|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 04/02/2012
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|A STABLE SOUND|
| CUT CHEMIST: Outro (Revisited) 12″ (ASS 006EP) 11.00|
First single from forthcoming Cut Chemist album, Blackbird. “These two have come together to create a new song that delivers a much different texture than his past catalogue. ‘It’s much more punk than anything I’ve ever done before,’ says Cut. ‘Outro’ also features live drums played by Deantoni Parks (John Cale, Meshell Ndegeochello, Mars Volta) and L.A.’s own Lonnie Marshall (Marshall Law, Weapon Of Choice) on bass. Cut as usual, blends these live instruments with samples so seamlessly that you can’t tell the difference between the two. For the hip hop purist, his skills behind the turntables still play a role here as there is a fierce scratch section at the end that will please any DJ enthusiast. This maxi single also features instrumental, scratchapella and bonus beat versions of the song along with an authentic half time dub that will destroy sound systems across the globe.”
|AUS MUSIC (GERMANY)|
| MIDLAND: Placement EP 12″ (AUS 1237EP) 12.00|
Midland, the now-London-based producer returns to Aus with the much-anticipated Placement EP. Staying true to his roots, he delivers four tracks that contribute to the continuing conversation between techno, house, garage and beyond. With a strong focus on intricate detail, lush texture and glacial melody, the EP is just as captivating on headphones as it is on the dancefloor.
| GILLESPIE/ASTRUD GILBERTO, DIZZY: Matrix/Take It Easy My Brother Charlie 7″ (BBE 179EP) 6.00|
Limited edition sampler from the Best Of Perception & Today Records compilation. “What originally began as a production company in 1967 for pop and progressive rock acts, singer/songwriter/producer Jimmy Curtiss transitioned it into Perception Ventures in 1969. Eventually expanding its roster to cater to other genres, Perception’s claim to fame was the Soul music output from both of its flagship labels, Perception Records and Today Records, the latter of which was run by Perception’s executive vice president, the legendary Patrick Adams.”
| WILL I AM: Lost Change 2CD (BBE 199CD) 15.50|
10th Anniversary Expanded & Limited Edition, includes a bonus CD of instrumental versions. “The mood of Lost Change ranges from fuzzy funk too jazzy downright jiggy. will.i.am utilizes some creative production tricks, such as building the bouncy I am around throaty beatbox. I’m trying to bridge the gap to those closed minded people who think hip-hop is only a certain way because they’ve just been listening to it for so long. BBE are releasing Lost Change as part of their Beat Generation series.”
|BEST WORKS (GERMANY)|
| LODEMANN, ANDRE: Fragments Remixes 12″ (BWR 001B-EP) 12.50|
This is the first vinyl teaser for the André Lodemann album, Fragments, which contains both original material and remixes produced by Lodemann. This EP selection features brand-new remixes for the South African house group Liquideep and January Tuesday. Lodemann’s edit for L’usine’s “Two Dots” was originally done for private use and has now found its way onto a release. Lodemann’s Mes remix was somewhat overlooked and now receives proper support here.
|BPITCH CONTROL (GERMANY)|
| ALLIEN, ELLEN: Galactic Horse 12″ (BPC 248EP) 12.00|
BPC lady Ellen Allien requests your company at the Allien Dance. Dark electro meets house! Galactic Horse was co-produced by her label-mates, Skinnerbox. “Take Me Out” slams into your ears with a bone-dry, crunching oldschool electro-funk beat. This is gradually sweetened with catchy string hooks and atmospheric sounds. “Need” treats us to a pure house beat, as classic as it gets. Playful vocal samples firmly take root in your auditory canals, leading you to hear “Need” as a tongue-in-cheek parody of house music.
| MARTYN: Hello Darkness 12″ (BF 028EP) 10.00|
“With his sophomore album Ghost People appearing on 2011’s end of the year charts for the likes of Mixmag (# 6), Clash Magazine (#9), DJ Magazine (#9), Data Transmission (‘Album of the Year’), Martyn returns to Brainfeeder to release a follow-up 12.” Features ‘Hello Darkness,’ previously unreleased and exclusive; Baiplan (L-Vis 1990 & Bok Bok Remix); and an exclusive remix of ‘We Are You In The Future.'”
|BUREAU B (GERMANY)|
| JUNIOR ELECTRONICS: Musostics LP+CD (BB 099LP) 17.00|
LP version plus CD. Junior Electronics is the solo work of musician and sound engineer Joe Watson. Joe has played keyboards with Stereolab since 2004 and engineered their last three albums. He has also worked with The High Llamas, Monade, Mary Hampton, John Cunningham and others. He runs the studio flipflop in his hometown of Brighton, UK. Musostics is the second album by Junior Electronics and is a collection of musical mesostics. The typographic layout of the lyrics and song titles is a structuring principle. The computer is used as a tape machine, i.e. large scale splicing of songs is possible but editing individual rhythmic events is not. All instruments are analog as is all mixing and processing. With contributions from Mary Hampton and Isidore Guild (vocals), Grant Allardyce (drums), Alan Hay (lyrics) and Emilie Essel (artwork and critical listening).
|BURLESQUE MUSIQUE (GERMANY)|
| AKA AKA & THALSTROEM: Varieté Remixed Part 1 12″ (BUR 009EP) 12.00|
This is the first single from AKA AKA & Thalstroem’s album Varieté Remixed (BUR 002CD), the beginning of a series consisting of three slabs of vinyl. Remix artists include: Phonique, Stereo Express, Tube & Berger and Oliver Schories.
| REBOOT: Beautiful Parasite 12″ (CADENZA 076EP) 12.00|
Reboot is back on Cadenza with the Beautiful Parasite EP, including two remixes from Robert Dietz and Cesar Merveille. “Beautiful Parasite” plays with glitches, sparks and tight wooden percussion patterns, switching its identity to take on a sultry persona with a warm and melodic mainline. Dietz warps “Beautiful Parasite” into a dance killer, enhancing the percussive flow of the original and integrating a rapid bass line. Merveille shifts the gear up another notch with a gloriously rapid attack for his remix.
|CHROME DREAMS (UK)|
| VA: Roots Of Drone 2CD (CHROME 5078CD) 18.00|
“Utilized in genres as disparate as modern and traditional classical, folk, techno, Chicago blues and even heavy metal, the repetition of a single note or chord of fixed pitch – otherwise referred to as a ‘drone’ – serving as permanent focus in a given opus, has graced as many compositions as it has influenced others. This compilation serves as a much anticipated but never before compiled guidebook to the finest examples of the use of drone throughout the age of magnetic tape, albeit in forms outside those loosely labeled ‘modern music’.” Artists include: John Cage , John Lee Hooker, Efisio Melis, The Borodin Quartet, Clarence Ashley, Floyd Jones, Sam Cooke & The Soul Stirrers, Muddy Waters , Ravi Shankar, OneWebern’s Five Pieces For Orchestra, La Monte Young, Wagner, Giacinto Scelsi, Lou Monte, Bo Diddley, Howlin’ Wolf, Khuda Box Mandrani, Miles Davis, Rolf Harris, Sir Thomas Beecham & The Royal Philharmonic Orchestra and Yves Klein.
