feel” is a tantalizing, percussion-led dancefloor-destroyer, coupled with “Perforate,” filled with a catchy, staccato melodic lead and punchy, building drums. Chaos In The CBD’s edit of “Still Feel” emanates a hypnotic, bouncing rhythm with perfectly-juxtaposed vocal samples. C.R.S.T.’s remix of “Perforate” is based on a rhythmic vocal sample accompanied with a haunting synth.
DESOLAT 021EP BOLIVAR, PABLO: Three Ways To Move 12″ (DESOLAT 021EP) 12.50
“Three Ways To Move” is a collection of delicate dub and chord-driven tracks by Pablo Bolivar, the Barcelona-based one-half of Pulshar — the band who released the remarkable album Inside (DESOLAT 003CD). Feel free to find your way to move in the world of smooth, pulsating basslines, tender frequencies, echoes and sweet melodies.
DISRUPT 001LP OH NO: Dr. No’s Ethiopium 2LP (DISRUPT 001LP) 19.00
2012 repress; 2LP version. “36 hip hop instrumentals inspired by and sampled from rare 60s and 70s Ethiopian soul, jazz, funk, folk and psychedelic rock. Super-producer Oh No follows up his heralded Dr. No’s Oxperiment by diving again into Stones Throw and Now-Again label-head Egon’s record collection for a region-based instrumental beat album. This time he’s offered up an album inspired-by and sampled-from rare 60s and 70s Ethiopian funk, jazz, folk, soul and psychedelic rock. Even if you’ve never heard an instrument tuned to the qenet modes before, even if you’re more into ballads than you are tezetas, Oh No’s transformative effect on his source material will blow you away in its otherworldly funkiness. This project is a limited edition release on Oh No’s own Disruption Productions imprint.”
DOK 314LP ORBISON, ROY: Sings Lonely And Blue LP+CD (DOK 314LP) 26.00
“Originally released in 1960, this album marked Roy Orbison’s first taste of superstardom. After experiencing only marginal success with Sun Records and RCA, Orbison moved over to Fred Foster’s fledgling Monument Records in 1959, and that’s when the big hits started rolling in. In 1960 alone, Orbison had two Top Ten hits with ‘Only The Lonely’ and ‘Blue Angel’ (both found on this LP), followed by six more over the next four years (and culminating in 1964 when his ‘Oh, Pretty Woman’ made him a living legend). Featuring four bonus tracks!” 180 gram vinyl with bonus CD version.
“Legendary Sun Records producer Sam Phillips knew talent when he saw it, and when he started up his new Phillips label in the early 1960s, one of the first acts he signed was Frank Frost and his electric Delta blues trio. Now known as one of the greatest harp players of his generation, Frost learned his trade playing with none other than Sonny Boy Williamson and his influence can be heard whenever he blows. Originally released in 1962, Hey, Boss Man! is one of the last great electric blues albums.” 180 gram vinyl with bonus CD version.
DC 476EP NEWBURY/BILL CALLAHAN, MICKEY: Heaven Help The Child 7″ (DC 476EP) 5.50
“Keeping the love alive in ‘012, Saint Cecilia Knows and Drag City present a split-single that pairs Mickey Newbury’s recording of Heaven Help the Child– the title track of the most refined and under-appreciated album in Newbury’s trilogy– with a new version of the song by Bill Callahan that invokes the stately, elegiac spirit of the original while reworking its intricacies for his own unique voice and style.”
DC 494LP BULL & THE RHYTHM ACE, SANDY: Live 1976 LP (DC 494LP) 15.00
“Well further gifts abound, as this 1976 concert on Galactic Zoo Disk/Drag City will attest. Clearly, the explorations of Sandy Bull were not lost on the far-out audiences of the Bay Area, and though the heady days of the ’60s have gone, the Berkeley heads are still in full force, hanging on Sandy’s every note with a clearly expressed delight as they wait for headliner Leo Kottke to take the stage. Even though there were no further albums after 1972’s Demolition Derby (a candidate for unhinged, bottom-of- the-barrel brilliance), we can now hear that Sandy had expanded his sound even further than we could have imagined in the lost post-Vanguard silence. Rocking the then-pretty-new rhythm ace drum machine and utilizing pre-recorded tracks of bass and fuzz guitar (simulating how he’d do mad overdubs in the studio really) and adding some pedal steel at one point, Sandy conjures whole new inflections over his classic sound. Of course, the performance is book-ended by classic electric loud workouts in pure, golden Sandy Bull form. There’s some pretty hilarious stage banter as well, with Sandy leading the audience through the wonders of his beat-box (and almost getting lost exploring the settings!) and then introducing the song ‘Alligator Wrestler’ by discussing childhood memories from Florida recalled while witnessing serial masturbation during his recent stint in drug rehab. Too much! Sandy runs through his entire instrumental palette while performing a set of songs that never made it to vinyl (but recall some of his classic themes). The show is captured warmly on the tapes (recorded by veteran music biz man Hillel Resner, who also supplies fantastic notes that take us back to his 1976 frames of reference); a vital performance and a rare glimpse into the previously-unheard 1970s progressions of Sandy’s music. It’s like being there yourself (albeit with a few between-song edits in your tape/memory) and we are damn grateful for the experience! If you are even a casual fan of guitar music or artists like John Fahey, Jack Rose or Robbie Basho, you owe it to yourself to delve into Sandy Bull & the Rhythm Ace, Live 1976.”
“The Gaels of Scotland are a Celtic people, related to the people of Ireland, the Isle of Man and, more distantly, to the people of Wales, Cornwall and Brittany in France; they share cultural and linguistic similarities with them all. As with their Celtic neighbors, the Gaels are the keepers of an ancient and noble folk tradition, one which the American folklorist Alan Lomax referred to (in a letter to the Scottish poet Hamish Henderson) as ‘the finest flower of Western Europe.’ The Scottish Gaelic tradition is incredibly diverse for such a small country — each area, each island, has its own repertoire of songs and tales and many towns and villages formerly had their own ‘bards’ and storytellers. The combined efforts of these talented young singers and musicians transcend the density of explication here — this is no po-faced unearthing of dusty old songs! Rather, Urstan presents a spirited and innovative musical re-imaging of a number of classic traditional Gaelic and Scottish numbers and one original tune each from Mairi and Ali. There’s fastidious notes included in both Gaelic and English, but the compulsive rhythms and moods conjured by the band will leave you little time to read while the music plays — Urstan is a physically absorbing experience, filled to abundance with color and the love of life. And so to Mairi and Alasdair and the band, we say — Urstan!”
LP version.
DR 107CD ELBTONAL PERCUSSION: Plays Stewart Copeland CD (DR 107CD) 17.00
The sixth album by the Hamburg drum ensemble Elbtonal Percussion pays tribute to the music of one of the world’s most influential drummers. At the end of the 1970s, Stewart Copeland, Andy Summers and Sting developed their very own version of Jamaican reggae. Choosing to call themselves The Police, they went on to compose several dozen pop hits which melded Caribbean offbeats with the nervous energy of suburban punk. The rest is history. The musicians of Elbtonal Percussion have created a musical, tonal monument to one of these careers. Stewart Copeland was the conceptual father of The Police and, until the band split, he was their rhythmic architect. His beats floated freely above the backbeat, freer than was customary in rock music, largely due to their interpretation of the Jamaican one drop. Copeland’s musical life after The Police began with the soundtrack for Francis Ford Coppola’s film Rumble Fish. The soundtrack won him a Golden Globe nomination and he went on to collaborate on several film projects: from Oliver Stone’s Wall Street to 9 1/2 Weeks and Highlander. In between, he found bass-sparring partners for a diverse range of band projects, including Animal Logic (with Stanley Clarke) or Oysterhead (with Les Claypool/Primus). Of all the solo albums which Copeland released — initially under the modest name Klark Kent — one stands out in particular: The Rhythmatist, a documentation of his pilgrimage through Africa. Copeland became interested in the possibilities of digital sound synthesis, and the combination of percussion and electronic sounds runs through his work like a leitmotif. All this makes his work ideally suited to be embraced and interpreted by Elbtonal Percussion, especially since the band uses around 150 different drums live and in the studio, ranging from African hand drums to giant Japanese drums. Following Elbtonal Percussion’s highly-acclaimed collaboration with Stewart Copeland for the spectacular live show Ben Hur, the band has devoted their sixth album, Elbtonal Percussion Plays Stewart Copeland, in its entirety to the man and his music. The four musicians have chosen a representative selection of Copeland’s different works and periods as the source of inspiration for the pieces featured on this album; the tracks range from rhythmically-complex Police hits, such as “Contact,” to his soundtrack compositions for Wall Street and Rumble Fish, from the Rhythmatist album to the compositions for ensemble musicians featured on Orchestralli. The songs “Dog Dreams” and “Dance Ants” were specially written by Stewart Copeland for Elbtonal Percussion. The ensemble’s expressive spectrum ranges from thumping, driving, floor-friendly numbers to the most delicate sound collages. And in every single piece, the drums — with their incredible colors and facets, act as the beating heart of the music. Elbtonal Percussion are: Stephan Krause, Andrej Kauffmann, Jan-Frederick Behrend and Wolfgang Rummel.
Japanese noise artist Masami Akita aka Merzbow and Scandinavian noise artist Lasse Marhaug have been working together since the mid-’90s. The first release on Marhaug’s (now-deleted) label Jazzassin Records in 1995 was the First Rock split single. In 2001, Merzbow and Jazzkammer (Marhaug’s project with John Hegre) released a live album. Later, Akita and Marhaug executed several live collaborations, but often with other artists such as Hair Stylistics and Jim O’Rourke. In 2010, they finally got together to record as a duo. Recorded at GOK Sound Studios in Tokyo, the results can now be heard as Mer Mar. Made using a combination of scrap metal screeching, analog synths and enough effects pedals to make you overweight with most airline companies, Mer Mar is a tour de force for both of these noise veterans, hinting at some classic ’80s Merzbow jams such as Material Action. Recorded at Studio GOK Sound, Tokyo, April 7, 2010 by Hamamoto Yohei. Cut by Rashad Becker at Dubplates & Mastering, Berlin. Cover design by Lasse Marhaug.
EMEGO 141LP FENN O’BERG: In Hell 2LP (EMEGO 141LP) 27.50
Superb collection of Fenn O’Berg jams from their 2010 Japan tour, in which they forged further west for some wild sets in Beppu and Omuta. While maintaining the sophistication of the In Stereo sessions and tour, these recordings hark back to some classic 20th century Fenn O’Berg fare, complete with the odd cheeky samples. Fenn O’Berg are: Christian Fennesz, Jim O’Rourke and Peter Rehberg. Assembled by Jim O’Rourke at Steamroom Tokyo, 2011. Cut at Dubplates & Mastering, Berlin, 2012. Photograph by Shunichiro Okada.
ERATP 038CD ARNALDS, OLAFUR: Another Happy Day: Original Motion Picture Soundtrack CD (ERATP 038CD) 15.50
Icelandic composer Ólafur Arnalds releases his first Hollywood film score — the original motion picture soundtrack for Sam Levinson’s feature film debut Another Happy Day, starring Ellen Barkin and Demi Moore. In his own words: “In mid-December 2010, I was on a holiday in China when I received an email from Sam Levinson about the film. We got on the phone at, like, 4 in the morning Beijing-time and ended up talking all through the night, instantly connecting. He told me that they had been listening to my music while making the film, so the film was already very influenced by my music. However, it was not until Ellen Barkin — the beautiful force that she is — had pestered the producers for a week, calling them every day about how I am the right one for this film, that they finally gave in. The only catch was that it had to be done two weeks later, in the first week of January. So I ended up scoring non-stop all throughout Christmas, making my mother mad in the process.”
EXT 001CD RIMBAUD, PENNY: Acts Of Love CD (EXT 001CD) 16.50
“Recorded towards the end of Crass’ 7 year social bombardment & previously released in 1985 on vinyl, Acts of Love was Penny Rimbaud’s ‘other voice’. 50 poems written from 1968 to 1973, set to music – classical, jazz & avant garde – composed by Rimbaud & performed by Eve Libertine. Includes 21 unreleased outtakes & is packaged with a fancy 32 page book.”
FR 083CD PRETTY LIGHTNING: There Are Witches In The Woods CD (FR 083CD) 17.00
Fonal Records breaks new ground with its first-ever release by a band based outside its native Finland. Pretty Lightning’s debut LP proper (following the 2008 tour-only CD-R released by a tiny Mississippi-based noise label), There Are Witches In The Woods could also be seen as a departure stylistically — although in truth, such finely-honed aesthetics still comfortably align it with the Fonal roster. Pretty Lightning was formed in 2007 by two childhood friends, Christian Berghoff and Sebastian Haas, who grew up together in a small town in Southwest Germany, before relocating to Saarbrücken, a slightly bigger small town. In essence a raw, psychedelic-blues duo that on the surface could be seen as kindred spirits to the likes of Wooden Shjips or Moon Duo, Pretty Lightning also appear to mirror a freak-folk sensibility found in the likes of Sunburned Hand Of The Man and their Stateside compatriots. But they also reflect their closer geographic roots — echoing the communal, ritualistic Krautrock of Amon Düül II or perhaps the primitivism of Sweden’s International Harvester (both Berghoff and Haas are also part of the Saarlouis-based Datashock collective). But if such comparisons serve to place the band in some kind of loose context, they should not undermine such a heartfelt outcome, nor steer the listener away from the band’s melodic leanings. There Are Witches In The Woods delivers hooks and harmonies on a grand scale. Recorded in Autumn 2010, the album is the result of the band shutting itself away in a cavernous room to capture the breadth of their sonic vision. Formed around a crux of drums, vocals and a variety of guitars, the arrangements are bolstered by shruti-drones, organ loops and Theremins, giving a sense of space and scope to 11 sweet, succinct chapters, and the album as a whole. Pretty Lightning are set to tour in support of the album throughout 2012, with further recordings planned later in the year.
