|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 07/05/2010
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| || GORGE: Mood 2CD (8BIT 003CD) 17.00|
This is the first album by Mannheim-based producer and 8Bit Records & Katchuli owner Pit Waldmann aka Gorge. Mood is comparable to an attitude to life which embodies balance, inner peace and harmony with everything — like a love of music but specifically, deep house. Mood should largely be seen as a concept album, as Gorge very deliberately captured and musically interpreted all the moods of the whole production phase, so that it was merely a continuation of a leitmotif. Pit chose partly African names, which, like their relevant songs, also stand for a variety of moods. “Emefa” means peace, “Makena” stands for richness, “Imara” for strength and also sensuality, peace and joy are holistically summed up in this way. Although Mood is a largely timeless deep house album, his tone color expresses the summery Mediterranean attitude to life, which central Europeans also long for in winter. Mood is to be seen primarily as a listening album, the perfect background music for a wonderful Sunday on the terrace, at the beach or any other favorite place, but it also has something to offer clubs with songs like “Keya” and “Garuna.” In addition to the album itself, there is also a bonus mix CD of the 10 best Gorge remixes from previous years, for the price of a single CD. Remixes includes songs by The Quasar & The Pressure, Garnica, Thodoris Triantafillou & CJ Jeff, James Talk, Chelonis R. Jones, Martin Eyerer & Oliver Klein, Steve Lawler, Federico Locchi, Solomun, and Milton Jackson.
| || ENSEMBLE ECONOMIQUE: Standing Still, Facing Forward LP (AMIRW 032LP) 21.00|
“Brian Pyle is Ensemble Economique. This is the first LP release from Ensemble Economique. Digitalis issued the At the Foot of Nameless Roads CD in 2008. Both recordings are important primers to Pyle’s nascent invocations of Holger Czukay’s Cannaxis (on No GPS) and Karlheinz Stockhausen’s Kontake (on At the Foot). With Standing Still, Facing Forward Ensemble Economique provides the most mature realization of Pyle’s compositional process, which utilizes found sounds, field recordings, and musical performance that he later meticulously edits, layers, and loops in the studio. The effects of these processes are dramatic, cinematic and conceptually rigorous and this recording evidences Pyle as an important new composer emerging out of the long and storied tradition of West Coast experimentalism. Utilizing a delicate combination of the homespun improvisation of his other project, Starving Weirdos (whose work sounds like an American echo of AMM) with his own unique variation on the European avant-garde in Ensemble Economique, Pyle’s practice involves a dense approach to composition akin to assemblage. But unlike electronic and laptop composition, Pyle’s studio work aims to re-establish an organicism associated with live (or, in the case of the field recordings, lived) performance that pushes the studio out into nature and nature into the studio. In short, the Northern Californian landscape plays an integral part in Ensemble Economique’s soundscapes, and this record captures much of the atmosphere of Pyle’s home terrain.” LP comes wrapped in a letter-pressed band and contains a 16-page art book.
| || CORTE DEI MIRACOLI: Corte Dei Miracoli LP (AMS 026LP) 34.00|
“With a distinctive lineup featuring two keyboard players and no guitars, Corte dei Miracoli, from Savona, released just one album in 1976. They formed around 1973 by past members of Tramps, like keyboardist Alessio Feltri, who had previously played with Il Giro Strano, a band that’s strongly connected to Corte dei Miracoli. Original second keyboardist Michele Carlone left the group just before the recordings for their debut album, and was replaced by the experienced jazz pianist Riccardo Zegna. The album is obviously a symphonic-oriented prog album, where the keyboard interplay dominates. According to reviewers, Corte dei Miracoli’s self-titled album ‘has a distinct symphonic-prog sound being very melodic and contrasting in writing style with fellow Italians Balletto di Bronzo, Biglietto per l’Inferno or Campo di Marte. Corte dominates the album with intelligent and very classy style of playing helped enormously by the 16-track recording quality. Only five songs, which contain both beautiful melodies and fiery interludes. Skill-wise, all musicians are top-level and all instruments are played perfectly. Corte dei Miracoli also has a little jazzy edge due to the repetition of a theme throughout a song using different instruments.’ This is the first ever 180 gram deluxe LP reissue.” Gatefold sleeve.