|DANDELION LOTUS RECORDS (BELGIUM)|
| DALAI LAMA RENAISSANCE: I Know You Will 12″ (DLR 001EP) 16.50|
Dandelion Lotus Records, a new Brussels-based label, kick-starts Dalai Lama Renaissance (DLR) with a contemporary, introductory EP, containing three of their own songs and a wealth of slick remixes by some fellow artists Zack Christ, Sun Glitters, Stephen Farris, Coco Bryce, Kara Cey & Drifter. Recorded over three years (2009-2011), their songs represent each one of these years and hence, the early progression of the band. They are only the beginning of DLR’s forthcoming sounds.
|DISKO B (GERMANY)|
| SCHLACHTHOFBRONX: Slowine/Dickie Riddim (feat. Warrior Queen) 7″ (DB 161EP) 8.00|
The first double single of the upcoming album Dirty Dancing, the second full-length from Bavarian bass music duo Schlachthofbronx on Disko B Records. First track “Slowine” sounds sort of like techno cumbia — everything starts off very slow and dark, leading into a steadily-moving low-end monster of a track. Slow, but massive. “Dickie Riddim” features Jamaican vocalist Warrior Queen on a stripped-down dancehall beat, with explicit lyrics adding her part to the overall theme of the album.
| ANTONA, MARC: In Flagrante 12″ (DISS 009EP) 12.00|
A brand new double-header from Marc Antona is led by “In Flagrante.” Joining forces with Aber Costa, the pair present yet another joyful example of Marc’s innate ability to harness the most exotic of grooves while showering us with a dizzying array of sounds and samples. “Ipso Facto” on the flip is a pure example of stripped-back house. Beats, hats and an elasticized, filtered riff open the show before the snare rolls usher in from the depths a throbbing wave of bass.
|EM RECORDS (JAPAN)|
| FAITED, THONGHUAD: Diew Sor Isan LP (EM 1101LP) 22.00|
LP version. Subtitled: The North East Thai Violin Of Thonghuad Faited. Em Records returns to Thailand, this time back to 1970s Isan. For Em Records’ latest foray into unchartered musical territory, we are concentrating on the sor from Thailand, the traditional two-stringed violin that is a mainstay of Isan musical culture. Diew Sor Isan: The North East Thai Violin Of Thonghuad Faited focuses on the talents of one of the instrument’s greatest proponents and brings his key releases together onto one anthology for the first time. Thonghuad Faited comes from the “molam” tradition, the dominant rural music that hails from Isan, the northeast Thai province that borders with Laos and Cambodia. Underpinned by woozy basslines, drones and clattering percussion, his music is characterized by sprightly melodies through to haunting dirges that could come from as far a field as eastern China, or even the Celtic traditions of Ireland. Detailed notes trace his history from humble beginnings to playing up to five gigs a night in Bangkok at the peak of his fame. Whether it’s playing beautifully-crafted solo pieces, or providing a counterpoint for raw vocal work, Thonghuad Faited is a nationally-recognized master of his craft who has additionally cut sides with dozens of established singers over the years, such as Waipod Petchsupan and Angkanang Kunchai. Percussive, otherworldly and universal, Em Records is proud to present this unique music to the world, much of it released outside of Thailand for the first time. Includes liner notes in English and Japanese.
|FAUXPAS MUSIK (GERMANY)|
| DESOLATE: Celestial Light Beings LP (FAUXPAS 002LP) 17.00|
Who is Desolate? This question was raised after 2011’s debut album and was quickly answered. After his gig at the Roskilde Festival, the secret was disclosed. Now he’s back with his second album. Ten endearing and private tracks are linked up perfectly. The precious 180 gram vinyl comes in a beautiful gatefold sleeve and is an album of true beauty.
|GRETA COTTAGE WORKSHOP (UK)|
| WASSERFALL: Thursday EP 12″ (GCW 002EP) 17.50|
Wasserfall creates organic electronic music using an array of tools — including a Nord Modular G2X, a Roland TR 909, a Roland SP 404 sampler and an Apogee Ensemble — but don’t think that it’s all about the gear — field recordings also feature heavily in his work. This EP is house music for the heads — nothing lightweight, just the heavy goods. Long time coming on vinyl, so don’t miss out on this strictly limited pressing.
| VA: Sitar Beat!: Indian Style Heavy Funk Vol. II CD (SBCD 002CD) 14.00|
2007 release. “Following the success of the first Sitar-Beat compilation CD, a collection of Indian and Indian-inspired European funky selections from the ’60s and ’70s, the crew knew they had to come deep for the sequel. So for Volume 2, they go straight to the heart of India with some of the rarest and best tracks recorded between the years of 1970 and 1984. Nearly all of these tracks are appearing on CD for the first time. Sixteen tracks of rare and funky Indian flavor, blending heavy beats with the sounds of the sitar and the inimitable vocal sounds of beloved Indian singers such as the ubiquitous Asha Bhosle and producers/songwriters like Kalyanji Ananji and R. D. Burman. Most of the tracks are culled from Bollywood soundtracks from the ’70s and early ’80s. Enormously popular, often wild and packed with action and romance, these films put the intense music of star composers like Burman and Kalyanji & Anandji at the forefront. The strange, psychedelic sounds possess their own cultural mish-mash of flavors — combining traditional Indian instrumentation and melodies with film music’s intensity, and incorporating styles from American/Western music from about five years or so behind the trend.”
| BJORKE, KASPER: Fool LP (HFN 014LP) 17.00|
LP version. The third album from Kasper Bjørke, Fool, is another tour de force in his signature production style. The versatile Copenhagen producer and DJ follows up on his successful sophomore solo album from 2010 Standing On Top Of Utopia (HFN 004CD/LP) that reached high acclaim from the international press and indie blogosphere. Like a vinyl record, the track list has been split into two sides: the pop-infused, vocal-based bittersweet love songs of the “Hungry Side” is halfway through taken over by an overture that leads into the darker and mainly instrumental “Foolish Side,” containing spaced-out, psychedelic trips and no-wave disco voyages. Both moods however, fluently melt together as one coherent piece — playful, yet clever — and definitely Kasper’s most ambitious album to date. Features vocals from Jacob Bellens (Murder and I Got You On Tape), Emma Acs (The Inbred Family) and Laidback. Includes download code.
| BADER, PHILIP: Move On Me (feat. Spoony Talker Remixes) 12″ (HIGH 112EP) 12.50|
Ahead of his highly-anticipated first studio album Wishful Thinking (HIGH 113CD), Philip Bader presents this tantalizing EP, featuring the track “Move On Me” featuring Spoony Talker, coupled with some very impressive remix treatment. Fabrizio Maurizi lends this hammering track his own unique signature. Also, no less impressive is Quenum’s contribution. Todd Bodine also hasn’t missed an opportunity to lend a hand, imbuing Bader’s track with his typically fine-tuned, hypnotic beat — a pinnacle of electronic music.
|HONEST JON’S RECORDS (UK)|
| ROCKET JUICE & THE MOON: Rocket Juice & The Moon 2LP (HJR 063LP) 20.00|
2LP version. Housed in a gatefold sleeve. 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.