FR 084CD DOLPHINS INTO THE FUTURE: …On Sea-Faring Isolation CD (FR 084CD) 17.00
This is the long-awaited CD release of Dolphins Into The Future’s acclaimed cult 2009 LP …On Sea-Faring Isolation, an album previously released on cassette by Lieven Martens’ own label, Cetacean Nation, and on vinyl by Not Not Fun. In addition to the original tracklisting, the Fonal reissue includes a 15-minute bonus track “Various Possible Notes And Timbres Of The Mental Unit Molecule,” recorded in 2011 on Okapoka Island. Dolphins Into The Future is one Lieven Martens, a Belgian currently living in the Azores, who has since 2007 steadily released a number of albums, EPs, 7″s and tapes on a variety of labels. Often mentioned in the same breath as contemporaries Skaters or Oneohtrix Point Never, Dolphin’s vision is as smudged and somnambulant, but very much of itself. Amorphous and carefully framed, Martens’ sound landscapes place field recordings and lo-fi instrumentation on a democratic plane, to create one seamless mass of bubbling, percussive flow. But if Martens taps into a pool of tropical references (as he undoubtedly does), such influences are relayed from an unashamedly outside perspective — a deliberate refraction of nature, a re-imagined idyll, that shows him to be as close in spirit to the Romantics, or perhaps even film-maker Jean Painlevé’s surreal take on aquatic life. Martens expands: “I create Cetacean Transfers. Dreamt by places like, Ho’okena, Ilha Das Flores, São João Do Pico, and Kealakekua. All the patterns, tones and harmonies are inspired by Nature’s Tongue. The music is meant as a two dimensional (left, right, stereo) sound picture. A metaphorical landscape in which you could hike, or just stand by and relax. You’re the Ruckenfigur. Watching a dramatic environment. And in analogy with this metaphor, I use various recorded elements of nature and sound, and re-create them into a new, Utopian Landscape. Like the deep minds of the Golden Age of Science Fiction, I prefer Beauty above suspense. In essence, my music is not synth music nor new age. It’s more affiliated with landscape painting. And romantic poetry. Or poetic cinema. The bonus track, added especially for this compact disc, is the inner feedback. An epilogue on dry land. After the waking-sleep pick up, the proceedings are spinning forward in the deep kernel of our Bio Computer, in which radiates our stable core, The Mental Unit. This Unit is our heart and our center and remains with us during the whole of our incarnation. This additional audio experiment is a randomized poem on its various possible tunes, octaves and timbres.”
FMK 007EP FORMAT:B: Format:B — Restless — Remixes Session 1 12″ (FMK 007EP) 12.50
The second Forma: B album is booked as a big success. As a consequence, a big round of remixes has been called out, to which the friends from the house of Formatik have been invited. Sébastien Léger attacks “Atomizer” with a cumulative bang, like a horde of sedulous ants. Big-time! AndHim made the chill-out track “Desire” a capital dancefloor floater, while Super Flu’s “Two For One Price” remixes both “Liquid” and “Desire” into one, bestowing the EP’s pop-crown.
FNM 002CD STEWART, MARK: The Politics Of Envy CD (FNM 002CD) 15.50
At the end of 2011, a year of riots, revolutions, occupations and an increasing collapse of the global financial system, Mark Stewart returned with the limited 7″ of Children Of The Revolution, perfectly capturing the restless mood on today’s streets worldwide to create the apocalyptic dancehall mutation of T. Rex’s glam classic. His new album, The Politics Of Envy, features a stellar cast, including original Clash/PiL guitarist Keith Levene, NYC punk innovator Richard Hell, Lee “Scratch” Perry, Gina Birch of The Raincoats, Slits bassist Tessa Pollitt, Jesus And Mary Chain bassist Douglas Hart, Factory Floor, Daddy G of Massive Attack and all of Primal Scream. All roads have been leading to this. The Politics Of Envy cages, consolidates and hotwires the rampant barrage of elements which have infused Mark Stewart’s work since his first band, The Pop Group blasted the post-punk landscape. “Vanity Kills” kicks off the album with cult film-maker Kenneth Anger on Theremin, plus Richard Hell and Bristol new-blood Kahn. Followed by “Autonomia,” featuring Bobby Gillespie’s frenetic call-and-response chant with Stewart, who wrote the song about Carlo Giuliani, killed at the 2001 G8 demonstrations in Genoa. Lee “Scratch” Perry guests on “Gang War,” spitting diamonds, with Tessa Pollitt blanketing the dense, heavyweight urban dubscape, before Stewart takes us into the slo-mo cold-wave of “Codex.” Joined by Factory Floor and Youth for “Want,” Stewart then hits us with the album’s fine example of 21st-century schizoid wall-of-sound, “Gustav Says.” Railing against “corporate cocksuckers” and declaring “sanity sucks” on the cool disco-electro track “Baby Bourgeois,” we’re then taken into the huge, seething synth-crawl of “Method To The Madness,” providing one of the album’s atmospheric highlights, gouging beyond industrial or dubstep to create a frightening new take on modern mood music. Daddy G’s unmistakable deep-throat intonations make the perfect garnish for the bleak, heaving whale of a tune, that is “Apocalypse Hotel.” Being mutual fans of their work, Stewart gives us his version of David Bowie’s “Letter To Hermione,” now a spookily-orchestrated, beatless lament. Stewart turns on the light and lets Keith Levene unleash some of his inimitable metal guitar jangle on “Stereotype.” They are joined by Factory Floor and Gina Birch on this slice of gorgeously-melancholic brilliance, an effortless modern pop classic which provides the perfect end to this intoxicatingly provocative set of songs. Continuing an unmatchable track record of anarchic pioneering and seismic influence, Mark Stewart is back with his eighth album and what must be his most high-profile project to date, reasserting him as one of the great volcanic creative minds.
FNM 002LP STEWART, MARK: The Politics Of Envy LP (FNM 002LP) 23.00
LP version with full-color printed innersleeve.
FNM 002LTD-CD STEWART, MARK: The Politics Of Envy 2CD (FNM 002LTD-CD) 19.50
Limited deluxe edition, packaged in a hard-case book format. Includes the bonus CD, Experiments EP. At the end of 2011, a year of riots, revolutions, occupations and an increasing collapse of the global financial system, Mark Stewart returned with the limited 7″ of Children Of The Revolution, perfectly capturing the restless mood on today’s streets worldwide to create the apocalyptic dancehall mutation of T. Rex’s glam classic. His new album, The Politics Of Envy, features a stellar cast, including original Clash/PiL guitarist Keith Levene, NYC punk innovator Richard Hell, Lee “Scratch” Perry, Gina Birch of The Raincoats, Slits bassist Tessa Pollitt, Jesus And Mary Chain bassist Douglas Hart, Factory Floor, Daddy G of Massive Attack and all of Primal Scream. All roads have been leading to this. The Politics Of Envy cages, consolidates and hotwires the rampant barrage of elements which have infused Mark Stewart’s work since his first band, The Pop Group blasted the post-punk landscape. “Vanity Kills” kicks off the album with cult film-maker Kenneth Anger on Theremin, plus Richard Hell and Bristol new-blood Kahn. Followed by “Autonomia,” featuring Bobby Gillespie’s frenetic call-and-response chant with Stewart, who wrote the song about Carlo Giuliani, killed at the 2001 G8 demonstrations in Genoa. Lee “Scratch” Perry guests on “Gang War,” spitting diamonds, with Tessa Pollitt blanketing the dense, heavyweight urban dubscape, before Stewart takes us into the slo-mo cold-wave of “Codex.” Joined by Factory Floor and Youth for “Want,” Stewart then hits us with the album’s fine example of 21st-century schizoid wall-of-sound, “Gustav Says.” Railing against “corporate cocksuckers” and declaring “sanity sucks” on the cool disco-electro track “Baby Bourgeois,” we’re then taken into the huge, seething synth-crawl of “Method To The Madness,” providing one of the album’s atmospheric highlights, gouging beyond industrial or dubstep to create a frightening new take on modern mood music. Daddy G’s unmistakable deep-throat intonations make the perfect garnish for the bleak, heaving whale of a tune, that is “Apocalypse Hotel.” Being mutual fans of their work, Stewart gives us his version of David Bowie’s “Letter To Hermione,” now a spookily-orchestrated, beatless lament. Stewart turns on the light and lets Keith Levene unleash some of his inimitable metal guitar jangle on “Stereotype.” They are joined by Factory Floor and Gina Birch on this slice of gorgeously-melancholic brilliance, an effortless modern pop classic which provides the perfect end to this intoxicatingly provocative set of songs. Continuing an unmatchable track record of anarchic pioneering and seismic influence, Mark Stewart is back with his eighth album and what must be his most high-profile project to date, reasserting him as one of the great volcanic creative minds.
GET 54046CD HOWLIN WOLF: Message To The Young CD (GET 54046CD) 15.00
“1971 marked a tumultuous yet historic year for Chicago blues legend Howlin’ Wolf. His health failing after suffering a second heart attack, doctors discovered his kidneys were also shutting down and he was ordered on dialysis to save his life. Wolf’s doctors demanded that the legend quit performing at all costs, but the legendary blues musician did not have any quit in him. Three months after being ordered never to perform again he was headlining opening night at the Ann Arbor Blues Festival. 1971 also marked the release of Howlin’ Wolf’s second experimental offering, Message to the Young. Oft-considered his second attempt (after the Howlin’ Wolf Album he famously shunned) at offering the masses a ‘psychedelic’ record, the sound on the record ranges from acid-rock, to blues, to funk, and back again.”
CLP 3397LP MARLEY, BOB: Lee “Scratch” Perry Masters LP (CLP 3397LP) 12.00
2009 release of selections from The Wailers’ recording sessions with Lee “Scratch” Perry, circa 1970-71. Tracks: “African Herbsman,” “Sun Is Shining,” “Don’t Rock My Boat,” “Fussing And Fighting,” “Mr Brown,” “Soul Rebel,” “Duppy Conqueror,” “Kaya,” “Put It On,” “Keep On Moving,” “Stand Alone,” “Memphis,” “Brain Washing,” “Riding High.”
HMR 020LP CACCIAPAGLIA, ROBERTO: The Ann Steel Album LP (HMR 020LP) 23.00
Repressed! “Roberto Cacciapaglia is an Italian electronic composer who’s made albums using every possible permutation of the same six notes, right up to modern classical, with The Ann Steel Album as the weird anomaly. Made with an American model who moved to Italy to make it big in fashion, Roberto took her languid, Laurie Anderson-esque voice and created a detached futurist popstar. The odd sound of these European futurist pop songs make it sound like the machines are breathing, creating a weird organic/electronic rhythm section. It has to be heard to be believed. With fans ranging from Geologist and Avey Tare from Animal Collective, Deerhunter’s Bradford Cox and Banjo or Freakout/Walls mainman Alessio Natalizia. The first time this album has been on vinyl since its initial small pressing in the ’70s.”
HN 250LP DILLOWAY, AARON: Modern Jester 2LP (HN 250LP) 29.00
Repressed! “From short bursts to long-form, hallucinatory epics, it’s a sprawling collection that highlights every facet of Dilloway’s considerable arsenal. One of the album’s two side-long attacks, ‘Look Over Your Shoulder’ is a lurid, subtly shifting piece with disembodied vocals and a barrage of extra-terrestrial tones that slithers into your cerebral cortex atop a funeral rhythm.”– Jeff Conklin, East Village Radio.”Aaron Dilloway on tape loops, percussion, synthesizer, junk, voice, and tape FX. Recorded 2008–2011. Silkscreened gatefold sleeve. Note: With the exception of one track (‘Eight Cut Scars’), this is a completely different release than the cassette title of the same name. Every second of this recording contains subliminal messages.”
HENK 001LP LANOX, JASON: Burning Every Bridge That I Cross To Find.. 2LP (HENK 001LP) 21.00
…Some Beautiful Place To Get Lost. This is the debut release from Henk Recordings, Jason Lanox’s Burning Every Bridge That I Cross To Find Some Beautiful Place To Get Lost. Against all new digital trends, Henk decided to honor Lanox’s impressive production superiority with a classic vinyl press. This concept album represents a turbulent period in Jason’s life, which he describes as one endless night full of stories, people and experiences. With this record he gives you a personal invitation into his musical dairy. Wipe the dust off your record players and get caught up in his amazing cinematic tracks, which have a perfect balance between an intense deep-listening experience and on the other side, a melodic techno drive, which you might know from his energetic live performance.
HFN 013EP REPTILE YOUTH: Speeddance 7″ (HFN 013EP) 8.00
Reptile Youth are the bastard sons of psychedelic ’60s soul, post-punk and synth-pop. This 7″ is a bold statement of intent — furious, sexy and provocative. In 3 minutes of high-octane pop-punk perfection, and propelled by Esben’s elastic bass, “Speeddance” fires out of the traps with kinetic urgency, giving way to an anthemic, semi-deranged vocal hook. In a further homage to their punk forefathers, there is also a remake by Norwegian band Deathcrush.
HJP 065EP MMM/OLD APPARATUS: Meet Tshetsha Boys And Shangaan Electro 12″ (HJP 065EP) 11.00
Characteristically murderous MMM disco-house — sharp and succinct, witty and hedonistic, light and hard-grooving — gallops away like a thoroughbred with the original marimba synth-line, and expertly excavates the fragile soulfulness of the Tshetsha’s singing. Threaded by the same marimbas, the Old Apparatus workout is a cavernous, atmospheric, stately stepper, reverberating and suspenseful, with splashing cymbals, horror vocals and miasmatic scraps of melody.
HJP 068EP ROCKET JUICE & THE MOON: Manuela/Mark Ernestus Dub 10″ (HJP 068EP) 14.50
Two tracks exclusive to this release: the one and only Erykah Badu in an irresistibly catchy do-over of the euphoric album instrumental “There,” also featuring veteran Malian synth-freak, Cheick Tidiane Seck; and a dub by Mark Ernestus, from Rhythm & Sound. Lovely silk-screened sleeve.