| || LUNCH, LYDIA: Queen Of Siam CD (ALP 501CD) 14.00|
“Queen of Siam, Lydia Lunch’s solo debut, was originally recorded in 1980. Featuring the noted talents of guitarist Robert Quine (Lou Reed, the Voidoids), multi-instrumentalist Pat Irwin (B-52’s, Eight Eyed Spy), and the big band sound orchestra of Billy VerPlack (of Flintstones theme fame), the work proved to be a slap in the face to those critics awaiting a new Teenage Jesus-type of album from Lunch. Dirty, sophisticated, literary and raw, the album is today seen as the jewel in the crown of the no wave underground movement. Lunch created a sensual and hard-hitting musical landscape that startled even the most hardened of critics. After being out of print for years, Lunch’s masterpiece returns with the original LP cover ‘breasts of nails’ pic for the first time on CD. Enhanced features on the disc include a live video performance of ‘Knives in the Drain,’ recorded live in London in 2004. Also included is a rare video of ‘Gloomy Sunday’ directed by Linda Di Franco, filmed in 1980.”
| || TOUCH AND GO: The Complete Hardcore Punk Zine ’79-’83 Book (BAZ T&G) 27.00|
“Touch And Go fanzine was the brainchild of Tesco Vee and Dave Stimson and was launched in Lansing, Michigan, in 1979. Major fanatics of the new punk happenings in the late ’70s, TV and DS set out to chronicle, lambaste, ridicule, and heap praise on all they arbitrarily loved or hated in the music communities in the US and abroad. In laughably minuscule press runs by today’s standards, T & G was made by guys within the Midwest scene strictly for the edification of scenesters and pals in other cities like DC, Philly, Boston, LA, SF, Chicago, et al. Inspired by magazines such as Slash and Search and Destroy and writers like Claude Bessy and Chris Desjardines, TV and DS pumped out seventeen naughty, irreverent issues together, and TV did another five solo. Magazines like Forced Exposure and Your Flesh, among others, soon fired up Xerox machines themselves, and the rest is history. So is the legendary independent record label launched from this zine, and so are the bands covered inside: Black Flag, Minor Threat, the Misfits, Negative Approach, the Fix, the Avengers, the Necros, Discharge, Iron Cross, Youth Brigade, Faith, Die Kreuzen, Crucifix, Poison Idea — and all the other punks worth their weight in glorious black and white. Featuring new introductory essays by punk icons Tesco Vee (The Meatmen), Dave Stimson, Steve Miller (The Fix), Henry Rollins (S.O.A./Black Flag), Keith Morris (Black Flag/Circle Jerks), Peter Davis (Your Flesh), Henry Owings (Chunklet), Byron Coley (Forced Exposure), Corey Rusk (Necros/Touch and Go Records), John Brannon (Negative Approach), and Ian MacKaye (Teen Idles/Minor Threat). Exclusive early interviews with the Fix, Necros, Minor Threat, Youth Brigade, Iron Cross, Misfits, Negative Approach, JFA, Battalion of Saints, Crucifucks, 7 Seconds, Faith, the Effigies, the Minutemen, Scream, Die Kreuzen, Crucifix, Poison Idea, SSD, & others. 8.5″x 11″x1.25″, 4lbs., 101% offensive joy!” 546 pages; list price: $29.95.
|BECAUSE MUSIC (FRANCE)|
| || SMOD: SMOD CD (BEC 5772583) 15.50|
This is the third album by Malian hip-hop group, SMOD, produced by Manu Chao. More than a generic rap group, SMOD embodies the emergence of a new scene in Africa — the embracing of new urban sounds but wary of the importance of heritage. As evidence of this, in 2008 and 2009, the trio found themselves in Europe, incorporating influences such as Touré Kunda and Sporto Kantes in their music, not to mention Amadou and Mariam — for whom they opened at the Olympia in Paris and who Manu Chao invited on his tour in autumn 2009. It was these diverse experiences that provided them with the reassurance and confidence they needed to survive on the scene, the perfect grounding upon which to develop their new sound in line with the great Mandingue musical traditions of the past. So how does it all add up? A variety of foreign influences mixed together that one would readily call Afro-hop, a hybrid genre of rap and African folk with beatbox and simple guitar chords. Between the lines, the “African rap’n’folk” — as they call it — makes a link with the secular art of the griot, a pivotal character in a country dominated by oral tradition. SMOD incorporates these elements into a highly textured blend of beats, guitars, electronic effects, harmonic vocals and traditional melodies that emblemizes the new Bamako sound.