| TREMBLING BELLS & BONNIE ‘PRINCE’ BILLY: The Marble Downs LP (HJR 064LP) 17.00|
LP version. Just four years after their debut album Carbeth (HJR 043CD/LP), Trembling Bells are amassing a formidable body of work at a startling velocity. Just 12 months after the release of their critically-acclaimed third album The Constant Pageant (HJR 055CD/LP), the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells’ drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts’ No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie “Prince” Billy band. Neilson recalls a conversation about a “collaboration” in the summer of 2010, though stresses that it “was nothing too formal at first.” By the end of that year, a limited-edition 7″ New Year’s Eve Is The Loneliest Night Of The Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren’t terribly helpful this time around. Yes, Trembling Bells’ love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, “My Husband’s Got No Courage In Him.” Then there is Blackwall’s musical setting of Dorothy Parker’s poem “Excursion Into Assonance” — and the thorough-going new-found classicism of Neilson’s increasingly-assured songwriting. Albeit delivered with Trembling Bells’ rain-lashed sense of abandon, “Love Is A Velvet Noose” sounds like a standard of sorts — a warped consequence of Neilson’s increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. “I Can Tell You’re Leaving” finds both vocalists in irresistible form. On the slow-reveal sonic establishing-shot of “I Made A Date (With An Open Vein),” two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. On “Ain’t Nothing Wrong With A Little Longing,” Neilson slams down a four-to-the-floor beat over a synergy of demonic Krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue. The album’s sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb’s 1970 solo masterpiece Robin’s Reign, “Lord Bless All” sees Trembling Bells tease out the hymnal qualities of Gibb’s original with a slow, volcanic upswell which explodes into heavy psychedelic technicolor. There isn’t another band on the planet that quite sounds like Trembling Bells. Includes an insert with art by Lucy Stein.
| BURIAL: Kindred 12″ (HDB 059EP) 15.50|
3 new tracks, over 30 minutes of music, 180 gram pressing. “It’s hard to talk about Kindred– whether in the context of electronic dance music or just in the Burial discography itself– without resorting to superlative terms, because it really is just that impressive. It’s easy enough to take a talent such as Burial for granted, but Kindred is like a convenient slap in the face, a wakeup call. Never before has his music possessed this much majesty, this much command, this much power: The pathos here has moved from sympathetic to completely domineering.”
| KINGTHING/JAMIE GRIND: Infra12005 12″ (INFRA 005EP) 11.00|
Infrasonics hits heavy with their highly-collectable split EP series. Kingthing presents two hybrid numbers that wrap analog-style synths within tight digital edits. “Waking Up” is rhythmic in fits and starts, as vocal hooks and triplet percussive stabs reciprocate before gradually settling. “Cold Diss” bangs hard from the off. Jamie Grind’s “For You” features cut-up vocal hooks and woozy stabs before resolving into a driving 4/4 groove. “We Still Play 140” is constructed around an off-kilter piano/stab combo and skittering percussion.
| EMERALDS: Does It Look Like I’m Here (Daphni Mixes) 12″ (JIAOLONG 002EP) 12.00|
“Feted kosmische synthesizer wizards from Cleveland OH, Emeralds, have never had any of their music remixed before. Let alone having the title track from their acclaimed 2010 album reworked (twice) into a floor-filling behemoth by Daphni (aka Dan Snaith aka Caribou). ‘We toured together in 2010 and since then I’ve always wanted to play their music in my DJ sets. So I did my own version of this track,’ says Snaith. ‘It’s one of those tracks that whenever I play it I can feel the energy in the room lift.’ Luckily, Emeralds were equally enthusiastic, and so this unlikely hybrid sees the light of day… or rather, the dark inside of a club.”
| BLOND:ISH: Lovers In Limbo EP 12″ (KOM 253EP) 12.00|
In the last few years, Blond:ish has carved out its unique production recipe which focuses on the art of creating music that is organic and multi-dimensional. The Lovers In Limbo EP is inspired by Anstascia’s and Vivie-Ann’s interest in late ’60s musical movements. The three tracks on this EP effectively stage the innovation and quirkiness Blond:ish is already known for, fusing highly explosive main floor antics with evocative side degree machinations that wouldn’t feel out of place in a steam-punk Spaghetti Western.
| LOTUS PLAZA: Spooky Action At A Distance CD (KRANK 166CD) 13.00|
“This is the second album from Lotus Plaza, the solo nom de plume of Lockett Pundt, better known as the guitarist in Deerhunter. Pundt has penned a number of the best songs on the last two Deerhunter albums, and his first album, The Floodlight Collective was a tour de force of guitar pop smarts. He has the uncanny ability to build soaring, melodic gems from simple musical phrases; a mobius strip of a guitar line and repeating clipped drum roll in ‘Strangers’; a tribal drum beat holding down the foundation on ‘Out of Touch’; two acoustic guitar chords and a slight bit of snare as the basis for ‘Dusty Rhodes’; a series of slowly descending piano chord scales on ‘Jet Out of the Tundra’. There is a wide variety of songs and moods here, from unabashed rockers such as ‘White Galactic One’ and ‘Monoliths’, acoustic laced introspection on ‘Dusty Rhodes’ and ‘Black Buzz’, to the lysergic electronics of ‘Remember Our Days’. Spooky Action at a Distance is a wide angle view of what should be the zeitgeist of contemporary guitar pop.”
| LOTUS PLAZA: Spooky Action at a Distance LP (KRANK 166LP) 13.00|
|LIVE AT ROBERT JOHNSON (GERMANY)|
| FLUGEL, ROMAN: Desperate Housemen EP 12″ (PLAYRJC 012EP) 12.00|
This is Roman Flügel’s second 12″ effort for Live At Robert Johnson and a showcase of his versatility. Like a cross-pollination of his efforts as Solyent Green, Roman IV or under his original name, you get four distillates of house music, cold wave and Frankfurt-style electro-funk. Distinctive, sparkling 4×4 that pays attention to detail, this is like an update of the unpredictability that once made a Nu Groove record so exciting, fresh and not desperate at all. Truly romantic.
|MADE IN GERMANY (GERMANY)|
| SCHULZE, KLAUS: La Vie Electronique Vol. 10 3CD (MIG 192CD) 20.00|
2011 release. CD1: Unheilbar Deutsch; CD2: Walk The Edge; Havlandet; Interview 1991; CD3: Goodwill; Olé; Habla Espanol; Gaudi Gaudi; Suite Nr.3, D-Dur, 2. Satz, “Air”. “Former member of Tangerine Dream and Ash Ra Tempel’s 10th volume of his early works. La Vie Electronique is a series of 3-disc CD releases by Klaus Schulze, reissuing material from his limited edition 50-disc CD box set The Ultimate Edition (2000), which itself collected the previously released limited edition multi-disc box sets Silver Edition (1993, 10 discs), Historic Edition (1995, 10 discs), and Jubilee Edition (1997, 25 discs), along with an additional five discs. The series began in 2009 with a plan to release all the music from The Ultimate Edition in chronological order.”