HJP 069EP ROCKET JUICE & THE MOON: Leave-Taking/1-2-3-4-5-6 /Forward Sweep 10″ (HJP 069EP) 14.50
Three of the deepest, freshest instrumentals from the Rocket Juice & The Moon album (HJR 063CD/LP) featuring the Hypnotic Brass Ensemble on the opener. Sound-wise, this is doubly lethal, as alive and present as vinyl gets: mixed by Mark Ernestus, mastered and cut at Dubplates & Mastering, manufactured at Pallas. In a silvered, silk-screened sleeve; a limited one-off.
HJR 063CD ROCKET JUICE & THE MOON: Rocket Juice & The Moon CD (HJR 063CD) 14.50
High up in the skies, amongst the clouds, super-group Rocket Juice & The Moon was born. It happened back in 2008, when Damon Albarn, Flea and Tony Allen convened on the same Lagos flight, to play and exchange musical ideas in that city as part of the Africa Express collective. Relishing a shared enthusiasm for one another’s work, and bonding immediately, there and then, the triumvirate laid down the blueprint for Rocket Juice. Still, more than a year passed before conditions were set for three weeks together at Albarn’s West London studio, recording and refining two-dozen startlingly out and deeply funky instrumental grooves. The next stage was to invite onboard some extremely talented friends, with further sessions in Dallas, New York, Chicago and Paris — Erykah Badu, no less, queen of contemporary soul. Three companions from Africa Express: Malian singer Fatoumata Diawara, whose debut album has topped World Music charts since its release; her multi-talented compatriot Cheick Tidiane Seck, whose prodigious keyboardism has lit up releases by artists ranging from Youssou N’Dour to Hank Jones; the young Ghanaian rapper M.anifest; and the Hypnotic Brass Ensemble, long-time stalwarts in the Honest Jon’s set-up. Finally, the tracks were dispatched for mixing to Berlin, to be meticulously honed, polished and envenomed by Mark Ernestus, one-half of the legendary Basic Channel and Rhythm & Sound partnerships. The result is Rocket Juice & The Moon — a triumphant exploration and proliferation of kinetic Afro-funk rhythms: organic, exuberant, communal music-making. From the inaugural bars, the liquid pulse of Fela Kuti’s classic recordings drives the action through a suite of 18 shape-shifting compositions. Allen’s intricate cross-patterns jostle and lock with Flea’s nimble, rumbling bass riffs. Joined by Seck on “There” and “Extinguished” — Albarn’s keyboards spray synth fusillades up top, over, and under — splicing into the mess of wires running between the freaked Afro-disco of William Onyeabor and the space-jazz-Moog of Sun Ra. The HBE brings extra intensity and drama to “Leave-Taking” — likewise Flea’s trumpet to “Rotary Connection” — teasing out the haunting melody coiled in the mix. Beautifully buoyed by Erykah Badu’s unmistakable vocals, “Hey, Shooter” brilliantly traverses metaphysical spaceways sans any semblance of noodling. “Lolo” and “Follow-Fashion” — featuring the open-hearted sensuality of Diawara’s singing, M.anifest’s brawny science, and more brass blasts — play like its musical cousins or codas. Indeed, the album’s shrewd sequencing creates the composite effect of tracks working both individually or within the context of an extended song-cycle. “Poison” is bittersweet and ruminative, and down-tempo and dubby, “Check Out” and “Worries” amplify the range of styles and moods. And by the time of “Fatherless” — a chugging Afro-blues that evokes John Lee Hooker lost in Lagos, one gets the sneaking suspicion there’s very little outside the reach of this collective’s inventive musical grasp.
HF 007LP SCUBA: Personality 2LP+CD (HF 007LP) 27.50
Double LP version with a CD and poster, housed in a full-color gatefold sleeve with printed innersleeves. 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 now releases his third album through Hotflush, taking in a wealth of genres across contemporary dance music, proving once again Scuba’s place at the cutting-edge of the electronic music scene.
HUBRO 2512CD DAHLEN, ERLAND: Rolling Bomber CD (HUBRO 2512CD) 17.00
Rolling Bomber is the solo debut of drummer Erland Dahlen. He has played on over 130 records since the mid-1990s, and has toured with an impressive list of top-ranking Norwegian artists in a variety of genres: Kiruna, Mike Patton/Kaada, Ingrid Olava, Eivind Aarset Sonic Codex Orchestra, Mathias Eick, Serena Maneesh, Arve Henriksen, Hanne Hukkelberg and Marit Larsen, to name just a few. He is probably best known as the drummer in the successful band Madrugada for the last years of the band’s life, and as the drummer in Nils Petter Molvær’s explosive new trio. The idea of doing a solo project had to mature for ten years before Erland finally went into the studio for three days in February and April 2011. The album is named after the special drum set Erland plays on the album, a Slingerland Rolling Bomber kit from World War II, which he bought from free-jazz drummer and collector Roger Turner. The mechanical parts of this set are made of rosewood, as the arms industry appropriated all available metal during the war. “When a drum has so much wood in it, it gets a very warm sound, which appeals to me a lot,” says Erland. In addition, he uses an instrumentarium consisting of a variety of percussion instruments, electronic instruments and specially-constructed instruments. Erland has played the saw for many years, and the saw is an important melodic instrument on Rolling Bomber. The album has a playful, richly visual mood, but is also quite dark and menacing in places. Elements of Krautrock, drone music, ambient music and contemporary music are woven together with rock-inspired energy. Erland produced the record himself along with Jens Petter Nilsen and Hallvard W. Hagen, who form the electronica duo Xploding Plastix. Erland has worked with them for nine years. The dark second cut on the album, “Funeral,” is a remix by Hallvard W. Hagen. The album was recorded in an abandoned coffee factory that Erland rents in central Oslo. It was mixed by Jens Petter Nilsen at tinfoilaudio and mastered by Helge Sten at Audio Virus Lab.
HUBRO 2513CD SCENT OF SOIL: Scent Of Soil CD (HUBRO 2513CD) 17.00
The band Scent Of Soil is fronted by vocalist Kirsti Huke and saxophonist Tore Brunborg. On this, their first album, they make use of material from a critically-acclaimed commissioned work they wrote together for the Vossa Jazz Festival in 2010. The nine powerful and visually rich songs they present here are all related to nature, each in its own way. Most of the lyrics were written by Huke, while the texts for two of the songs come from two of America’s most prominent poets: Robert Frost wrote “Breeze” and Emily Dickinson was the author of “Necklaces.” Kirsti Huke has worked in both rock and jazz genres, and has released two highly-praised albums under her own name. Her voice has been described as both “a honey jar” and “a powerhouse,” which indicates the breadth of her approach to jazz standards, pop and rock. Tore Brunborg is undoubtedly one of the most important Norwegian saxophonists in the generation that followed Jan Garbarek. He had his breakthrough in the 1980s with the group Masqualero, which also featured Nils Petter Molvær, Arild Andersen and Jon Christensen. During the past few years, he has worked with Mathias Eick, Manu Katché, the Tord Gustavsen Ensemble and Ketil Bjørnstad. He also plays a key role on two of Mats Eilertsen’s records on the HUBRO label: Radio Yonder and Sky Dive. Scent Of Soil’s music ranges from energetic rock to tender ballads in which the group’s jazz roots emerge more distinctly. Huke and Brunborg have put together an exciting band with musicians who have all worked extensively with boundary-defying music, and their references to the alternative rock scene are very much in evidence. Guitarist Petter Vågan is also known as a member of Marvel Machine, Eyewaterlilies, Vertex and Petter O Hanna. Bassist Rune Nergaard and drummer Gard Nilssen have performed together in several different bands, but are perhaps best known from the free rock band Bushman’s Revenge. Nilssen also plays with Susanne Sundfør, Puma and Mathias Eick. Scent Of Soil’s debut album is both exciting and accessible — a record abounding in musical high points.
IMP A71HLP SHEPP, ARCHIE: Four For Trane LP (IMP A71HLP) 17.00
Gatefold exact repro reissue of this 1964 album, Archie Shepp’s first date as a leader. Produced by John Coltrane and Bob Thiele. “The fact that this album holds up better than almost any of Shepp’s records nearly 40 years after the fact has plenty to do with the band he chose for this session, and everything to do with the arranging skills of trombonist Roswell Rudd. The band here is Shepp on tenor, John Tchicai on alto, Rudd on trombone, Trane’s bassist Reggie Workman, and Ornette Coleman’s drummer Charles Moffett.” –All Music Guide
IF 1017CD CUBENX: On Your Own Again CD (IF 1017CD) 17.00
This is the debut album from César Urbina aka Cubenx. “Cubenx’s music … made an intoxicated first impression on me some months before when his demo tracks arrived at my doorstep. A couple of those tracks later appeared on his debut for my Static Discos imprint in 2008, The Cold Swells, a collection of music that was previously released on the Synergy Networks, Cyan and I Need It net-labels. One of the tracks was ‘Glandula,’ a passionate and epic techno track that caught the attention of Alexandre Cazac and Agoria during the pre-planning stages of InFiné, who immediately requested a full album. Cubenx’s debut would have to wait, as only a couple of EPs (Glándula EP in 2007 and Can’t Throw A StoneEP in 2008) on InFiné were the stop gaps before On Your Own Again could be completed some years later. But there was also a new factor that slowed down his recording process, as Cubenx was moving further away from producing dance music and wanting to focus on songwriting with real instruments and voices — a task that has resulted in a fertile tapestry of electronic-based songs that may have more to do with English post-punk and shoegaze than with the British minimal techno he is most known for. While songs like ‘Adrift At Sea,’ ‘Sierra Madre’ and ‘Lovebirds’ retain Cubenx’s lush sound design and carefully planned dynamics, they are spread out in a broader palette of songcrafting. Only ‘Wait And See’ sees Cubenx going back to his clubbing ways, a melodic and colorful banger that stands out when placed beside any classic Kompakt outing. The songs on On Your Own Again also retain a psychedelic taint that Cubenx links to his Mexicanity, especially on the acoustic fullness of ‘Sueña Con Venados’ and ‘Mist Over The Lake,’ where he wanted to evoke the ritualistic ambiance of a virtual Mexican desert. Or as the piano-based ‘Grass’ narrates, a psychoactive out-of-body experience under the effects of salvia divinorum — a search for the inner non-spirituality much in tune with Latin American psychomagicians like Jodorowsky. This strong sentiment is explored further on ‘Noir,’ an atonal instrumental ambient piece filled with cosmic musings and psychedelia. On Your Own Again also marks Cubenx’s first collaboration with Chicago musician and singer Alfredo Nogueira, a close associate of Telefon Tel Aviv, L’Altra and Apparat, on the song ‘These Days.’ Francisco Rosas of Flight Attendants, the downtempo duo he shares with Cubenx, co-wrote ‘Sierra Madre’ and laid some guitar licks on ‘Sueña Con Venados.’ On Your Own Again is Cubenx’s coming-of-age album, where his creative impulses reach for his own true voice.” –Ejival, Director of Static Discos
INT 004LP CAGE & AVIARY: Migration 2LP (INT 004LP) 25.00
Gatefold double LP version, with insert. Electronic duo Cage & Aviary present their debut album Migration on Prins Thomas’ Internasjonal imprint. Part man, part machine, part cockatiel, Cage & Aviary take flights of fancy whenever they can. Jamie Paton is a DJ, a one-finger keyboardist, and a pot-tickler. Nigel of Bermondsey is a musician, South London’s finest oscillator, and a dedicated dabbler. Together, they are winners of the cosmic lottery. Having put out releases to much acclaim, Cage & Aviary have since spread their wings with releases on DFA, Tiny Sticks and Astro Lab. Their own label, The Walls Have Ears, is slowly carving out a reputation for quality dubbed-out dance music, too. Now, the feathered friends are set to take a new flight of fancy on Migration. From the rolling, cinematic sheen of “Giorgio Carpenter (Director’s Cut)” that openly wears its influences on its sleeve to the slo-mo, disco-not-disco of “Good Egg, Bad Apple,” the pair spread their production wings across the dancefloor. “Dead Dancers” brings a live, percussive and guitar Liquid Liquid vibe and then in contrast, we have the shimmering and floating, sun-drenched keys and vox that melt into “Friday The 14th Part IV.” Proto-house groove “Lean On Me” features guest vocalist Denise Johnson (of Screamadelica and A Certain Ratio fame) and title track “Migration” oozes yet more Moroder and Carpenter-inspired funk.
ITEM 012CD HOULE, MARC: Undercover CD (ITEM 012CD) 15.50
Marc Houle has been famous for his releases on Richie Hawtin’s M_nus label. Now the U.S. producer unleashes his brand-new album on his own imprint Items & Things (which is co-owned by Magda and Troy Pierce). Undercover is a double departure. His last album, Drift (MINUS 098CD/LP) was on M_nus, and his label, Items & Things, was a M_nus sub-label. He’s now left the label, and Items & Things stands on its own two feet. With this new-found freedom, Marc’s synth-driven techno sound continues to grow, evolve and surprise. Nowhere is this growth more evident than in the tracks that make up Undercover. Things kick off with “Hearing,” which has a bassline that drives like a vintage Mercedes shifting gears on the Autobahn as it picks up speed. The synths, with their soft melody, let you know how smooth the suspension is while a metallic voice whispers in your ear from the back seat. “Undercover” is a case study in the deep and moody side of old school Chicago house. “Juno 6660” sounds like what could have happened if early Warp artists like LFO and Sweet Exorcist had grown up on NYC freestyle rather than Detroit techno. “Very Bad” is actually very good, so Marc must be referring to something else entirely. “Bink” sounds like it’s from an old music box that’s been wound up just a little too far, held steady only by 4/4 beat, acid house claps and bouncy bass. On “Am Am Am,” Marc takes things in a bit of an industrial direction. Not the industrial of Nitzer Ebb and Einstürzende Neubauten, but rather, a construction site buried deep inside an unsettling dream. When “Mooder” drops, you wake up slowly and find yourself back on the dancefloor. The track’s driving rhythm and pitter-pat toms keep things moving underneath the track’s ever-dreamy pads. The album concludes with “Under The Neath,” which succeeds in taking things even deeper while at the same time unearthing Marc’s roots in the sound of Detroit techno. With influence and inspiration from such diverse sources, Undercover carves out a distinctive flow that is all his own.