|BLAST FIRST PETITE (UK)|
| || FACTORY FLOOR: Remix Series: Volume 1 (Stephen Morris Remix) 12″ (PTYT 048EP) 11.00|
Limited to 1,000 copies only. Factory Floor releases the first in their series of limited edition 12″ remixes. Stephen Morris, drummer and rhythm programmer for music legends Joy Division & New Order, brings his unique, bleak Northern soulfulness to Factory Floor’s fierce “Wooden Box.” Stephen’s an FF fan; he’s already been to three live shows and is now producer for the band’s next round of recordings. Also by request is a louder-than-god cut of the death-disco fave “Lying.”
| || FACTORY FLOOR: Remix Series: Volume 2 (Chris Carter Remix) 12″ (PTYT 049EP) 11.00|
Limited to 1,000 copies only. Factory Floor releases the second in their series of limited edition 12″ remixes. Chris Carter is best known for his visionary sonic alchemy for Throbbing Gristle and Chris & Cosey. The A-side is a galloping clarion call, with, if you can believe it, added noise. The B-side urges you to sing along: “We won’t need a gold chain/We just want a wooden box.”
| || MY DISCO: Young/You CD (PTYT 053CD) 11.50|
Blast First Petite releases a trio of songs from Melbourne-based trio My Disco. Maximal minimalist disco a la New York 1970-something. Comes with the Steve Albini recording certificate of quality and authenticity. This release accompanies a May 2010 UK & European tour. “You” is short and sweet and right on the money, sure to be heard at “your disco” very soon. “Young” is long and hypnotic — Rhys Chatham with a backbeat.”Young Qua Remix” is fuzzy, fizzy, electronic do-over. Did someone put something in your drink? My Disco are constantly ready for a British summer & trying to find their tour van keys.
|BO WEAVIL RECORDINGS (UK)|
| || HOLCOMB, ROSCOE: The High Lonesome Sound LP (WEAVIL 003LP) 25.00|
2005 release, last copies. “The third release from London based label Bo’ Weavil Recordings, goes further into the depth of traditional American folk music with the legendary Roscoe Holcomb performing 17 powerful songs shaped by the hard times and conflict between old and new that marked his life in the rural Appalachian mountains. The sounds on this record were collected 40 odd years ago. Sometimes when you listen to Roscoe Holcomb sing it might’ve been 400 years ago. Sometimes it could be happening to you right now. These songs and instrumental pieces go back to the 20s and 30s and beyond, into the mists of pre-recorded time. They are the traditional songs of the Kentucky mountains before the advent of radio and record player when itinerant musicians, market places, church and country fair were the conduit of tradition. But these songs, recorded in the unique high and lonesome style of Roscoe Holcomb, were the last folk songs. Already, 40 years ago, Holcomb’s music was not appreciated in his own community. He was a throwback, a dinosaur in the age of the Twist. A singer with a truly ‘high lonesome sound’ that sends shivers down the spine, and a hard-hitting wonderful banjo-player/guitarist. This LP also contains Roscoe performing unaccompanied ballads, banjo and harmonica solos. These recordings were previously released by Folkways in 1968 that had a powerful influence on the folk music revival, and has been crying out for a new vinyl release. Accompanied by some of the original notes on the lyrics and history of each song and some new comments on Roscoe in 2005.”
| || HOWARD, NOAH: The Black Ark LP (WEAVIL 024LP) 23.00|
2007 release, last copies. Originally released on Freedom Recordings, 1969. Numbered vinyl edition of 1000 and another superior piece of documentation from Bo’ Weavil. The Black Ark is one of the most sought-after underground free jazz releases of all time. This record simply is THE BOMB — a perfect combination of Noah Howard’s soulful compositions and playing, infused with plenty of sweet/sour/in/out forms and shapes from the incredible line-up assembled for this release. Plus we get to experience Arthur Doyle’s outrageous debut on a recording session, increasing the playing and feeling to an intense level throughout. Other players include Norris Jones (bass), Juma (congas), Mohammed Ali (drums), Earl Cross (trumpet), and more.