| GROBSCHNITT: Die Grobschnitt Story 1 2CD (MIG 202CD) 16.00|
2010 release. “The idea for forming an electric band was generated by Eroc and Lupo in 1965 when they were classmates at school. One year later it all started off with The Crew. In early 1971 the band was reformed under the name of Grobschnitt. They were the best. They were indescribable. Never again a non-commercial German band managed to crowd the places with audience like Grobschnitt did with their unique performance combining music and theatre, adventures and fun, and dream and reality. They were compared to the Grateful Dead, to the Mothers of Invention and even to Genesis and to Yes. They were a true fan’s band; musicians always touchable for everyone. Which one of the bands nowadays is able – after performing for three hours (if at all) on stage – to go on shaking hands, signing autographs and replying to each question off-stage for at least another hour? For Grobschnitt it was all a must-have, no matter if it was in the Westfalenhalle, or in the Philipshalle, or at the Gruga or in one of the countless smaller concert halls and gyms in the German outback. Never after Grobschnitt was there such an excessive spectacle of heavy-metal, electronics, improvisation, meditation, optic and ecstasy like ‘Solar Music.’ Never before and never after a German rock fairytale gained such popularity like ‘Rockpommel’s Land.’ Whether it was a dentist or a druid, Zappa or circus horse, politician, police-officer or professor – Grobschnitt made everyone show up. This new issue of The Grobschnitt-Story was remastered with the latest technical achievements and now finally transfers the recordings of our long history how it always was intended.”
| EPITAPH: Outside The Law CD (MIG 292CD) 15.00|
2010 reissue, featuring 3 never-before release recordings from 1976, plus 4 live tracks. “Recorded in November 1973 at the Omega studios in Chicago, Outside the Law is undoubtedly still the definitive Epitaph album. The sound engineer was Dave ‘Grape’ Purple, who won the 1971 Grammy for Best Engineered Recording on Isaac Hayes’ Theme from Shaft. The recording of Outside the Law was completed in just five days, with very few overdubs, and the final mix was done by Ed Cody at the United Technique studio on Chicago’s South Side. After a twenty-five year wait, Epitaph fans now have the chance a selection of the Lost Tapes, which have been added to this release as bonus tracks.”
| SCHULZE, KLAUS: Richard Wahnfried’s Tonwelle 2CD (MIG 622CD) 15.00|
“2 CD version of 1981 release from former Ash Ra Tempel member. Since the late seventies Klaus Schulze uses the alter ego Richard Wahnfried. The album Tonwelle was released in 1981 as Richard Wahnfried’s second. Within Klaus Schulze’s universe Tonwelle remains an exceptional album today. This 2CD package contains: The original vinyl was produced for a speed of 33 1/3 rpm but by mistake, the cover said a speed of 45 rpm. For this release the fast version was processed. Both versions are now available for the first time.”
| EPITAPH: Rockpalast: Krautrock Legends Vol. 1 2CD (MIG 90382CD) 15.00|
“Epitaph are one of the most successful Kratrock bands that are still existing today. On this double-CD you will find the classic first two concerts from 1977 and 1979. Enjoy time travelling through the history of Epitaph and what is considered by many to be the best English language rock ever made in Germany.”
| GOETTSCHING, MANUEL: E2-E4 CD (MGART 30042CD) 16.00|
“This album (recorded in 1981 and released in 1984) by the Ash Ra Tempel guitarist consists of a minimalistic hour-long progressive electronic track that is subdivided into single tracks according to the stage of the song. The second half of the record is notable for Gottsching’s guitar playing. The album is named after the most popular opening chess move, 1. e4. A classic that has influenced hundreds of trance and house music artists.”
|MULE MUSIQ (GERMANY)|
| OFFERMANN, OSKAR: U Can You To Me Say 12″ (MUSIQ 148EP) 15.50|
Oskar Offermann is the boss of Berlin-based label, White, known for their quality deep house output. The title-track on the A-side is a good mixture of early New York house and nu school German deep house. If you follow the releases on Smallville or Laid, you will like this song. “Technicolour Dreams” on B1 feels more like Detroit house — it’s rough and tough. B2 is a DJ tool version of the A-side.
|MUNSTER RECORDS (SPAIN)|
| WHITFIELD AND THE SAVAGES, BARRENCE: (Your Love Is Like A) Ramblin’ Rose/Bad Girl 7″ (MR 7245EP) 8.50|
After 25 years, Barrence Whitfield And The Savages got together again at the end of 2010 and recorded a new kicking and shouting rock & roll album, Savage Kings (MR 306CD). Released in 2011 to great acclaim, the band featured original line-up core members Barrence Whitfield, Peter Greenberg and Phil Lenker. They were supported by an all-star team and toured Europe, unleashing their rock & roll force and raw soul power upon delirious audiences. Here are two highlights from the album on a limited edition 7″.
|NINJA TUNE (UK)|
| YPPAH: Eighty One CD (ZEN 179CD) 15.50|
“Beautiful, uplifting and imbued with a natural, unaffected warmth that cuts through the most biting cold, Eighty One is Yppah’s most satisfying work yet.”
| YPPAH: Eighty One 2LP (ZEN 179LP) 20.50|
2LP version with download code.
| HAMMER, JOSEPH: I Love You, Please Love Me Too LP (PAN 008LP) 25.50|
With I Love You, Please Love Me Too, Joseph Hammer continues his journey into playful yet heavily focused idiot-savant infinite psychedelic inertia. Utilizing consumer audio technology and 20th century detritus, Hammer lovingly decodes his passion for mid-century sci-fi and AM radio stations beyond all point of recognition like a snake charmer. Multi-dimensional audio collage techniques to a freeform and completely unorthodox plunderphonic hypnosis. Baked devotionals for tape loop minds. Joseph Hammer, a sound artist from Los Angeles, has actively created experimental works since 1980 as a member of the LAFMS collective. His practice draws on the complexities of the process of listening and playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction. In various collaborations, solo, and as a founding member of the trio Solid Eye along with several other projects (Joe & Joe, Dinosaurs With Horns, Dimmer, Points of Friction), Hammer has performed widely and is an influential contributor to the Los Angeles underground scene. The LP is mastered by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket, which is itself housed in a two-tone silkscreened PVC sleeve with interweaving geometric designs. All artwork by Kathryn Politis and Bill Kouligas.