ITEM 013EP DARABI/TIM PARIS: Various Items 2 12″ (ITEM 013EP) 12.00
The second volume of the Various Items series features Darabi and Tim Paris. Darabi’s “Player” is a modern echo of Jamie Principle’s Chicagoan R&B. It’s an animated piece led by sassy lyrics over suspenseful atmospherics. The dub version shaves off the bulk of the lyrics, leaving a subtle hint of vocals trailing behind. Paris’ track unravels around the seductively-malicious vocals of Sex Judas. On the instrumental version, the quirky vocals are pulled out like a cloth from a dinner table.
JPR 020CD SKABBS, THE: Idle Threat CD (JPR 020CD) 12.00
“Jackpot Records is proud to present Idle Threat, a collection of never before issued recordings from 1977-78 Lawndale, California punks, The Skabbs. In tandem with the birth of punk, these music obsessed nerds, bored and listless at the end of the ’70s, became disenchanted with the increasingly plastic tendencies of modern music. The Skabbs concocted some truly outsider sounds, melding jagged Devo-esque rhythms with lightning-fast technical touches that predicted the Minutemen by a few years. Sadly, the band was cut short in 1979 when songwriter and frontman, Steven Joseph Salazar dies at just 26 years old from a life-long heart condition. In their grief, The Skabbs choose to disband burying Salazar’s legacy of songs with their sorrow. In retrospect, The Skabbs steadily became a scene unto themselves, making a proto-punk sound guided by a mission to simply make music that sounded less gross than Foreigner. With the exception of being recorded by SST producing genius Spot, The Skabbs were considered too weird for the art crowd and just terrified the hippies.”
JPR 020LP SKABBS, THE: Idle Threat LP (JPR 020LP) 16.00
LP version. Includes liner notes and photos, plus an mp3 download.
Jazzman digs a little deeper into the Nashville, TN-based Seventy Seven Records catalog to bring you two Northern soul anthems of the more funky persuasion. The first is a Jackey Beaver-penned anthem recorded by The Continental Showstoppers, now getting huge spins on every discerning dancefloor in the UK, Europe and Japan. Jazzman got hold of the ¼” master and did a brand-new, stellar-sounding transfer. On the flip we have band stable-mates The Valentines with an irresistible pop-soul dancer that should have been a hit.
KOMP 098CD SASCHIENNE: Unknown CD (KOMP 098CD) 15.50
Sascha Funke, one of Germany’s greatest techno auteurs and the genius behind best-selling records like Bravo or Mango (BPC 167CD/LP), has some pretty big news. And it’s not about some one-off band project, but a partnership meant to stay. As Saschienne, Sascha has formed a duo extraordinaire with multi-talented instrumentalist, singer and wife Julienne Dessagne, displaying an expressivity previously unknown to anyone following his solo work. That said, Sascha is no stranger to expressive depths, with his earliest tracks already oscillating between plucked introspection and purposeful anthems. His 1999 career debut single Campus was released on Kompakt at number 13 in the label’s catalog, in this case bringing only good luck to the then-rookie producer, since he went on to produce one masterpiece after another. Now, Sascha Funke returns to his very first label: after 13 years as a techno producer, Sascha has, thanks to Julienne, rediscovered the joy of the early days in the studio. Both artists describe not only a mere change in studio ergonomics, but the force of love ripping apart old constructs. As a trained piano player and former semi-professional contemporary dancer, Julienne was exposed to classical and contemporary music early on in her life. Praising the intricate work of composers like Philip Glass or Louis Sclavis, it shouldn’t come as a surprise that she fell in love with the challenging, unpredictable club sound from Optimo’s JD Twitch & JG Wilkes, her first real club experience in the UK. She then went on to work for prestigious Soma Records and London’s legendary Fabric Club. All those are influences tightly woven into the sound of Saschienne. Far away from the romantic hokum of crude feel-good songwriting, they not only focus on the harmony and bliss, but explore the discord, the misunderstandings that great love brings with it. Saschienne’s debut release Unknown maintains the perfect balance between intimate idiosyncracies and public formatting. Going from quickly sketched chords and whispered consonants to a full-blown thunderstorm in just a matter of a few tracks, it’s a hypnotic road-movie worthy of Bonnie & Clyde. Gaining momentum as a marathon runner would, Saschienne’s music reaches out further and further, always fascinated of what might be behind the next curve.
LION 7656CD LINARES, ALFREDITO: Salsa A Todo Sabor… CD (LION 7656CD) 15.00
“Peruvian pianist Alfredo ‘Sabor’ Linares is a legend–a cult figure long recognized throughout Latin America as one of the creators of salsa music. He started out recording Afro Latin jazz in the late ’60s, with two solo LPs and guest piano and arrangement work for both Coco Lagos and El Combo de Pepe. In the early ’70s, he moved to Cali in Colombia, and became heavily involved in what developed into the salsa scene. Fast forward to 2007: Linares’ profile was given a boost outside of Latin America following guest piano appearances on the Quantic Soul Orchestra’s recordings and his show-stopping performances in their accompanying live shows. Linares’ records have been published in several countries and on many, many labels, although not always under his name. Case in point, Linares’ Salsa a Todo Sabor… album: it was recorded in late 1972 for the IEMPSA label in Peru, and released by them in 1973; it was also released in Colombia that same year; but in the U.S. it was released by the Audio Latino label) under the name of Madison Orchestra, and re-titled: A Lot of Salsa–Rhythm in the Alley, with a new cover and with two tracks removed (not at all confusing). And the music is a scorching combination of danceable Latin jazz and Afro-Cuban music. The rhythms of boogaloo and Latin soul are there in profusion, with the piano and bass carrying the groove. Then the rhythm changes: from boogaloo to salsa, as well as to guaracha and guaguanco. It’s no exaggeration to say that the Latin percussion style of a handful of albums like this one certainly had an impact on the creation of the New York salsa scene, and the trio of trumpets adds a Puerto Rican flavor. Three singers deliver the knockout punch: Panchito Nalmy, Rolo Bernal, and Koky Palacios, singing in the style of fania.”
LION 7657CD MANUEL & EL HUMO, GERARDO: Apocallypsis CD (LION 7657CD) 15.00
“By the start of 1970, young Peruvian musician Gerardo Manuel Rojas already had an impressive body of work with various rock bands: The Doltons (in Ica), Los Doltons (in Lima), Los Shain’s and The (St. Thomas) Pepper Smelter; he had recorded to that point five LP’s and many 45 rpm records. He was 24 years old. And Gerardo’s work would continue with the implementation of a recording studio at the El Virrey label office. The label had hired German engineer Gerhard Nieckau for the installation of a new Neumann 4-channel recording console; they also asked Gerardo to act as Nieckau’s partner, and asked him to get musicians to perform the first test runs of the recording set up. The musicians came to the studio to record and rehearse during the hours that the studio was not in use, from ten at night until sunrise. What resulted was a kind of ‘ghost’ band that recorded throughout the night. For this project, Gerardo joined with guitarist ‘Pico’ Ego Aguirre, bassist Jorge ‘Coco’ Pomar (both from Los Shain’s) and drummer Freddy ‘Pure’ Sources of the group La Nueva Cosecha (The New Crop). After a month of testing the new studio, (they had already recorded more than 200 hours there), El Virrey suggested that they release an album with some tracks from those sessions. That album, Apocallypsis, was the first hard rock album recorded in Peru; it was released on vinyl in August 1970. The album includes five original songs, plus versions of tracks by Grand Funk, Liquid Smoke, Jimi Hendrix, and Question Mark and the Mysterians. Before the LP came out, El Virrey released two 45rpm singles that are included on the CD as bonus tracks. This special edition of a South American classic also includes a booklet with some terrific photos and memorabilia + liner notes and lyrics.”
PLAYRJC 018EP PAGLIARA, MASSIMILIANO: Focus For Infinity (The Remixes Pt. 2) 12″ (PLAYRJC 018EP) 12.50
This is the second 12″ of top-quality remix action from Massimiliano Pagliara’s critically-acclaimed album Focus For Infinity (PLAYRJC 008CD/013LP), from acid romantics to reggae house. The A-side features Brazil’s Rotciv and Italian tru-house hero, Nicholas. Rotciv lifts up “Fade The Light” into a nu-groove-styled acid-disco jam. Nicholas remains in his realm of deep and heavy house, upping the tempo and also making use of the postal code 303 for “I’ll Never Be.” Exclusively to the vinyl release, DJ Sotofett gives “Harmonize” the jungle-boogie treatment.
“The doors open to reveal a confident bass and drum duo slinging snot at your wind- shield in a most original manner. Songs my friend, with dark hinterlands of imagination told in the vernacular of ugly outfits from the past. The power of the Ed Schrader’s Music Beat live show is harnessed on this recording to slamming effect. The songs sweat bacon scented musk that is almost obscene in its draw. Wiry hard rock with a decidedly smart sensibility, taking cues from the shadow warriors of the past and adding something altogether weird. Between the notes, the songs and vocals breathe with a band with ambition for the future.”
LP version, with insert. “Vinyl version is aimed like a drill bit at your cortex, with the tickle of laughter ready to overtake you at any moment.”
MEDICAL 011LP AXXESS: Novels For The Moons LP (MEDICAL 011LP) 19.00
“Medical Records is ecstatic to present the reissue of the essential Novels For The Moons by Axxess. Originally released in 1983, Axxess is the brainchild of French multimedia artist Patrick Mimran. Mr. Mimran was co-director of Lamborghini Motors (along with his brother) at the time and fittingly released the album on the imprint Lamborghini Records. Heavily influenced by German electronic pioneers Klaus Schulze, Tangerine Dream, and Kraftwerk, Mr. Mimran commissioned the German engineer Andreas Bahrdt to build a custom complex synthesizer which eventually materialized into a sixteen voice analog synthesizer of genius proportions. Andreas had previously designed a less elaborate prototype for Peter Baumann of Tangerine Dream fame. What then came to life as the product of Patrick’s imagination and this unique machine is a spectacular array of 15 sequenced instrumentals that is Novels For The Moons. The opener ‘When The Lips Fly High’ sets the stage for the labyrinthine polyrhythms that will enchant and enrapture the listener for the duration of the album. While most tracks have an upbeat driving vibe, others have a synth-heavy low-key subdued aspect as well. The album has been described in some circles as having cosmic qualities (as well as the track ‘Pages’ making an appearance on a Daniele Baldelli mix in the past). Occasional resemblances to ’70s horror synth soundtracks could also be appreciated but with a more intricate song structure of layered intertwining sequenced patterns (such as in the track ‘Dancing Shadows’). This long out of print beautiful artifact has essentially been unavailable except for the occasional rare copy on the collector’s market (with the corresponding high prices). The LP features original reproduction sleeve art (front and back) featuring the mysterious and eye-dazzling original painting that donned the original LP. Included is a 2-sided insert featuring an interview and profile of Axxess by Dave Segal and color photos of the infamous ‘Le Bart’ synth used to create this masterpiece. This will certainly appeal to fans of early progressive synth records, sequencer-heavy Tangerine Dream period, cosmic disco, and other lovers of all things early-electronic. Presented on high-quality 180gram yellow vinyl in a limited edition of 1000 hand-numbered copies.”
MRP 012LP VA: What Remains of Eden LP (MRP 012LP) 15.00
Subtitled: Anatolian & Levantine Music 1928-1952. “Compilation of Anatolian & Levantine 78’s recorded between 1928 & 1952. From the regions now known as Turkey, Syria, Lebanon & Egypt. Beautiful classical solo improvisations, folk songs & ensemble rockers — all never reissued before on LP. Compiled by Ian Nagoski. Extensive liner notes featuring a meditation on the supposed site of the Garden of Eden, details on the artists & photos. A co-release with Canary records.”
MRP 013LP VA: Time Will Make A Change LP + 7″ (MRP 013LP) 16.00
“Heavy compilation of hard to find gospel 7″s. A meditation on mortality & the meaning of life. Side A features some fairly lo-fi but intense & emotional performances. Side B gets even more lo-fi, but also a bit more rocking. Mostly guitar based ensembles & solo performers with the occasional sparse organ & drums. Artists include Mira Jean Clark, Rev. R Henderson, the Whirlwinds, Ike Gordon, Bishop McDaniels & many more. Comes with a bonus 7″ featuring the amazing Ethel Proffit on guitar & vocals performing ‘Death is not the end’ & ‘Life is a battle’! One of our best compilations ever & not for the faint of heart. Old school ‘tip on’ cover.”
MRP 014LP GIGNOR, ALKIBAR: La Paix LP (MRP 014LP) 15.00
“Rock n’ roll LP from Mali! First ever US release of music from one of Malis’ most beloved underground garage rock bands. Lo-fi crunchy rock riff workouts sit side by side with beautiful acoustic performances. A truly unique LP — some elements of American classic rock, some African soul music & even a somewhat punk vibe all fuse to create a sound not often heard in the Western hemisphere. Recorded by Chris Kirkley. Comes with a foldout poster & press sheet. A co-release with Sahel Sounds.”