|BOYSNOIZE RECORDS (GERMANY)|
| || BOYS NOIZE: Kontact Me Remixes 12″ (BNR 045EP) 12.00|
“Kontact Me” is taken from Boys Noize’s Power LP (BNR 037LP), and its dark bass line and vocals are set to brainwash your head. Hot newcomers take remix duty, including Rynecologist, who took the original idea and brought it to the next level. Jan Driver returned a heavyweight techno version, and Housemeister crafted something dirty. As a surprise, three members of The Faint teamed up as Depressed Buttons, revealing their thorough understanding of good electronic club music.
|BPITCH CONTROL (GERMANY)|
| || FUNKE VS. NINA KRAVIZ, SASCHA: Moses 12″ (BPC 218EP) 12.00|
Sascha Funke calls upon Nina Kraviz to make a feature appearance on the Moses EP — an encounter between Germany’s most incisive techno producers and a singer of considerable charisma. The title track balances poetic meditation and an eloquent arc of tension while “Moses Bonus” harbors an insatiable desire for a powerful sound system to be pushed to its limits. “Headphones” switches elegantly between action and regeneration with its layered vocal tracks and hypnotic bass line.
|BUREAU B (GERMANY)|
| || GURUMANIAX: Psy Valley Hill CD (BB 054CD) 17.00|
Mani Neumeier has always relished working with the most diverse of musicians. That was the case in Guru Guru days, and it is very much the same today. For his latest project Gurumaniax, he teamed up with his old colleague Ax Genrich (Guru Guru guitarist from 1970-75) and the bass player Guy Segers (doyen of Belgian avant-garde rock, founder of the key band Univers Zero). So: experience, virtuosity and professionalism to the power of three. Neumeier had been wanting to get something going with Genrich for some time. Indeed, they had shared the stage together on a number of occasions in recent years. Their last session together in the studio, however, took place around 35 years ago. The death of Guru Guru founding member Uli Trepte (track 8 is dedicated to his memory), only served to strengthen Neumeier’s resolve. As he points out, who knows for how long either Neumeier himself or Genrich will be able to play their instruments with the same degree of virtuosity which they command today. Still, while the pair of them are blessed with such rude health, feeling not a day older than 50, Mani was determined to give it everything one more time with his old colleague and record the results for posterity. Neumeier and the bassist Guy Segers got to know each other a good year earlier, when they played an improvised gig together with Makoto Kawabata (Acid Mothers Temple) and Daevid Allen (Gong) at the Zappanale Festival. They hit it off immediately, making Segers a logical choice for the Gurumaniax project. Four days in the studio, three at the mixing desk and the psychedelic diamond was finished. Some song fragments already existed, but most were spontaneous creations of the triumvirate in the studio. Recalling classic Guru Guru highlights such as UFO (1970), Hinten (1971) and KänGuru (1972), the trio launched themselves freely into improvisation, channelled through their psychedelic/progressive/avant-garde rock terrain of choice — others call it Krautrock. There is even a direct reference to their second LP: the track “Spaceship Memory” is, as the name suggests, a musical descendant of “Spaceship” from the year 1971. And just in case you missed it: the project name is the sum of its members’ names: Guru+Mani+Ax.
|CIRCUS COMPANY (FRANCE)|
| || JAAR, NICOLAS: Marks And Angles 12″ (CCS 048EP) 12.00|
Nicolas Jaar’s Marks And Angles EP marks his debut release on Circus Company, as well as another bold step forward for the musician himself. All three tracks are rooted in house music, but Jaar’s rich acoustic textures and elastic time-keeping lead to a far more personal place. They explore strange emotional registers, a co-mingling of melancholy and joy in a shadowy slow dance.