| WISHART, TREVOR: Fanfare & Contrapunctus/Imago LP (PAN 012LP) 25.50|
2010 release. Vinyl issue of two very important works by this early British sound poet and electronic composer, compiling one of Trevor Wishart’s first ever pieces Fanfare & Contrapunctus (from 1976) and one of his latest, Imago (from 2002), documenting a modern approach in composition and an extremely unique progress in sound manipulation and music technology. Fanfare & Contrapunctus (1976): “These two short pieces were made at the newly opened electronic studio at the Sydney Conservatorium, before the advent of music computer technology. The source material derives from free improvisations by Trevor Wishart and Martin Mayes using ‘soft trumpets’, pop-guns, French Horn and virtuoso eating noises, plus recordings of birdsong and other environmental sources.” Imago (2002) “…the universe in a grain of sand…” “Imago is a piece of magical sound metamorphosis in which the single ‘clink’ of two whisky glasses gradually metamorphoses into a multitude of other sounds, eventually alluding to the sounds of birdsong, a junkyard gamelan, the ocean and the human voice, but never entirely abandoning its links to this minimal source. The piece was made using sound transformation software written by the composer, available through the Composers Desktop Project, and the original source sound was taken from Jonty Harrison’s ‘et ainsi de suite’.” The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
| WHITMAN, KEITH FULLERTON: Disingenuity b/w Disingenuousness LP (PAN 013LP) 25.50|
2010 release. Keith Fullerton Whitman bursts back with his first full length record in four years, Disingenuity b/w Disingenuousness, comprising of two pieces of forward thinking electronic music with a deep exploration into the analogue sound. Live and studio recordings of the past two years (Cambridge-New York-Toronto) were used as source material, which were then realized into two longform compositions. Using a Musique Concrète approach of deconstructed sounds (ala Pietro Grossi, Costin Miereanu, Basil Kirchin, Dub Taylor, etc), Disingenuity b/w Disingenuousness encompasses various reference points from François Bayle, Jacques Lejeune, Richard Pinhas & Heldon to the minimal textures of Basic Channel /Chain Reaction axis… Both tape-collage pieces which derived from an hour-long improvisation based around a setup involving a tape of chance field-recordings (a helicopter, walking on snow, children) bounced to a mono nagra tape machine, which is covered in contact mic’s that translate not just the sound coming from the speakers, but the actual mechanical ‘interface’ of the unit into control voltage & triggers that drive a modular synth that’s processing said audio using the classic electronic music toolkit (i.e. ring modulation, panning VCA’s, filters, etc). The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Bill Kouligas.
| BUTZMANN, FRIEDER: Wie Zeit Vergeht LP (PAN 014LP) 25.50|
2011 release. Berlin’s berserk Frieder Butzmann composes an uninterrupted stream of timbre changing and alternating sounds. Taking influence from aspects of Karlheinz Stockhausen’s work, albeit certainly far from Serielle Komposition methods, using an entirely different array of equipment and caring less for technical finesse, a raw and sometimes absurd quality emerges. In spite of the dramatic character of the compositions, Butzmann works with the same joy and intuition of when he first heard them almost 40 years ago. Manipulating analogue sounds culled from old electronic recordings that he made at STEIM in Amsterdam back in 1995 (using the infamous “Black Box” modular system), a dadaistic influence shines through in the semi-naive use of electronics, vocals and undefined sound sources — the basic idea is always more important than the perfect realization. The lyrics are excerpts of articles: wie die Zeit vergeht, Telemusik and Kurzwellen by Stockhausen plus re-writings of lyrics used in the first section of the composer’s concrete and electronic composition Hymnen. Frieder Butzmann is a veteran German composer, radio play author and performance artist. He has been playing overt eccentricity for quite some time (since the end of the 60s), though he would find his true metier during the NDW zeitgeist, a period during which his work was hugely influential, having been an early member of D.A.F as well as Din-A Testbild. A self-proclaimed “spokesman of the people,” more specifically of the Berlin underground, at a time when electronic music was taking over punk, dada and new wave, replacing teenage angst. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Kathryn Politis and Bill Kouligas.
| R/S (PETER REHBERG/MARCUS SCHMICKLER): USA LP (PAN 018LP) 25.50|
2011 release. Archival release documenting the 2009 USA tour of Peter Rehberg and Marcus Schmickler under the R/S moniker. Real time extreme music improvisations recorded at Lampo in Chicago and No Fun Fest in New York City. USA is the second full length release by the leading electronic music duo, follow up to their 2007 One (Snow Mud Rain) on Erstwhile Records. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Kathryn Politis and Bill Kouligas.
|PERMANENT VACATION (GERMANY)|
| TALABOT, JOHN: Fin LP+CD (PERMVAC 089LP) 18.00|
Repressed! LP version with CD. 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”)
|REEL TIME (UK)|
| VA: Mondo Hollywood: Original Soundtrack LP (RT 1006LP) 22.00|
180 gram vinyl. Released in the summer of 1967, this oddball documentary focused on the more unconventional inhabitants of Hollywood, such as multi-millionaire Lewis Beech Marvin III (founder of the mysterious Moonfire cult), celebrity hairdresser Jay Sebring (later murdered by the Manson gang) and psychedelic pioneer Richard Alpert (an associate of Timothy Leary at Harvard). Its equally unconventional soundtrack boasts a rare performance from cult singer-songwriter Bobby Jameson, as well as garage rock from The Mugwump Establishment and weird and wonderful contributions from numerous other denizens of Tinseltown and makes its 180 gram vinyl debut here. Other artists include: Mike Clifford, Davie Allen & The Arrows, The Riptides, God Pan, Darrell Dee, 18th Century Concepts and Teddy & Darrell.
| VA: Hells Angels On Wheels: Original Motion Picture Soundtrack LP (RT 1008LP) 22.00|
LP version. This 1967 cult classic starred Jack Nicholson as a gas station attendant with attitude who falls in with a violent gang and falls foul of its leader, and is widely considered to be the best biker movie of the decade. Its soundtrack is also one of the very best in the genre, with plentiful fuzz guitar, sitar, vibes and more, and makes its long-overdue 180 gram vinyl reissue here.
| VA: The Cool-Aid Benefit Album: Deluxe Edition 2LP (REGEN 1103LP) 26.00|
“At the end of the 1960s, there was a house in Vancouver that was a home solely for hippies and homeless youth; it was known to locals as ‘the Cool Aid House.’ When the Canadian government withdrew funding in 1970, the house was in danger of closing. All of the top bands in the Vancouver area offered to record songs for a benefit album — and since the local music scene produced some of the best bands in Canada, the album that resulted was stunning; it has long been a much sought-after collector’s item. What no one knew until recently was that the original Cool-Aid Benefit Album was intended as a two-record set: contractual problems with Capitol Records forced Cool Aid House founder John Walsch to drop tracks by Mother Tucker’s Yellow Duck — tracks that are now restored to this package. Other cuts include the strange proto-electronic burbles of Mock Duck (quite unlike almost everything else they ever recorded) on ‘As The Bullet Enters Anton’ and ‘Pointillistic Scherzo’; the vicious snarl of Black Snake’s ‘Carousel,’ and the strange Spalding Grey-ish acoustic song/poem ‘The Planet Man.’ Hydro Electric Street Car have left little behind them, but their lovely ‘High Memory’ sounds like a lost Grateful Dead track from their early, dreamy period. A terrific discovery! Obscure cuts available nowhere else, in a wide variety of styles: weird electronic sounds, heavy garage fuzz guitar freakouts, stoner rock, and acoustic folk.” Housed in a gatefold sleeve. Limited, numbered edition of 1,000 copies.
|SENSE MUSIC & MEDIA (GERMANY)|
| SLICES: The Electronic Music Magazine Issue 1-12 DVD (SLICES 112DVD) 0.01|
Slices is a free DVD magazine out of Germany, focusing on the contemporary electronic music scene. It can be added to orders at no cost. Features: Wolfgang Voigt, Solar Bears, Sun Glitters, Bodi Bill, Jacob Korn. Tech Talk: Multitouch Music Apps; EB Live & Rare: When Saints Go Machine. Format: PAL 16:9. Running time: 102 minutes. Language: English. Dolby Digital 2.0.