MK 319LP BOGGS, DOCK: When My Worldly Trials Are Over LP (MK 319LP) 15.00
New lower pricing. “Pioneering singer / banjo player Dock Boggs (b. 1898) got his start playing (while working) in the coal mines all over the poverty-stricken Appalachian region. His earliest recordings, a blend Appalachian old-time music and early blues, come from 1927-1929. During this time Boggs was fairly popular and able to make a living with his music, much to the dismay of his wife who, like many others at the time, considered secular music a sin. By 1930, however, the Great Depression had forced Boggs to pawn his banjo and go back to selling moonshine and working in the coal mines. This would have been the end of Boggs’ career had he thankfully not been rediscovered by folk revivalist Mike Seeger in the 1960s and subsequently recorded some great records for Smithsonian Folkways. This record is comprised of some extremely rare alternate takes (recorded between 1927-1929) of some of his greatest songs.”
MK 333LP SMITH, BESSIE: Them’s Graveyard Words LP (MK 333LP) 15.00
New lower pricing. “Bessie Smith was the greatest of all pre-war blues singers, and perhaps the greatest female blues singer of all time, as these meticulously restored sides from the very apex of her career in 1927 so divinely prove. At six feet tall and over 200 pounds, she belted out the blues of America’s poor and downtrodden with a passion not heard before or since. In her short lifetime (she died in a car accident at age 42), she made close to 200 recordings, teaming up with just about every talented black musician of her day, including Clarence Williams, Charlie Green, Joe Smith, James P. Johnson, Louis Armstrong and Fletcher Henderson, to name just a few. The ‘Empress of the Blues’ fought her way to the top of the recording industry to become the biggest selling and highest paid black recording artist of the roaring twenties, and it was also in no small part thanks to the sales of Smith’s ‘race records’ that Columbia Records was saved from bankruptcy. These recordings all made in New York City in 1927 include her best known sides, including ‘Back Water Blues’, ‘Nobody Knows You When You’re Down And Out’, and ‘After You’ve Gone’.”
MONKEY 023CD MODESELEKTOR: Monkeytown (Deluxe Tour Edition) 2CD/DVD (MONKEY 023CD) 36.50
While the first edition of Modeselektor’s third studio album Monkeytown was already far from standard, this new and updated deluxe package offers an even more extensive collector’s item. Released in the middle of the second leg of the album tour, this Deluxe Tour Edition of the album features an entire second CD filled with all instrumentals from the album and an additional bonus track co-written by Thom Yorke (Radiohead). The DVD comes with all three official videos for the songs “Shipwreck” with Thom Yorke, “Evil Twin” and “Berlin” (feat. Miss Platnum) as well as extensive live footage. Filmed at the Warehouse Project in Manchester, you will find seven songs from the live show as well as a 20-minute interview added as additional video bonus material. Altogether, about three hours of Modeselektor entertainment. Monkeytown is Modeselektor’s best-sold album so far. It has been named “Album Of The Year” at UK magazine Clash and has won several Top 10 places in reader’s polls and editorial picks for Best Album 2011 around the globe. The album has been nominated for the WDR1 Live award, is on the shortlist for an Echo nomination as well as the Impala Award and several others. It has also entered the official sales charts in several European countries. Just recently, Modeselektor have been voted by the readers of the German De:Bug magazine as “Live Act Of The Year” 2011 and have been listed in the Top 10 as “Best Live Act” as well at Resident Advisor, Groove Magazine and several others. The Monkeytown Deluxe Tour Edition is limited to only 3,000 copies worldwide. The DVD is European PAL format only, region free. Housed in super-fancy packaging, o-Card, partial gloss, triple disc digipak.
MORR 110LP IT’S A MUSICAL: For Years And Years LP (MORR 110LP) 17.00
LP version. This is the second full-length release from the Berlin-based duo of It’s A Musical aka Ella Blixt aka Bobby Blumm and Robert Kretzschmar. For Years And Years stands for a dozen gorgeous (indie) pop gems; tracks that, even though somewhat laconic, nevertheless manage to uplift the listener; songs so euphoric and stirring, in fact, that last time around, the choosy people at All Music Guide concluded that one “would have to look hard to find a better indie pop album than The Music Makes Me Sick in 2008.” Apart from the euphoric choruses, a hidden sense of humor remains another trademark of this band — and this sense of humor is in large part owed to sharing the microphone. Here’s an example: when Robert and Ella deal with the complexities an endlessly extended adolescence entails, especially when it comes to sexual desires and such, the simultaneous delivery of the female and male perspective allows them to circumnavigate even the slightest sense of self-pity or cheap emotionalism. This is one of many things to love about It’s A Musical. Even the only cover song, Eleventh Hour’s “The Team That Never Wins” (originally from 1997) is presented with a humorous twist, thanks to the mood and vibe It’s A Musical chose for the cover: a vibe reminiscent of “Bowie in Berlin,” as in: we can’t be heroes. Throughout, the album picks up the pace and gains more and more momentum: “Cleverness” is built from vibraphone sounds, organs and drum rolls, and “One Million People” is a catchy piano pop gem that owes as much to Carole King as it does to label mate Masha Qrella. And of course, all these tracks have that certain DIY feel to them, a vibe that makes the listener forget that both Ella and Robert are actually trained multi-instrumentalists, and busy with lots of other projects. Mixed by Norman Nitzsche.
MM 037CD DUNDOV, PETAR: Ideas From The Pond CD (MM 037CD) 17.00
Petar Dundov runs his own Neumatik studio in Zagreb where he works as a sound engineer as well as producing his own take on techno, house and electronica. The album Ideas From The Pond is his most accomplished work to date and features beautifully layered techno, hypnotic rhythms and shimmering melodies that make this a real landmark release for the Croatian DJ/producer. To Dundov, “techno is music that precedes movement. It is dance music, solid enough to carry emotions through the dancefloor and abstract enough to be a template forever.” And indeed, his breathtaking productions embody this ethos, serving the inherent function of making your body pulse spontaneously while also challenging your brain with its complex melodies and slow-burning, hypnotic progressions. Although maybe the word “techno” doesn’t give enough detail about his style, it’s probably the nearest ballpark to whose principles his music adheres — and he is keen to expand the horizons of what people know and expect of the genre. But it’s that sense of his tracks being alive, forever evolving and expanding and increasing in intensity, which gives his music its unique sound and has seen his work crossover into a myriad of different areas of the global electronic music scene. Taking the listener from the club to a tripped-out dreamscape, Ideas From The Pond brings musicality back to techno and shows that minimal doesn’t need to be one-dimensional. Driving, thrilling and emotionally-charged, Ideas From The Pond is set to cross the techno/house/trance divide and become one of the essential electronic albums of 2012.
STUMM 340CD CARTER TUTTI VOID: Transverse CD (STUMM 340CD) 15.00
“Transverse is a unique collaboration between two members of the groundbreaking band Throbbing Gristle, Chris Carter and Cosey Fanni Tutti, and electronic trailblazer Nick Void of Factory Floor. Created especially for the legendary Short Circuit presents Mute festival at the Roundhouse London in May 2011, the tracks were prepared in the studio and then performed and recorded live in front of the audience. Outside of the trio, these recordings were unheard prior to the festival and the popularity of the performance left many being turned away at the door.”
180 gram vinyl version, includes CD copy.
NNF 250CD ETTINGER, DYLAN: Lifetime Of Romance CD (NNF 250CD) 11.00
“Heartland synthesist Dylan Ettinger follows up 2010’s widely lauded New Age Outlaws imaginary cyber-soundtrack with a stark, dark, and intensely different collection of misshapen new wave weirdnesses, Lifetime Of Romance. Recorded at a proper studio, and written over the course of a year, the seven songs of Romance reflect a heavy influence from the fringier strains of bummed out quasi-industrial synth-pop in the vein of Fad Gadget, certain Cabaret Voltaire, early Human League, etc, but dragged through his own warped, wonky filter. The approaches vary radically, from abandoned factory dirges (‘Sport And Superstion,’ ‘Maude’) to dubbed-out man-machine paranoia (‘Disparager’) to bouncy sine-wave robot radio singles (‘Arco Iris,’ ‘Blue and Blue’) and general electronic workshop exploration (‘18.0’). It’s always to be heralded when an artist braves terrain they haven’t traversed yet, so it’s a kick to hear Ettinger’s secret circuitry language channeled into the pop architectures of twisted synth-wave melancholia for the first time. Another engaging step by an always intriguing American original.”
NA 5090CD REGIONAL GARLAND: Mixed Sugar: The Complete Works 1970-1987 CD (NA 5090CD) 18.00
“Although Flint, Michigan’s Regional Garland toiled in regional obscurity for years, he managed to pen, sing and produce a series of 1970s soul songs that have been appreciated for decades in various musical circles around the world. Some, like The Perfections’ ‘Girl, You Better Hurry’ and the 21st Generations’ ‘I Need Love’ — have been lionized by the soul-collecting cognoscenti. Others — such as Mixed Sugar’s ‘It’s A Bad Feeling’ and ‘Fifteen Ain’t Young No More’ — were played in the hallowed halls of Northern Soul Parthenon Wiggan Casino in the mid-’70s and helped anchor the ’80s Modern Soul scene. Still relevant in 2011, Garland’s songs have inspired a second generation of fans, many of whom weren’t even born when Garland originally recorded them. As such, this is a varied album, which encompasses symphonic soul, heavy funk, pleading ballads, proto-disco and boogie. Much of the audio contained on Mixed Sugar: The Complete Works, 1970-1987 came from master tapes and is previously unreleased. The 32-page booklet includes a wealth of photos and ephemera and extensive liner notes by Ronnie Reese and Egon.”
NA 5090LP REGIONAL GARLAND: Mixed Sugar: The Complete Works 1970-1987 2LP (NA 5090LP) 21.00
2LP version, includes a 16-page booklet with liner notes and photos.
NUMERO 042CD RAGLAND, LOU: I Travel Alone 3CD (NUMERO 042CD) 24.00
“O’Jays road manager, Don King prison chauffeur, window washer, house painter, Ink Spot, Domino, producer, engineer, label owner, guitorgan technician, and one-time steward of a coveted Jet Magazine delivery route, Lou Ragland is Cleveland’s Eastside success story. Though suffocated by Lake Erie’s nitrate rich waters and the burning oil from a Cuyahoga River fire, between 1967-1977 Lou Ragland produced the most thoughtful, hopeful, and downright soulful work to come out of the Forest City. Bookended by his dynamic albums Hot Chocolate and Understand Each Other, I Travel Alone gathers period singles, collaborations, and an unreleased live album cut in 1973, revealing a Cleveland genius in a musical microcosm of fearless and confident creation.” Includes a 28-page booklet; each CD is housed in a replica sleeve.
HAND 12010EP MO KOLOURS: EP2: Banana Wine 12″ (HAND 12010EP) 12.50
Mo Kolours returns with his second release: EP2: Banana Wine. “Ridda Mountain” is a hypnotic, blunted incantation which draws heavily on a love of dub. “Twelve” sees a loose hip-hop rhythm paired with Mo Kolours’ unique sound palette. His percussion skills feature on the Afro-Latin workout “Mini Culcha,” and “Keep It Up” roots Mo Kolours in the here and now, while “Banana Wine” takes its cue from a Sega classic and sounds like dubstep imagined on a 1970s African island. Remix by Beautiful Swimmers.
PCD 72015CD KOOL & THE GANG: Kool & The Gang CD (PCD 72015CD) 16.00
“Kool & The Gang’s debut album was a surprise hit when first released in 1969, reaching #43 on Billboard’s R&B chart. It spawned three hit singles in ‘Kool & The Gang’ (# 19, R&B), ‘The Gang’s Back Again’ (#37) and ‘Let The Music Take Your Mind (#19). Some 32 years after its initial release, the album is probably better known in 2012, thanks to three of its tracks being sampled countless times by hip-hop producers.”
PAMPA 002S-LP WRUHME, ROBAG: Thora Vukk 2LP (PAMPA 002S-LP) 22.00
New vinyl version of Robag Wruhme’s Thora Vukk (replaces the now deleted PAMPA 002LP & no longer comes with the bonus 7″ or MP3 codes). In contrast to Robag Wruhme’s first album Wuzzelbud KK (MKR 001CD/LP), Thora Vukk is “more grounded and filled with melodies and self-recorded samples — ideal for the bedroom or passenger cabins of any kind.” Schablitzki created a huge library of sounds, like slamming drawers or mid-summer rain recorded in his friends’ spacious kitchen. Those field recordings are no secondary accessories. By setting them into a rhythmic shape, they dominate the structure of the tracks. Due to the constant variation, the fan of the grooves opens up every time in a new manner. This is thoughtful, contemplative minimalism in its most organically-structured form.