| || LIEBING, CHRIS: 10 Years CLR CD (CLR 008CD) 17.00|
German producer Chris Liebing celebrates the 10th anniversary of his CLR label (an acronym for “Create — Learn — Realize). He’s always been true to his techno roots, from the legendary Omen days to CLRetry to his Residency at Space in Ibiza. He’s got a lot in common with Speedy J: the Zen attitude, the hunger for development in digital Djing and production that leads to involvement with custom soft- and hardware, the obvious bliss that tough and sexy grooving beats invoke in them. And last but not least, ethical values that strive to push the musically advanced over the safe standard, the talent over the hype. This is music that is unarguably underground — a driving force behind re-introducing a darker, harder style of techno back to the floors. On this compilation, you’ll discover a universe of relentless, high-tech beats and soundscapes. Big bass drops unveil sexy grooves, massaging the body from belly to fingertips. Hypnotizing patterns and reverb rooms surround pounding beats and sudden high-range attacks. These tracks work like crazy on the floor, and that’s a proven fact. This is what techno sounds like on a 2010 technology level — big room and tough, but ballsy and slick, functional yet innovative. This collection features techno protagonists you’ll know from the last 10 years such as Adam Beyer, Alex Bau, Speedy J, Chris Liebing vs. Green Velvet, Function vs. Jerome Sydenham and new faces no less brilliant, such as Dustin Zahn, Brian Sanhaji, Monoloc, Pfirter, and of course Tommy Four Seven. All artists produced their tracks exclusively for this project, giving it a unique character. Techno enters its third decade stronger than ever with no end in sight, and CLR will help shape that future.
| || VA: Cocoon Compilation J CD (COR 023CD) 17.00|
Cocoon’s hotly-anticipated letter series of inspired dance-music compilations reaches letter “J.” For ten years now, the Cocoon-style alphabet is a guarantee of high class and exclusively-produced floor burners by the international techno and house elite, and, beyond that, a reliable indicator for the stylistic bandwidth of contemporary electronic dance music. And even with the previous editions A through I having set the bar high, the “J” edition starts with a true musical sensation, as the opener “Cocoon Dark Dub” comes from nobody less than Moritz von Oswald. So, initially, it’s the heartbeat of dub techno that pulsates through a lonely piano and noise fractals, and the club world holds its breath for a good eight minutes. However, the “J” compilation literally pulls out all the stops over the following 110 minutes playtime and shows what modern electronic dance music has to offer in these times. The Dial impresario Pantha Du Prince celebrates crystalline ice dance, while Cécille label-head Nick Curly, with his sensual tribal house, feasts on the most compact form of disco boogie that one can imagine. With “SBboty,” the Kompakt ambassador DJ Koze flabbergasts the audience by combining virtually incompatible elements. Improvised horn licks whirr through a flickering, resonating body, while the bass kick fills up the tropical, ambient air. However, the invariably Cocoon policy to always support interesting newcomers becomes visible with the contribution of Basti Grub’s “Sick,” which climbs into your brain with its melodic high-frequency hook line and mysterious vocals, matching perfectly to the melancholic playfulness of the tracks by Guy Gerber. Ali Shirazinia aka Dubfire and Popof present some stringent hypno techno with a diaphragm-shaking bass drum. Besides the above-mentioned, the “J” compilation holds such well-known producers such as Loco Dice, Extrawelt, Reboot and last not least, long-time Cocoon companion Ricardo Villalobos, whose 12-minute-long dance on the echo-filled “Humusweg” once again draws the bow to the Basic Channel sound from the other side, leaving plenty of room for your own visions in between the pulsing metronome of the bass line.
| || TORTOISE: Why Waste Time? CD (RZCM 46520CD) 23.00|
“Why Waste Time is a brand new Japanese-only CD release from Tortoise. ‘Ruba’iyat’ and ‘Passerine’ are both exclusive to this release and have never before been released. ‘Gigantes (Mark Ernestus Version)’ previously appeared on a 12″ vinyl only EP (Thrill 12.34) that is long sold out. ‘Ice Ice Gravy’ was previously only available as an I-Tunes bonus track. In addition to the 30+ minutes of music there are two live videos of Tortoise performing in 2009 at Fuji Rock Festival in Japan and also a music video for the song ‘Prepare Your Coffin’. The track ‘Ruba’iyat’ is an improvisation performed on the Suzuki Omnichord OM-84 (modified by Ben Houston @ Folktek), and the Folktek ‘Luminist Garden’ (created by Arius Blaze). It is a one pass duo improvisation, with minimal editing. ‘Passerine’ is composed entirely from the banks of samples that the band uses for live shows. These include keyboard parts, drum patterns, guitar/bass samples, atmospherics/random noise, and vocal sounds that appear in their original form within the recorded versions of the songs on all of the albums. Here they have been recontextualized, unusual blendings and pairings creating an entirely new composition which bears little or no relation to any of the pieces from which the sounds were sourced.”