|SHADOKS MUSIC (GERMANY)|
| BODO: Hits Internacionales LP + 7″ (SHAD 138LP) 44.00|
“Along with Kaleidoscope and Los Ovnis, this is the rarest of all Mexican psychedelic albums. Bodo Molitor recorded this album for Orfeon records, Mexico, as label mates of Kaleidoscope. Bodo created the famous cover for Kaleidoscope and several other covers for this album. Hits Internacionales was recorded in 1968 and released in 1969. Bodo was born in Germany and traveled all over the world playing music. Included here are cover versions, some of his own compositions, and an extra 4-track EP of amazing, unheard tracks. An ultra-rare original of this late ’60s Mexican garage psych album is a Holy Grail for collectors, in the same league with Mexico’s Kaleidoscope. After this release, Bodo left Mexico to travel the world playing with great musicians. He now lives and plays music in Cairo, Egypt, rocking the center of the Islamic world.” 500 numbered/heavy sleeve/insert/180 gram pressing; the bonus 7″ is on red vinyl.
| ESCOMBROS: Escombros LP (SHAD 144LP) 42.00|
“Escombros, were at the top of the underground scene in Chile together with Los Jaivas, Blops, Aguaturbia and Kissing Spell. Recorded in 1970 for the Arena label. Only one single and one LP was released. Escombros are: Walter Sitzmann, Lito Benito, Ricardo Mendeville, Jose Rosenblut and Michel Boisier. Walter’s great compositions and vocals on all tracks create a unique and strong underground vibe, with great fuzz guitars, drums, bass and organ that are much heavier than in most bands from Chile. Their influences are Jimmy Hendrix, Cream, Pink Floyd and Grand Funk Railroad. All English vocals. After this recording Walter left Chile, so the band split up. For us Escombros is perhaps the best example for really cool underground music from Latin America with amazing vocals and extraordinary songs. This release has two bonus tracks from the rare single.” 500 numbered/heavy sleeve/180 gram pressing/insert.
| RAIN: Norsk Suite LP (SHAD 147LP) 42.00|
“Rain, Norway’s most well kept secret has been betrayed and solved! This great band has only released a very rare 45 EP as a soundtrack for the Norwegian movie Rivalen. Very much like Frank Zappa and The Mothers, Rain’s complex compositions are based on the skills of modern classic composers such as Varèse and Stravinsky. As a strong influence, they’ve mentioned Vanilla Fudge. Ten great tracks with horns and orchestra arrangement, with great fuzz guitar, Hammond organ and amazing vocals. A Norwegian rock band who had the urge to exceed limits, both musically and technically. Rain was Carl Jorgen Kionig (drums), Knut Heljar Hagen (organ, piano, vocals, bass), Asmund Feidje (guitar, violin, vocals, bass). This album was recorded in 1969/1970, and beside their seven original compositions they play mind-blowing versions of ‘A Day In The Life,’ ‘Strawberry Fields Forever’ and ‘Isolation.’ Their very complex and difficult arrangements required a lot of practice to turn their concerts into a total experience with a spectacular psychedelic light-show and experiments with ‘surround’ sound. What a great album this is!” 500 numbered/heavy sleeve/180 gram pressing/printed inner sleeve/insert.
| OCTOBER: String Theory 12″ (SIMPLE 1251EP) 12.00|
Through his good friend Appleblim, Will Saul was introduced to Julian “October” Smith and they began working on music together. Jules played Will “String Theory” and “Tension Point” and he was blown away — he felt he had to re-start the Simple label to showcase such beautiful and original house music. The package comes complete with two first-rate remixes from the Dutch producer Legowelt (aka Danny Wolfers) and one of his many aliases, Polarius.
|SING SING RECORDS|
| ROTTWEILER: I’m Down/Wanna Be Your Friend 7″ (SING 039EP) 7.00|
“Consisting of Bengt Johansson (b), Lars-Garan Back (d), Hakan Schaler (v) and Per-Erik Johansson (gtr), Rottweiler originally started in the town of Nassjo 1979 but moved on to Lund and Malmo in the very south of Sweden in 1980. The band’s first and only recording was released just before the move and issued in an edition of 500 copies. The B-side appeared on Powerpearls Vol. 7 but until now ‘I’m Down’ existed solely on the original pressing. 1981 the band decided to change names, add another band member and started to sing with Swedish lyrics; at the same time — Perfekt Alibi was born.”
| NASAL BOYS: Hot Love/Die Wuste Lebt! 7″ (SING 040EP) 7.00|
“Switzerland’s premiere punk band only released this much acclaimed 7″ and that’s a shame! Some of the wildest and fastest punk around in 1977! A unique and uncompromising sound that was ahead of its time–completely according to their slogan: ‘Schneller, Harter, Langer’ (Faster, Harder, Longer). ‘Hot Love’ is a monster of a Swiss punk anthem while ‘Die Wuste Lebt’ is a great song about being alive in the Swiss urban desert. In a TV interview from 1977, the band was asked why they didn’t dress punky. ‘We’re against cliches,’ the singer responded. ‘Our main inspiration is U.S. punk, not U.K. punk.’ Guess one can hear that. But still, the bands big break was opening up for Clash when they played in Zurich in 1977. Shortly after, the band tried to make it big and changed their name to EXPO. They released an LP on a big label which is okay but nowhere near the glory of this single. Former members went on to form a number of bands including Aboriginal Voices, Rudolph Dietrich, Kraft Durch Freude, Blue China, the Bucks, several of which were highly influential bands.”
| NOTHING, THE: Scream N Cry/Uniformz 7″ (SING 041EP) 7.00|
“Trixz Sly (Torquill Smith 4/23/48 – 11/01/2005) met Johnny Thunders and Jerry Nolan from the New York Dolls while they were in London in the mid-’70s. He was then introduced to the Sex Pistols by the manager of the Dolls/Pistols, Malcolm McLaren, in 1977 and moved to NY in 1978. The Nothing formed in NYC in 1978 and the lineup for their lone 45 consisted of Trixz Sly (v), Bobby B. Wild (gtr) Phil Schoenfelt (b) and Mick Crash (d). By 1980, several members had left to join other bands and The Nothing broke up. Probably due to Trixz’s heavy drug use which would be the major reason why he never ‘made it’ as a popular punk musician.”
| PUMICE: PUNY CD (SAB 050CD) 11.00|
“Deep into a genius career, Pumice still surprises with his subtle mastery of broke-down sounds, slowed-down Magic Band rhythms, crumbling chord organ hymns & tragic ballads that reach deep into the very soul of Flying Nun/Xpressway/Root Don Lonie For Cash anti-pop pop music. PUNY is as difficult to fathom & as easy to love as all his best work.” – Glenn Donaldson.”Another wistful & unique — yet familiar — offering from this modern Kiwi noise-pop auteur.”