PAN 026EP SND/NHK: Split 12″ (PAN 026EP) 18.00
Split 12″ between two of the artists at the forefront of the experimental dance scene, SND and NHK. Aside from sharing three-letter names, the two acts also nicely compliment each other via skewed electronics which come out of mutual dance and minimal electronic sensibilities. SND offer a cut of jacking minimal loops, flows of repetition that unfold before your eyes (and ears), while NHK is suitably equal part bass-squelch with rudimentary snare Motorik via pirate radio broadcast. Mastered and cut by Rashad Becker at Dubplates & Mastering. Limited edition pressed on 140 gram white vinyl which itself is housed in a silkscreened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas. SND was formed in Sheffield, UK, in 1998 by Mark Fell and Mat Steel. Three critically-acclaimed albums for Mille Plateaux alongside the continuing series on their own label put SND at the forefront of new digital minimalism, pioneering a sound that always influenced but also resisted the so-called “clicks and cuts” movement that built up around them. NHK was formed in 2006 in Osaka, Japan by Kouhei Matsunaga and Toshio Munehiro. Mainly as a side project of prolific producer Kouhei Matsunaga (who works under many different aliases such as NHK’Koyxen, NHKyx, Internet Magic and Koyxen), they started making experimental dub techno with a more raw and harsh edge to it. Mastered and cut by Rashad Becker at Dubplates & Mastering. Limited edition pressed on 140 gram white vinyl which itself is housed in a silk-screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
Repressed. While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European house and has made him also a highly in-demand remixer. This progression now crystallizes in Fin, his first full-length album for Permanent Vacation — a record in which the Barcelona mastermind sets aside danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective in which the construction of complex song structures, intricate rhythms and super-positions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. Fin is far from being a track collection. From the majestic opener “Depak Ine” to its solemn ending with “So Will Be Now,” one of the two tracks that features Talabot’s soul- and label- mate Pional, each song traces an overall dialogue with the rest, culminating in a highly emotional journey through Talabot’s always compelling and unique musical vision. “Talabot has become an exemplar of a new breed of producers working at the intersection of deep house, disco, and indie pop, and he has carved out his own niche somewhere between the slow-motion theatrics of artists such as Mark E and Tensnake, the globe-trotting jewel tones of Four Tet and Caribou, and the psych-pop rush of Animal Collective and Delorean.” –Pitchfork (8.5; “Best New Music”)
ASH 3051LP YONIN BAYASHI: Ishoku-Sokuhatsu LP (ASH 3051LP) 22.00
Originally released in 1974. “Somewhere between The Doors and Santana, the fuzzy soul of 3 + 3 period Isley Brothers and the poppy English prog rock of Pete Banks-period early Yes and The Least We Can Do Is Wave To Each Other-period Van Der Graaf Generator, is this romantic, soul-influenced album Ishoku-Sokuhatsu (trans. “Dangerous Situation”). This album is progressive pop music similar to that of solo Todd Rundgren or even The Zombies’ experimental LP Odessey & Oracle.” –Julian Cope, Japrocksampler; Features the original LP artwork, including the original Japanese insert.
ASH 3054CD FLOWER TRAVELLIN’ BAND: Anywhere CD (ASH 3054CD) 17.00
First album from the legendary Japanese rockers fronted by Yuya Uchida. Although an album consisting mainly of cover versions, 1970’s Anywhere still exhibited many of the musical traits that were to come to the fore on the band’s next release, the classic Satori, an album of original material delivered with panache by the increasingly confident Uchida. An album made memorable by its risqué cover as well as its ground-breaking approach to Western rock music. Digitally remastered. Includes the original Japanese insert.
PLATZLTD 015EP ST. JOSEPH/JOEL: Limitiert #15 12″ (PLATZLTD 015EP) 12.00
Vinyl-only tracks from St. Joseph and Joel on Platzhirsch Schallplatten. On red vinyl.
PFR 128EP NIGGEMANN, ALEX: Don’t Wait 12″ (PFR 128EP) 12.50
Niggemann presents the first single to be lifted from his imminently arriving album debut. “Don’t Wait (Extended Mix)” layers Niggemann’s trademark tight, percussive beats as it builds towards a surprising vocal arrival and a killer, positively hung bassline. On the B-side, a dubbed-out synth voyage unfolds with “Curious.”
PRE 033CD NUOJUVA: Valot Kaukaa CD (PRE 033CD) 15.50
The Preservation label presents Valot Kaukaa, the second album from Finnish producer Olli Aarni. Valot Kaukaa is the first work for Aarni under a new name, Nuojuva, having previously appeared under the name Ous Mal. As Ous Mal, Aarni’s 2010 debut album, Nuojuva Halava took the early promise of his CD-R releases into a beautiful realization of a unique sound that evoked both a curious nostalgia and a sense of future pathways, combining classical overtures, narcotic beats and warm atmospherics into blissful song. Aarni’s beguiling vision holds sparer focus on Valot Kaukaa (the title roughly translates as “lights from far away”) for a more overtly ambient space filled with delicate instrumentation — including cello, piano, flute and violin — as well as a new interest in the possibilities of voice. Spacey and intimate with wintry and autumnal shades, its whispered melodies and open drift making for a heightened state still somehow grounded in down-home feeling. The gliding vocal textures of Rachel Evans aka Motion Sickness Of Time Travel as well as one-half of duo Quiet Evenings — is a recurring highlight, while Sophie Hutchings’ dazzling, rolling piano propels Laakso into a wonderful orbit. Honing a special path explored on Nuojuva Halava, Valot Kaukaa feels like one long, suspended, beautiful moment. Mastered by Giuseppe Ielasi.
PRE 034CD HAINES, GREG: Digressions CD (PRE 034CD) 15.50
The Preservation label presents Digressions, the third album from British composer Greg Haines. Greg is a young composer with a small but impressive catalog and cache of appearances, including work alongside the likes of Gavin Bryars and Philip Glass on Glass’ own imprint, Point Music. The genesis for Digressions began when Greg was commissioned to work with a school orchestra in Britain — the aim to get its players thinking about different approaches to composition and sound. At the end of his time with the students, the piece they had worked on was recorded, which Greg then shaped further and added to until it eventually became Digressions. The orchestra became source material for Greg’s own compositional essence of neo-classical colors and experimental contrasts. Like the work of Arvo Pärt, these pieces build and swell on graceful shapes of orchestral movements. In Greg’s hands, they are rendered with nuance by processing and microtonal sounds that work like brushstrokes against their force, creating shifting harmonies, glimmers of melody and highly emotive listening. Invoking a curious beauty that also mirrors the expansive atmospheres of Christian Fennesz and the like, Digressions is sweeping and symphonic in its unfolding. Having lived in Berlin for many years now, Greg’s work is also able to encompass performances from a range of talented and well-known friends also living in that city — Digressions features composer and multi-instrumentalist Peter Broderick, as well as recording work from Dustin O’Halloran. The album was also mixed and mastered by native resident Nils Frahm. Such contributions help engender the grandeur of Greg’s work as much as its subtlety. However, it’s the poignancy and spirit Greg has invested into Digressions that stands as what makes it a truly captivating work.
RINSE 023CD RADFORD, MARK: Rinse: 18 CD (RINSE 023CD) 15.50
This is the 18th edition of the Rinse label’s compilation series, mixed by Mark Radford. Over the last couple of years, as UK funky has gradually drained out of the clubs, young urban London has increasingly been turning to the deeper, denser sounds of tech and minimal house for its dancefloor kicks. Mark Radford, who started his Saturday night Rinse FM slot in April 2011 after his profile had steadily grown over the preceding few years, has been a pioneering figure in that shift. Drawn to tech house’s hypnotic, bass-heavy drive, he found himself frustrated with what he saw as a lack of soul in much of the genre. So in 2008 he began to dig deeply for tracks that kept the rawness and energy intact but didn’t sacrifice any of the melody and musicality. His new sets started to skillfully balance those two facets, drawing new energy out of the tunes he was dropping. Rinse: 18 is a formidable document of the approach that has made Mark such a respected figure in such a short space of time. Drawing together music from well-known European producers like Steve Bug and John Tejada with newer UK names like James What and No Artificial Colours, it accurately captures both the more wide-reaching scope of his weekly Rinse FM show and the heady, adrenalized energy of his peak-time club sets. Opening with the frosty computer soul of Alex Niggeman’s “Point Of No Return,” he immediately draws deep and dubby for Rekleiner’s “Some People” and John Tejada’s remix of Max Cooper. Fittingly, an early highlight arrives as a nod to classic Detroit: Carl Craig’s stunning remix of Agoria’s “Speechless,” a seedy, nocturnal creature that acts as a perfect transition into the mix’s ruder, more energetic second half. Other artists include: Mark Henning, Lee Brink, Tina Geru, WildKats, Noir & Haze, Subban, A1 Bassline, Tiger Stripes, Solomun and Lazaro Casanova.
RCD 2122CD EL DOOM & THE BORN ELECTRIC: El Doom & The Born Electric CD (RCD 2122CD) 17.00
Debut album from “young veterans” of the Norwegian heavy and progressive scenes, fronted by singer, guitarist, writer and producer Ole Petter Andreassen. This is classic, heavy, guitar-driven and melodic progressive rock, the playing and production being top notch with a natural mix of solid riffs, intricate instrumental passages and great hooks. The core of the band, apart from Andreassen, is Hedvig Mollestad on guitar and Hammond organ and brothers Brynjar and Haavard Takle Ohr from El Cuero on lead guitar and drums, respectively. Guests include Nikolai Hængsle Eilertsen from Elephant9 on bass, Ståle Storløkken from Elephant9 and Supersilent on Hammond, Mikael Lindquist on Hammond and Mellotron and veteran Jon Eberson on guitar. Jazz guitarist Eberson, now 60 and more vital than ever, arrived at the studio, insisted on not hearing any music, plugged in, burned his way through “It’s Electric” and “The Hook” and was home in time for an early dinner. Eilertsen and Storløkken are widely recognized to be two of Norway’s top instrumentalists in any category and Håvard Takle Ohr is probably the best rock drummer in the country at the moment. All the material is written by Andreassen, with some help on four of the tracks. He has been involved in around 20 albums and most notably been a member of Thulsa Doom and The Cumshots, but this is the first album where he is in total control. He is also owner of Caliban Studio, home to many great-sounding Norwegian albums. He has been nominated for four Norwegian Grammys and won two.
RCD 2123CD BUSHMAN’S REVENGE: A Little Bit Of Big Bonanza CD (RCD 2123CD) 17.00
This is the fourth album from Bushman’s Revenge, and their third on Rune Grammofon. It’s no secret that the label has a soft spot for this fabulous group and would wish nothing less than world domination for them. What they do seems to be an almost lost art when it comes to making records. Basically, meaning great musicians playing together in a proper recording studio, interacting and playing off each other. The tracks are mostly first or second takes, there is no editing and just a couple of overdubs on the whole album. And while guitarist Even Helte Hermansen is the natural focal point, there are no big egos at work here — this is a solid unit where all members are equally important for the end result. Just listen to the “loose but tight” interplay on the opening track, an energetic and joyful interpretation of Sonny Sharrock’s “As We Used To Sing.” Bushman’s Revenge was founded by Even and Gard back in 2003 in their hometown of Skien, a couple of hours south of Oslo, while Rune joined from the northern town of Bodø. Even was a member of Shining and grew up listening to Kiss, Pantera, Sepultura, Faith No More, Frank Zappa and John Coltrane, while Gard and Rune met at the Jazz Academy in Trondheim, breeding ground for renowned musicians such as Arve Henriksen, Ståle Storløkken, Nils Petter Molvær and many more. Gard also plays with pop sensation Susanne Sundfør and in Puma with Øystein Moen (Jaga Jazzist) and guitar experimentalist Stian Westerhus. It was recorded and mixed in Athletic Studio in Halden, Norway in summer 2011.
RH 119EP HUNEE: Tide/Minnoch 12″ (RH 119EP) 12.50
Hunee’s 2009 release Bobos In Paradise EP finally sees a follow-up with the double A-side single Tide/Minnoch. “Tide” is a mid-tempo burner that pulsates around an infectious analog synth line. It gets you in the mood and lifts you up. Explosive stuff! “Minnoch” is a playful, exotic work-out which sounds like a nightly trip through the jungle on a far-away island. Tropical house at its best.
RWINA 017EP DESTO: No Sleep EP 12″ (RWINA 017EP) 11.00
From the ice-cold landscapes of his secret lair in Finland, Desto returns to Rwina for another EP of forward-thinking dancefloor music. The producer’s work on No Sleep picks up where he left off previously on Rwina: deep sub-pressure in the finest south London tradition blended with sounds and patterns that take their cues from across the spectrum of bass-influenced music such as grime’s colorful melodies or the rhythmic playfulness and sonic claustrophobia of the likes of Lex Luger.
SS 068CD FEEDTIME: Today Is Friday CD (SS 068CD) 12.00
“Formed in 1984, feedtime, the legendary Australian band, created a rumble that has carried over the decades like a subterranean fault rupture; a persis¬tent, threatening tectonic shift that has swallowed anyone lucky enough to encounter one of their records. feedtime started out as a WTF project that suddenly coalesced into something quite unlike anything else going: a pounding rhythm section with a hoarse vocalist that swam against the fast-faster-fastest hardcore tides of the time to create a time¬less rock ‘n roll sound that is equal parts psych pound, punk holler, gutter blues, and post-punk noisescape, without ever sacrificing the song to the concept. Neat trick that. Their initial period of intense activity was the mid-80s to the mid-90s. They released a series of records on the Aberrant (OZ), Rough Trade (UK/US), and Amphetamine Rep¬tile (USA) labels. So, in 2011, when S.S. Records was working on bringing feedtime to the US in order to play our tenth anniversary showcase, SS10 (where they ruled), I asked Bruce Aberrant if there was any archival stuff laying around. Bruce snorted a ‘Yes’ and said that there were reels of it, but none of it had been accessed for years. Over the next six months Bruce went through hours of feedtime sessions, demos, and live tapes, transferring the keepers for S.S. to hear. We culled through dozens of songs ? outtakes from feedtime’s great debut album and their even greater follow-up, ‘shov¬el.’ We also put our ears on demos from the ‘Billy’ era, as well as live stuff recorded in both a hotel and a hole in the ground. We came across songs that had never seen release in any form (e b g d, garbage scow, girlfriend, etc.), amazing outtakes of old favorites (shovel, fractured, possums, nice, etc), and cover versions that no one out¬side Bruce and the band had heard (Fear’s I Don’t Care About You, Flipper’s Life). The result is Today is Friday, a 15-song LP, with all previously unreleased recordings. feedtime is a fantastic Australian rock monster as compelling and insistent as the best of their class: Coloured Balls, Venom P. Stinger, Buffalo, Scientists, Saints, Primitive Calculators, Slugfuckers, etc. No hype: feedtime is truly a classic Australian rock & roll band and Today is Friday shows that as clearly as any of their classic albums do.” CD includes five additional bonus tracks.
SS 068LP FEEDTIME: Today Is Friday LP (SS 068LP) 17.00
LP version.
SRNDS 006EP RODRIGUEZ, ROBERTO: Tell Me (feat. Kholi) 12″ (SRNDS 006EP) 12.50
Roberto Rodriguez’s music is like a waterfall of house — organic, constantly running, sparkling and fresh. Imagine Roxy Music on a dancefloor in northern Italy, sometime in the late ’80s and Joe Smooth’s “Promised Land.” The original version of “Tell Me (feat. Kholi)” is taken from the album, Dawn. Remix by Jacques Renault.