| ROB: Make It Fast, Make It Slow CD (SNDW 040CD) 15.50|
Soundway re-issue Rob’s second album for the first time outside Ghana. Rob was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. Neither of these were big domestic hits at the time and have since become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz, and over the years, the label has been asked many times to re-issue the LP in its entirety. A stranger, slower offering than his more dancefloor funk-laden and spartan first LP, this record sees Rob in similar territory but with the tempo switched down and the introspection turned up. Rob’s trademark horns dominate and are supplied by the Mag-2, an army band founded by leader Amponsah Rockson, who named it after the army unit the band played for — the “magnificent” second battalion. In 1977, Rob traveled to the coastal town of Takoradi in search of Mag-2, which had an entire section of its line-up dedicated to horns, with the intention of laying out his proposal to them. Luckily for Rob, the band took him up on it. With religious overtones and a broody, slightly off-key atmosphere at points, it’s certainly one of the stranger Afro-funk records to come out of West Africa but with tracks like “Loose Up Yourself” and “Make It Fast, Make It Slow,” he nails it for sure.
| THULEBASEN: Forever Grinning 12″ (SPLO 015EP) 15.00|
“Vinyl only release limited to 500 copies. Created around a Jorgen Sonne painting from 1847, Thulebasen wrote Forever Grinning after being contacted by the Statens Museum for Kunst, Denmark’s National Art Museum. It is the culmination of two parallel threads pursued on the road last year: straight-up rock melodies alongside exploration and freedom. Features remixes from Hhappiness, Eric Copeland (Black Dice), Lucky Dragons, Gala Drop & Lamberg Tony.” 180 gram vinyl; includes mp3 download code.
| DUSK CREATOR, HUSH AND KLB: Floatin’/Treasure Isle 12″ (STAIN 008EP) 11.00|
Renowned Brussels label Stainage steps into 2012 with a change in tactics and a shift in style. Taking control on side one are label-founders KLB And Hush featuring producer Dusk Creator. “Floatin'” does exactly what its title suggests through a steady combination of soulful garage grooves driven by choice vocal snippets over airy atmospheres and a warm sub. On the flip, “Treasure Island” stylishly employs a slick arsenal of well-studied mood-shifting frequency trickery. Rich, dark and meltingly smooth.
| STRINGS OF CONSCIOUSNESS: From Beyond Love LP (STAUBANA 006LP) 17.00|
LP version. Strings Of Consciousness have united acoustic music and digital technology. Their sound is meant and dreamt to be adventurous and creative. Even if they sculpt and craft their music with a lot of focus on detail and days and days of editing, the most important is to convey emotions and feelings. Many musicians and singers take part in the collective, though the music is composed by Herve Vincenti and Philippe Petit from Marseille. From Beyond Love is the second installment in their trilogy involving various vocalists, whose first effort Our Moon Is Full was internationally acclaimed back in 2007. In the meantime, they released a disc of remixes and a collaboration with Angel featuring Dirk Dresselhaus (Schneider TM), Hildur Guðnadóttir and Ilpo Väisänen (Pansonic), and took longer to produce this new one because in the meantime, Petit was really busy with his solo and collaborative works. But here they are with an incredible line-up consisting of Julie Christmas (Made Out Of Babies), Andria Degens (Pantaleimon/Current 93), Graham Lewis (Wire), Cosey Fanni Tutti (Throbbing Gristle) and no less than Lydia Lunch in duo with Eugene Robinson from Oxbow. Andy Diagram (Spaceheads/Pere Ubu) is still contributing his magical trumpet and Alison Chesley (Helen Money) delights with her amplified cello.
|STIL VOR TALENT (GERMANY)|
| KOLETZKI, OLIVER: Großstadtmärchen 2 — Part 1 2LP (SVT 075LP) 21.00|
The first part of his big-city tale entitled Großstadtmärchen acted like a catapult for Berlin-based techno/house DJ/producer Oliver Koletzki in 2009, pushing him from the DJ booth into the limelight of electronic pop music. Now, three years later, he releases a sequel in the form of Großstadtmärchen 2. In addition, Stil Vor Talent is presenting this jam-packed double vinyl remix package of some of the album’s many highlights. Things kick off with the epic “The Devil In Me,” a pop anthem featuring the beautiful voice of Berlin wonderboy Jan Blomqvist. The original song features Oliver’s distinctive piano and synthesizer melodies, as well as a strong guitar sample, over which Blomqvist sings in his unique style. Niconé & Sascha Braemer take the track to the dancefloor by creating a slowly pulsating tech-house remix that builds upon the groovy guitar sample. Format:B then go out of their comfort zone and use the original vocal from the chorus to design a melodic and organic peak-time house affair that simply keeps on moving and moving. Next up is “You See Red,” a pop song of international appeal that introduces the British singer Dear Prudence. Swiss head house honcho Kellerkind constructs a slick, deep house cut of the original that is very much emblematic of the new wave of pure and raw house music of today. Berlin techno kids Channel X then make the original vocals central to their rework, thus constructing a tech-house version that possesses all the groove needed to get bodies heated on the floor. On the second vinyl, “Still” gets its remix treatment. While the original is a high-energy pop affair, featuring the characteristic voice of Fran, Niko Schwind mainly utilizes its melodies while pitching the vocals down for a masculine effect. This works very well for his laid-back house groove. Then, Stil Vor Talent youngster Björn Störig takes Fran’s original work and assembles a jacking house cut around it. In contrast, Tobi Kramer aims for the peak-time by producing a fast-paced techno piece. Last up, are three more of Oliver’s original songs from the album. “Let Me Go Down” is a piece of smooth disco-funk that features the goosebump-inducing soul voice of MC Ramon, while “Boy Got Soul” shows Oliver’s love for early hip-hop of the G-Funk-era. “I Miss My Friends” is an instrumental piece of melancholic electronica about the lonesomeness of the DJ on the road. Luckily for Oliver, and for the rest of us, he managed to get all his friends involved in his latest offering, which is as diverse and eclectic as it gets.
|STUD!O K7 (GERMANY)|
| PHOTEK: DJ-Kicks CD (K7 293CD) 15.50|
“Some mixes are just mixes, but some change the agenda. Rupert Parkes, aka Photek, was determined that his DJ-Kicks set would be the latter. ‘I wanted to create one of those classic listening experiences,’ he says. ‘With a mix like this, you can either bang it with the most current dancefloor tunes, or you can put a theme into it, or you can make it a journey. I was thinking about the classic LTJ Bukem mix tapes that I first came across in ’92 and ’93 and how epic they were. There was such a range of styles on there, they were so timeless and had real character. They had some personality. That’s what I wanted to capture with my DJ-Kicks mix.'”
| PHOTEK: DJ-Kicks 12″ (K7 293EP) 10.00|
12″ single featuring three tracks by Photek, featured on his DJ Kicks mix: “Fountainhead,” “Azymuth” and “No Agenda.”
| PHOTEK: DJ-Kicks 2LP (K7 293LP) 20.50|
|SUPPLEMENT FACTS (ISRAEL)|
| ULTRASONE: Here And So Far EP 12″ (SFR 032EP) 12.50|
Ultrasone brings their own particular brand of techy, underground, ethereal grooves to Supplement Facts. This EP is a mad trip that veers from delicate minimalism to full-on dancefloor demolition. The title track builds into a chugging framework of metallic beats and swirling, euphoric melodies while “Meetin’ Again” spirals from a stripped-back, brooding bassline to a rise of warping synth patterns. Already getting rinsed by Seth Troxler and Bill Patrick. “Motus” creates misty atmospherics while a pattering of light-footed percussion drives a rhythmic groove.