SOL 003EP BAAZ: Judy’s Bass 12″ (SOL 003EP) 12.00
The third release on Slices Of Life comes from the Berlin DJ and producer Baaz. These three tracks show Baaz’s focus on deep, pure and simple house grooves that roll on massively, and work perfectly without using obvious effects and frills. “Judy’s Bass” clearly reveals Baaz’s love of fat bassdrums and basslines in combination with classic drum machine and percussion elements. On “Jeally,” Baaz delves even deeper into percussion programming while “Carbon Hair” shows the dubby and darker side of Baaz.
SRS 002CD SEDITION ENSEMBLE: Regeneration Report CD (SRS 002CD) 12.00
“It is the late 1970s and recently politicized filmmaker and musician Ed Montgomery makes his way from San Francisco to New York City. His thought is to find like-minded musicians in order to create a politically-infused, free jazz-inspired performance ensemble. He starts playing in Latin groups and takes part in jam sessions at Bobo Shaw’s LaMama space. He finally assembles a group of musicians and starts making some seriously funky and far-out music. Released on Mongomery’s Context Music label, Regeneration Report got some notice, but not what it deserved. The music is a tough blend of funk, jazz, no wave, and Latin – very strong stuff that sounds as fresh today as it did in 1981. It was the lyrics that kept the Sedition Ensemble from a larger audience. Revolutionary words with absolutely no compromise, Montgomery and McCauley attack injustice and give an analysis of the world as stark it is true. Their message is sadly still relevant today. The lazyman’s description of Sedition Ensemble is this: Take the stripped down funkiness of ESG and combine it with the Last Poets’ funk militancy, Fela Kuti’s horn section hipped on free jazz from the 70s New York loft scene, then add a bit of Eddie Palmieri ‘s Harlem River Drive Orchestra. A private pressing when independent labels had weak distribution, Regeneration Report never sold a lot of records. Few copies made it off the East Coast. Nowadays, original copies fetch good money in collectors’ circles. We at Sol Re Sol Record are proud to reissue this great LP. The CD comes in a digipak.”
SRS 002LP SEDITION ENSEMBLE: Regeneration Report LP (SRS 002LP) 17.00
LP version. “The vinyl has been remastered by John Golden and is housed in an old style tip-on sleeve and includes liner notes by band founder Ed Montgomery.”
SOS 118EP FISCHER & HIS COSMIC ROCKTIME BAND, FREDDY: Wohin Kannst Du Gehen/Bodensee 7″ (SOS 118EP) 10.00
You’re walking down the street. And then somebody comes your way. Your eyes meet. You’re looking into each other’s eyes and you’re given a smile. Suddenly everything is so bright, so obvious, so clear. You move along, the other person moves along and you lose sight of each other. You begin to realize that this moment could only be so perfect because it was so volatile. And you’re left with a desire you can’t forget. And this song is for all who know this desire.
SNDW 038CD BATIDA: Batida CD (SNDW 038CD) 15.50
Soundway are proud to release the debut album from Batida, the brainchild of Angolan/Portuguese DJ Mpula aka Pedro Coquenão. A distinctly modern and vibrant project with its feet firmly rooted in the past, Batida combine samples from old 1970s Angolan tracks with modern electronic dance music. Music is the starting point but through dance, graphics, photography, radio and video, Batida expands, taking in politics and social commentary but always bringing it back to the party. Being the first of a string of brand new projects, this eponymous first album sees Soundway taking a slightly different direction in 2012 and beyond. Championed mostly for their work in un-earthing and re-releasing classic, rare and vintage tropical recordings, Soundway have started signing new acts that have drawn on and been inspired by the kind of music found on the label’s groundbreaking compilations and re-issues. What originally started out as a radio show designed to promote new African music has slowly evolved into a collaborative project crossing continents. Whereas nearly all of kuduro (Angolan electronic music) has no links with its country’s musical heritage, it is deeply engrained in Batida’s music. Sampling tracks from 1970s Angola, Batida is a reinterpretation of Angola’s musical past, bringing it firmly into the modern day. Batida’s high energy live show features dancers, percussionists, DJs, MCs alongside visuals and images (both archive and new) of Angolan streets, war and fragments of tribal life. CD version features bonus track “Tribalismo.” Featuring MCK, Circuito Feixado, Ikonoklasta, Beat Laden, Quem Me Rusgou, Ngongo and Bob da Rage Sense.
SNDW 038LP BATIDA: Batida LP (SNDW 038LP) 15.50
180 gram vinyl LP version with free download.
SWS 012EP BEESMUNT SOUNDSYSTEM: Circulation EP 12″ (SWS 012EP) 12.00
Soweso presents Beesmunt Soundsystem’s debut EP Circulations. Beesmunt consists of David van der Leeuw and Luigi Vittorio Jansen, two rising talents from the Amsterdam house scene. They started working as a DJ duo in the summer of 2006 and have been busy DJing and producing ever since. The five tracks on this EP have a typical Beesmunt style that has been tried and tested on the dancefloor.
SP 012LP HEAD BOGGLE: Headboggle LP (SP 012LP) 20.00
Spectrum Spools are beyond excited to present you with the highly-anticipated vinyl debut of the Head Boggle project. The world has been waiting for this day to come, and finally a full-length long player has arrived. Recorded at his apartment studio, Headboggle is the manifestation of Derek Gedalecia’s acoustic/electronic research utilizing the “kitchen sink” in every sense of the idiom: Moogs, harmonica, banjo, harpsichord, Irish harp, EMS Synthi, violin, drums, clavinet, Serge Modular, field recordings and more! What makes Headboggle so special is the careful arrangement of sound, with painstaking attention to composition and sound direction. Disorienting magic is a key trait of the Head Boggle sound, one which captivates and commands repeated inspection. Like any great, focused album effort, there is a narrative arc — from the introductory “Flourescent Star” with its dizzying, fractured crackle and bizarre piano float to the tension-packed, information-overloaded squabble and squawks of the “Dream Diary” and “Europa Astrobiology Lander” tracks. Head Boggle is a dedicated and devotional effort — one with precision and prodigious vision. Equal parts François Bayle and Tod Dockstader in the best possible way, it’s still hard to pin such a multifaceted talent to any kind of descriptor. Derek has been honing his sound for years with loads of releases on almost every essential tape and CD-R label out there. Here we have his finest set of compositions yet in hi-fidelity, tight and tediously packed, forming his most concise release to date. The Head Boggle debut has raised the bar for classical electronic composition with the greats, a feat of rare occurrence.
AKTSIE 030EP KHAN & VIKTOR MAREK, ASHRAF SHARIF: Pudel Produkte 16 12″ (AKTSIE 030EP) 12.00
While Marek is renowned as the original “Madlib from the Waterkant,” Khan, offspring of an ancient Pakistani sitar-player-dynasty, is randomly stranded in Hamburg. Together, the duo produces a sitar-driven club-step that unifies countries, people, and even cerebral hemispheres. Besides the two original tracks, this 12″ includes remixes by legendary dubstep/UK garage/drum’n’bass godfathers Horsepower Productions and by the Hamburg-based Smallville collective that has grown around the Smallville record store. A must-have.
STH 2284CD QUAKERS: Quakers 2CD (STH 2284CD) 16.00
“Quakers is a hip-hop collective that consists of 35+ members: Fuzzface (Geoff Barrow of Portishead), Katalyst (Ashley Anderson), 7STU7 (Stuart Matthews, Portishead studio engineer) and a team of their favorite MC’s from around the globe. The record’s 41 tracks play without breaks as an epic hip-hop concept album. Instrumental tracks from Quakers appear in the Banksy film Exit Through the Gift Shop.” Also featuring Guilty Simpson, M.E.D., Diverse, Dead Prez, Aloe Blacc, and more. The second disc is the “instrumental” counterpart to the first disc’s rhymes.
Suol presents an outstanding mix CD compilation by Berlin vocalist/producer Fritz Kalkbrenner. Kalkbrenner has been a mainstay on the Berlin club scene for the best part of two decades, now. Originally a hip-hop head, Fritz got introduced to Berlin’s burgeoning techno scene as a teenager in the mid-’90s by brother and producer, Paul, who broke through in 2011 with his album Icke Wieder. But Fritz’s musical sound is far warmer and more soulful than his brother’s. Indeed, Fritz actually made his vocal debut back in 2002 on Sascha Funke’s “Now You Know” and from there he pushed forward with a slew of home-grown productions on BPitch, Baalsaal Music and Suol. And that careful balance of club cuts and subtle songwriting was never better than on his 2010 Suol album Here Today Gone Tomorrow (SUOL 001CD), which was a hit with clubbers and the cognoscenti alike. And that’s where this superlative new mix comes in. With a penchant for smooth soul samples, low-slung basslines, and deep crate-digging, it’s no accident that Suol Mates feels like a genuine labor of love, because that’s precisely what it is. The concept of the series is also far smarter than the average fair: so more than just a dance compilation, it delves into the musical history of the artist who is mixing it — in this case, Fritz, who opts for an hour-long selection of prime funk, soul, hip-hop and house cuts. Let’s get specific for a second. Immediately warm and inviting, the mix springs to life with Roy Ayers and the evergreen hip-hop-soul classic “When She Smiles She Lights The Sky” by the Gilles Peterson-nurtured Plantlife before digging even further into the foliage with prime-time party-starters from Pete Rock and CL Smooth and the sadly-departed but never forgotten production legend J Dilla — and it’s this unique blend of vocals, disco strings and Sade-inspired house music influences that keep the mix sounding fresh and contemporary for the duration of the journey. Add further gems like NUfrequency’s (feat. Ben Onono) “Fallen Hero” (Motor City Drum Ensemble Remix), Oddisee’s “When Everything Changed” and coming gently back to earth with Tom Trago’s “Lost In The Streets Of NYC” and the sublime “Robellada” by Robag Wruhme, and you have a mix that’ll appeal to Dixon and Rush Hour house-heads, Roots and Common hip-hop fans and lovers of cutting-edge future garage alike. Other artists include: SoulPhiction, Black Milk, Roy Ayers, Pete Rock, Johnson Products, CL Smooth, RJD2, Lawrence, Memoryman aka Uovo, Terje Bakke, Owusu And Hannibal, Fantastic Man, Boo Williams, Henrik Schwarz, Chopstick & Johnjon and Missing Linkx.
SV 002CD NOH MERCY: Noh Mercy CD (SV 002CD) 14.00
“Formed in San Francisco in 1977, Noh Mercy was comprised of only two women: Esmerelda and Tony Hotel. The band’s motto was ‘No Boys On Guitars’ as a reaction against male-dominated rock ‘n’ roll. They didn’t need boys or guitars. They harnessed the angularity of Devo, the punk/poet attitude of Patti Smith, and the art spectacle of Roxy Music, all ground down to a minimalist core of voice and drums. Their only two previously released songs — ‘No Caucasian Guilt’ and ‘Revolutionary Spy’ — have long been considered essential recordings within post-punk/no wave collector circles and by fans of other late ’70s ‘girl’ groups, such as X-Ray Spex, The Slits, and the Raincoats. This album contains almost entirely unreleased material, unheard for over thirty years. Recorded by Fluxus artist and electronics genius Tommy Tadlock (Tuxedomoon) during their peak in 1979. As prescient as bands come, Noh Mercy preceded the defiant queer rebellion of riot grrrl and the frenetic art minimalism of the early 21st century by decades.”
SUSH 017CD SMITH, DELANO: An Odyssey CD (SUSH 017CD) 17.00
Delano Smith is one of the first artists who come to mind when speaking about Detroit house and techno. Born in Chicago and raised in Detroit, Delano’s career started in the late ’70s DJing together with the godfather of Detroit house, Ken Collier. Delano was one of Ken’s “students” and during the ’80s, started to spin a mixture of disco and funk. It was during those years that, like all legendary DJs, he started to develop his own sound to what we know today as “house” music and then later on, techno. During the early years, Delano would get to play records in front of now-legendary DJs such as Derrick May and Jeff Mills. Then, around 10 years ago, Delano decided to take all of his DJ experience and bring it to the studio. Shortly afterwards, he started his own label called Mixmode and started to release records that are still played by the leading DJs on the scene today from Ricardo Villalobos, Daniel Bell to Laurent Garnier and Derrick May. A few years ago, Delano joined forces and formed a deep relationship with Sushitech. The first release on the label and a now very sought-after limited release, was with long-term Detroit buddy Norm Talley. In addition to a string of releases and playing at all the main label parties, Delano has cemented himself as one of the leading artists on the label. It was then only natural that he should want to release his first album on the same label that he has become such a big part of. Contained within the album, Delano shows us the musical world he is living in today. Taking all of his experiences from the past years, all the various styles of records he has played and all of the inspiration that has soaked into his soul from playing in major clubs and cities around the globe, the album comes together as a single entity and represents the sound of Delano Smith and his work with Sushitech. The album sound is deep, lush and dry, just as you would expect from a true Detroit legend. Moving all the way from deep house to techno, Delano and Sushitech have collected his best works during the last 2 years and compiled an album of new tracks and unreleased rare mixes that should be a welcome addition to any collector or DJ. The limited edition CD includes a booklet containing the Detroit Story through the eyes of Delano Smith, as well as original pictures and stories. This is an album not to be missed.
TART 021EP FIORITO, ANDREA: Brother From Another Planet 12″ (TART 021EP) 12.50
From the experimental techno of Tesi, to the orchestral, Argentine drama of his Get Physical debut Proprio Tango, and now Brother From Another Planet on Tartelet, Andrea Fiorito is an artist who has made music his life’s work. Andrea’s productions are a fearless combination of live instrumentation, minimalistic techno, and dissonant melodic elements that merge in unexpected harmony.
TECPAK 002LP VA: Tectonic Plates Volume 3 4LP (TECPAK 002LP) 36.50
4LP version. The special limited-run vinyl version of Tectonic Plates Volume 3 is comprised of four individual plates, each cut and pressed to the same high DJ-tooled standard as a regular Tectonic 12″ single, housed in a wide-spine heavyweight card sleeve with eye-catching metallic artwork. The mighty Tectonic drop the third volume in their esteemed Plates series, compiling exclusive tracks from a selection of electronic music’s leading and breaking artists. Since starting low frequency operations in 2005, the Bristol label has been a beacon for dubstep, bass and progressive electronic music fans. On Tectonic Plates Volume 3, the first half offerings range across classic 140 bpm tempi, including Kryptic Minds’ haunting opening declaration “The Talisman,” Pinch’s deeply cinematic “Blow Out The Candle,” “Evolution” by Cluekid, and the supersonic “Mach” by Japan’s Goth-Trad. Tribal influences permeate through Tunnidge’s “Universal” and rhythms also swerve towards funky with an appearance from Roska on “480 BC” and, shot through with an array of classic scratch DJ samples, “Phantom” by Addison Groove. Cardiff’s Monky introduces the second movement with the transcendent breaks of “Float” before the heavy-prog-rock stomp of Ginz’s “Chrome” body-slams events firmly back into place. Three breakout artists are featured with recent Red Bull Music Academy participant Om Unit, Kevin McPhee (named in DJ Magazine’s “Ones To Watch” for 2012) and Manchester’s Illum Sphere, whose set at Radiohead’s remixes album launch for Boiler Room topped a fantastic year. The album’s closing scene is the epic 10-minute “Rogue State” by 2562.
TEXT 013EP BURIAL & FOUR TET: Nova 12″ (TEXT 013EP) 12.00
One-sided limited 12″ from Burial and Four Tet.
TTW 041CS DRCARLSONALBION: Edward Kelley’s Blues Cassette (TTW 041CS) 7.00
The Tapeworm presents a release from Drcarlsonalbion aka Dylan Carlson (Earth). A-side consists of field recordings made in/around Waterloo station and along the Thames river bed at Southbank, November 2011. Guitar and vocals added by Drcarlson, December 2011. Recorded and mastered by Robert Roth, December 2011, Tulalip, WA. B-side consists of guitar and vocals by Drcarlson and Mellotron by Robert Roth. Recorded and mastered by Robert Roth, Tulalip, WA. Produced by Drcarlsonalbion/Robert Roth. For those interested, Waterloo station is a site of personal occult experience for drcarlson — see for further details. B-side vocals consist of Enochian version of lyrics from A-side.
WIRE 338 WIRE, THE: #338 April 2012 MAG (WIRE 338) 8.50
“The Wire Tapper 28, the latest volume in our ongoing and exclusive series of groundbreaking (no, really, we mean it) CD comps, will be attached to the cover of every copy of the April issue. Plus, inside the issue: Sun Araw (Cameron Stallones takes a trip through time, space and musical perception in his recent collaboration with The Congos); Hanna Tuulikki (Clive Bell hears how the Glasgow based vocalist and artist’s new avant folk group, Two Wings, is taking flight); Nate Wooley (The trumpet player tells Dan Warburton about life after minimalism, and exploring drones and phonetics); Invisible Jukebox: Tom Moulton (The father of remixing and inventor of the 12” avoids a breakdown with The Wire’s mystery record box); Conlon Nancarrow (Philip Clark revisits the work of the reclusive American composer and finds a life as uncompromising as his hyper-complex scores for player piano); Charles Gayle (Years spent homeless on the streets of New York have inspired the free jazz veteran’s visionary new music and compelling stage persona); “We are all David Toop now” (The writer and musician’s vision of an interconnected musical landscape is now accessible for all. Simon Reynolds wonders if the future should be less oceanic); Global Ear: Milan: Cross Platform: Elizabeth Price (The Talulah Gosh founder draws on the melodramatic power of pop for her video art).”
TEG 78504LP SOULS OF MISCHIEF: 93 ‘Til Infinity 2LP (TEG 78504LP) 21.00
2010 release. “There are very few albums across any genre that stand the test of time better than 93 ‘Til Infinity, the classic debut record from the Hieroglyphics crew’s very own Souls of Mischief. In an era where gangsta rap and G-Funk dominated the West Coast rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre’s and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples.”
TEG 78508LP BEATNUTS, THE: The Beatnuts (Street Level Deluxe) 2LP (TEG 78508LP) 22.00
“The self titled record called The Beatnuts, or more affectionately referred to as Street Level, is the full length debut album by the Queens trio. It was released on June 21, 1994 by Relativity Records just a year after their impressive debut EP, Intoxicated Demons had turned the Hip Hop world on its ear. The cutting edge production is supplied by Juju and Psycho Les themselves, with contributions from V.I.C. and Lucien (A Tribe Called Quest). It features guest appearances by Grand Puba (Brand Nubian), Miss Jones and DJ Sinister (The X-Exutioners) amongst others. It is with great pride that Sony Music and Traffic Entertainment Group team up to present The Beatnuts’ self titled LP available for the first time remastered on double vinyl and housed in a deluxe ‘Tip On’ style vintage gatefold sleeve featuring extended artwork and liner notes written by hip hop historian Noah Uman (WFMU).”
TRCD 4009LP HAMMOND, DOUG: Reflections In The Sea Of Nurnen LP (TRCD 4009LP) 12.00
Exact repro of this 1975 release from Detroit’s Tribe label. Featuring Doug Hammond (vocals, drums, Melodica and Arp synthesizer), David Durrah (piano, Fender Rhodes, Moog & Arp), Charles Metcalf (bass violin & electric bass), Otis Harris (alto sax), Thomas Trayler (percussions), Trevis Mickeel (violin), Fredrick Boon (percussion), Charles Burnham (violin and solos).
TYPE 101LP SWANSON, PETE: Man With Potential LP+CD (TYPE 101LP) 21.00
Repressed– now on grey vinyl. Comes with a bonus 50-minute album on CD called Man With Garbage. Much has been made of the re-emergence of beats in experimental music, but if you listened carefully enough to Pete Swanson’s output to this point, you’ll realize those rhythms have been present for a long time. The New York-based artist might still be best known for being a member of now-defunct noise duo Yellow Swans, but he’s made plenty of solo music since then, even if it has been quite difficult to obtain. Straddling a line between free guitar noise (“I Don’t Rock At All”) and singed electronics (“Challenger”), Man With Potential shows that Swanson is unafraid to dive headfirst into the dank, pulsing soundscapes that helped birth his old band. Where Yellow Swans used pulses to underpin their cascading white noise, Swanson here puts the chattering 140 bpm percussion at center stage, not least on the album’s opening track, charmingly titled “Misery Beat.” Setting the stage for the music to follow, we are thrown headfirst into chattering, synthesized squeals and dense kick drums before being smacked around the head with the kind of slippery noise lead we’ve not heard since Going Places. This is Birmingham techno filtered through the mists of the Pacific Northwest, and it’s all the better for it. Elsewhere, “Remote View” explores a more downtempo sound; coming across like post-apocalyptic house music as heard from a club bathroom. With Man With Potential, Pete Swanson has crafted his most defining statement to date; a blistering collection of contemporary club music with a deafening noise twist. It might not be easy listening, but who said life had to be easy? Cut by Rashad at Dubplates & Mastering, Berlin.
TYPE 105LP VATICAN SHADOW: Kneel Before Religious Icons LP (TYPE 105LP) 20.00
Dominick Fernow might be best known for his industrial incantations under the Prurient moniker, but in recent months his attention has shifted towards a different outlet. Fernow’s interest in electronic music (from the clamorous grind of Muslimgauze to the recently-defunct Sandwell District imprint) has been well-documented, and it comes to a frothy head with his Vatican Shadow project. Revolving around themes gleaned from Iraq war propaganda and yellowing stacks of newspaper clippings, the tracks on Kneel Before Religious Icons are a perfect representation of Fernow’s modus operandi. Behind a wall of tape hiss, drum machine rhythms beat out memories of early Ministry and AFX while sickly FM synthesizer pads crawl and heave into the abyss. Like much of Fernow’s output prior to this, the emphasis is on society’s darker crevices, but Vatican Shadow is steeped in an alarming mystery and sulfuric smoke that is sure to surprise recent converts. There is a scene slowly rising to the surface with acts such as Demdike Stare, The Haxan Cloak and Raime renewing our interest in the darker side of industrial electronic music, and Fernow has created a sound with Vatican Shadow that acknowledges this while retaining a faded and singular sound. Kneel Before Religious Icons is electronic music fished from the troubled depths of militarized suspicion, and all the better for it. Limited edition vinyl pressing, cut at Dubplates & Mastering, Berlin.
ALLEY 001X-EP MIEUX: Next Episode 12″ (ALLEY 001X-EP) 12.50
Sophisticated bass re-rubs on two classic tracks by Mieux — club material par excellence. 200 hand-stamped white-labels only.
WLB 012EP SOUL CLAP: Soul Clap Edits IV 12″ (WLB 012EP) 14.00
Soul Clap return with the fourth installment of their edits series with this must-have 12″. “Isley Experiment” opens with some serious bass and huge drums before dropping some smooth piano riffs and sultry vocals. “Shake Those Fries” employs some serious analog weirdness with major vocal mangling and a body-shaking bassline. “Twist” opens with a sinister bass riff, while samples trickle into some off-kilter licks. “Ghost” takes reversed samples and intergalactic bleeps and fuses them with swamp guitar to create an ethereal and disturbing edit.
WEIRD 079CD EXCAVACATIONS: Object Permanence CD (WEIRD 079CD) 13.00
“Object Permanence is one of the catchiest releases in the Weird Forest catalog but this isn’t empty-calorie Diet Mountain Dew for the ears. The hooks will stand out initially but repeated listens reveal nuances embedded in the music and the care that went into creating these compositions. The boys aren’t afraid of big hooks and choruses but they warp traditional song structures and abandon verse-chorus-verse. Indeed, Excavacations don’t write songs as much as they craft delicate sonic vignettes, song miniatures that ebb and flow, often interweaving and bleeding into each other. Maximalists by nature, nearly every track incorporates overdubbed layers and unusual sonic elements into its core but somehow it all just works — the songs never sound overcrowded or weird for the sake of it. Object Permanence comprises of songs culled from a string of underground cassette releases on the venerable Stunned, Avant Archive and Paramita labels plus four new exclusive tracks but the album sounds like a cohesive statement.”
WPFC 103LP VA: Psych Funk Sa-Re-Ga! 2LP (WPFC 103LP) 21.00
2012 repress. Deluxe gatefold 2LP version with 20-page booklet. Subtitled: Seminar: Aesthetic Expressions of Psychedelic Funk Music In India 1970-1983. “Indian music has become a global musical language but its South Asian roots remain strong, diverse and local. As with our introductory anthology of this kind (Psych Funk 101 — WPFC 101) this anthology covers the ‘golden years’ of the movement, from approximately 1970 until 1983. Much of the music on this compilation springs from the Bollywood film industry; composers such as R.D. Burman and the brothers known as Kalyanji Anandji, whose work makes up much of this anthology, recorded and released an inordinate amount of soundtracks. That experiments in the fusion of India’s classical traditions of Hindustani and Carnatic music, folk music such as bhangra and dandiya and Western psychedelia and funk music would occur at some point is only natural. Also included are off the beaten path Indian experiments in psych funk — for example, two songs from the Simla Beat garage-psych albums, and an oft-heard Deep Purple cover by the ground-breaking Atomic Forest — and examples of the Indian psych funk influence on European 70s musicians. Throughout the extensive liner notes, WPFC attempts to broaden the definition of global psychedelia: the early researchers who first coarsely defined the genre – and limited its subgenres — did so at the same time that these experiments were first issued. That they would obscure these contributions to the global psychedelic canon is understandable. But it is time to correct this oversight.”
YOUNGAM 003CD ORAM, DAPHNE: The Daphne Oram Tapes: Volume One 2CD (YOUNGAM 003CD) 23.50
2CD version. Daphne Oram, founder of the BBC Radiophonic Workshop, died in 2003 leaving a colossal archive of reel-to-reel tapes and documents behind. This important collection of material eventually made its way to Goldsmiths College, London, who have been administering it on behalf of the Daphne Oram Trust for the last few years. The collection holds over 400 tapes made by Oram during her lifetime, and 211 of those have been archived and catalogued by the college so far. The Daphne Oram Tapes: Volume One is the result of almost two years spent trawling through the archive in an attempt to piece together a coherent document of one of the most pioneering and genuinely experimental characters in electronic music history. Although some of Oram’s recordings have surfaced on the Oramics compilation (YOUNGAM 001LP), this compilation reveals a complex, dark and sometimes disturbing body of work which has, until now, been partially obscured by the more recognizable Radiophonic bleeps and whirrs the Workshop is best known for. This first volume focuses on Oram’s love of experimental forms, of musique concrète, of the science and mystery of sound and composition. It comes at a time when her work is only just starting to gain wider acknowledgment in scholarly as well as popular circles. The “Oramics” machine (the first electronic musical instrument in history to be designed and built by a woman) has gone on display at the Science Museum in London, an important step in what will no doubt be a sustained effort to assert Oram’s rightful position as one of the most important figures in modern music. Working through the archive has been a life-changing experience, revealing a wealth of musical treasures that include recordings and sound effects made for Stanley Kubrick’s 2001: A Space Odyssey and Jack Clayton’s The Innocents, all the way through to field recordings made in Africa. This first volume, put together with the help of Goldsmiths and Daphne’s family, is the first in a planned series that will, for the first time, make Oram’s most important and personal recordings available for public consumption. The audio has been carefully mastered and cut by Lupo at Dubplates & Mastering, Berlin. Deluxe 2CD edition comes in a 6-panel oversized digipak.
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