| NOURALLAH, SALIM: Hit Parade LP+CD (TR 228LP) 17.00|
LP + CD version. This is the fifth album by Texas singer/songwriter Salim Nourallah, formerly of Nourallah Brothers. The story of Hit Parade began in a window overlooking Paris’ Marais district in May of 2009. That’s where Salim Nourallah wrote the opening track, “38 Rue De Sévigné,” a love letter to the “green and pleasant land” of France. This happened at the end of Salim’s third European tour and at the time he was thinking his next record would be recorded and produced by his new friend Wreckless Eric. The title track “Hit Parade,” a Lennon-esque psychedelic thumper, was written on the plane ride back to Texas with the Wreckless sound in mind. But, with Eric’s busy touring schedule, plans to record together quickly dissolved. It all worked out because Salim had also just formed the best group of his career and was itching to make his first band record in at least ten years. The goal being a record that combined his love of The Clash’s London Calling, The Kinks’ Village Green…, The Beatles’ White Album, with his own melodic and lyrical sensibilities honed into a style instantly recognizable as his own. A year of writing ensued, followed by Salim bringing his stellar five-piece band to the Treefort in Austin, Texas. In just five days in August of 2010, the songs were fully tracked with the help of expert record maker Jim Vollentine (Spoon, White Rabbits, …And You Will Know Us By The Trail Of Dead). It was a joyous and intense explosion of sound — enough to yield most of Hit Parade and the 6-song Friends For Life EP. Hit Parade’s lineage can be traced directly back to classic mid-’60s rock’n’roll and the post-punk 1979 explosion, but its main influence is in its various creators’ lifetimes dedicated to crafting their own specific style and sound. From the intense, unsatisfied pulse of “Never Felt Better” to the AC/DC-cum-Kinks swagger of “Goddamn Life” on through the tumbling Who-esque “Quitter” and the plaintive, acoustic guitar-driven “Friends For Life,” Hit Parade will take you on a rollicking good ride through rock’s rich and varied sonic pageantry. Strap on your headphones and prepare to enjoy the trip of a lifetime.
| BIOSPHERE: Substrata 2 2CD (TO 050CD) 18.00|
2012 repress, originally released 2001. “Biosphere’s 2nd release for Touch after Cirque is a double CD in digipak designed by Jon Wozencroft. The release consists of: CD1 — Substrata: Originally released in 1997 on All Saints Records, this remastered version of Substrata contains 11 tracks with a total length of 55:20. ‘…by many (the undersigned included) considered to be the finest ambient album of the 1990s’. CDTwo — Man with a Movie Camera: Contains 9 tracks, total length 53:32. The first 7 tracks consist of the soundtrack to Man with a Movie Camera [Verdov, USSR 1929], originally commissioned for the Tromsø International Film Festival in 1996, released here for the first time. The last 2 tracks, ‘Endurium’ and ‘The End of the Cyclone’, were originally released on the limited edition Japanese version of Substrata in 1997 — they have never before been released outside Japan.”
|UPON YOU (GERMANY)|
| HAGELSTEIN, RUEDE: Shades 12″ (UY 057EP) 12.00|
As Ruede Hagelstein played the first version of “Shades” in his last P-Bar set, slices of sunshine penetrated the smoky club air. Re.You & Rampa built a robust, custom-made bass mobile for the A2 remix. Then, on the B-side, Ruede’s fellow band-members from The Noblettes make an appearance. As with “Shades,” the focal point is also the big break, only this one has nothing to do with techno — it’s more of an indie-house ballad with dance ambition.
| AYERS, KEVIN: Joy Of A Toy LP (MRSSS 513LP) 25.00|
In 1968, after a U.S. tour with The Jimi Hendrix Experience, The Soft Machine’s founding member Kevin Ayers decided to leave the band. Unsure about their artistic direction, worn out by an exhausting schedule and reluctant to become another part of the music business, he sold his bass to Noel Redding and moved to Ibiza. However, soon after he started writing the songs that would make up his first solo LP, Joy Of A Toy. His departure from The Soft Machine had been amicable and Robert Wyatt, Mike Ratledge and Hugh Hopper all took part in the recordings at Abbey Road in July 1969. The resulting album meanders in and out of its own affecting mood, taking wonderful pop, folk, psych and prog turns during its course. It starts with the joyful, circus-like title track and veers from the gentle beauty of “Girl On A Swing” and pastoral gems like “Eleanor’s Cake (Which Ate Her)” to ominous, experimental moments like “Oleh Oleh Bandu Bandong,” based on a Malaysian traditional song, and the driving jam of “Stop This Train.” It also features “The Lady Rachel,” a beautifully-arranged track with a haunting atmosphere and one of Ayers’ most representative tracks. On 180 gram vinyl; housed in a gatefold sleeve.
|WARP RECORDS (UK)|
| DRC MUSIC: Kinshasa One Two 2LP (WARP 221LP) 37.00|
Gatefold double LP version, housed in a heavy duty outer box; includes a download code for 3 bonus tracks. “In July 2011, DRC Music – a collective of producers led by Damon Albarn (Blur, Gorillaz) – headed to Kinshasa in the Democratic Republic of Congo to make a record with contemporary Congolese musicians. DRC Music is comprised of producers: T-E-E-D (Totally Enormous Extinct Dinosaurs), Dan The Automator, Jneiro Jarel, Richard Russell, Actress, Marc Antoine, Alwest, Remi Kabaka, Rodaidh McDonald and Kwes. Each of them has donated their time and waived all royalties to this work. The sounds created were completely different to normal instrumentation because the local instruments were primarily homemade from whatever was available. As Dan the Automator said, ‘The equipment they created to make music was amazing. The drive and spirit to create with whatever was available was the highlight to me–old fans, tins, tree trunks, homemade drums, metal rods.’ The Democratic Republic of Congo has long been wracked by conflict and is home to one of the world’s worst humanitarian crises. Proceeds from the album will benefit the local performers and Oxfam’s work in Congo. Oxfam fights poverty and suffering in DRC through the empowerment of individuals and communities based on their rights, such as the right to clean water or to live in safety. Oxfam has been in DRC for 50 years and now has more than 350 staff in projects across the country, responding to emergency situations in order to save lives.”
| CLARK: Iradelphic CD (WARP 222CD) 15.50|
“Chris Clark has been on a journey. The adventure started three years ago after the release of previous album Totems Flare. He recorded Iradelphic in Australia, Berlin, Wales, Brussels, Cornwall, Norway and London using a diverse range of tools – from the vintage to the cutting edge modern. For the tracks ‘Open’ and ‘Secret’ he even enlisted the vocal talents of Massive Attack’s Martina Topley Bird. A producer known for his dark, heavy techno derived sounds on the Warp roster, Iradelphic sees a transcendence to Clark’s most accessible album to date. Clark stood up from the drum machine, computer and keyboard to learn piano and guitar, which highlights many of the tracks including the epic three-part suite ‘The Pining.’ Iradelphic promises to fulfill Clark followers and capture the ears of a brand new audience.”
| CLARK: Iradelphic LP (WARP 222LP) 20.50|
LP version with download code.
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