|CURLE RECORDINGS (BELGIUM)|
| || VA: Curle 25: So Far (So Good) 2CD (CURLE 025CD) 17.00|
Curle is a Belgian label launched by Fader in 2006 for all things deep techno and beyond. Curle quickly made itself a name with 12″s from Mark August, Dub Kult, Efdemin and Anthony Collins. Some of the tracks got licensed to mixes from Sven Väth and Richie Hawtin, amongst others. In 2008, the first Curle CD, mixed by Efdemin, was released to high international acclaim. 2009 brought contributions from Martyn, Soulphiction and Convextion, to name but a few. Now 2010 promises, with new tracks from the visionary Thomas Brinkmann and fast-rising talent Peter Van Hoesen, a Curle residency at the Fuse club in Brussels and this first Curle label compilation that includes Curle classics, alternate edits, previously-unreleased tracks, and countless innovative remixes from top-shelf Curle artists. CD1 comprises an unmixed compilation, assembled by Fader, while CD2 is a bonus mp3 disc including 3 DJ mixes of Curle tracks — over 4 hours of music presented by Anthony Collins, Peter Van Hoesen, and Fader. Other artists include: Denis Karimani, 2000 And One, John Beltran, Tampopo, tobias., Soul Center, Atom?, CRC, Nico Purman, Reynold, Lee Van Dowski, Franklin De Costa, Michal Ho, Conforce, Wav, Los Updates, Artificial Latvamäki, Grimes Adhesif, Jonas Kopp, Lars Wickinger, Audision, Zander VT, Stewart Walker, Walt J, DJ Qu, and Matt O’Brien.
| || FIORITO, ANDREA: Moderato Zoologico 12″ (CYN 042EP) 12.00|
Moderato Zoologico starts off with “Escape From Myself,” a fire-starter of a groove with a slight nod to house music’s past, the track’s percussion builds up to a climax and then drops you into a twisted state of deepness. “Zoraida” features the sweet and innocent vocal style of Amelia Saul, slow-building percussion leads you up to a plateau of shimmering, deep synths and Rhodes electric piano that leaves you hanging for minutes, then dropping you into a silky-smooth, blissful world.
| || VA: Erotic Moments In House Vol. 2 2CD (DES 007CD) 15.50|
2003 release. The follow-up to the first Erotic Moments In House — the first Dessous compilation ever to deliver a “Best of” selection of what happened on Steve Bug’s young deep house imprint since day one. Dessous Recordings has been established as one of Germany’s most respected imprints for deep, soulful house music, with more than thirty 12″ releases and several albums played and appreciated by DJs, clubheads and home listeners worldwide. The next episode of Erotic Moments in House, taking the concept of this series to a higher level, is an A-class combination of thrilling deep house tunes from the Dessous catalogue (most of them on CD for the first time) and new and exclusive tracks from the likes of Tanzmann & Voigt, Untitled Orchestra (aka JT Donaldson and CPEN), Jiago (aka John Buckby), John Dahlbäck, and Gamat 3000. Philadelphia-based DJ and producer Pete Moss was engaged to select, compile and mix CD 2. Included in his ultra-smooth but still clubby selection are silky flavoured tunes like Diadem’s “Saturday Session 2,” Vincenzo’s “The Charmer” or Jussi-Pekka’s “Breeze,” alongside exclusive tracks or remixes by artists from the growing Dessous stable. Other artists: Swag, Tojami Sessions, Frankman, I:Cube, Glowing Glisses, Larry Heard and Charles Webster.
| || PHONIQUE: Identification CD (DES 009CD) 14.50|
2004 release. Phonique presents his debut full-length on Dessous Recordings. Sometimes warm and melodic, sometimes rough and static, sometimes experimental and old-school, but always something special for your mind, this album presents 15 brand new tracks featuring collaborations with Alexander East, Dixon, Erlend Øye, Ian James Whitelaw, and Paris The Black Fu. Identification is an exciting journey through Phonique’s different preferences for electronic music in general, not being focused to only one style of this quite versatile genre. This makes this full-length a full-time adventure in the jungle of deep house, tech-house, minimal house, disco and downbeat.
| || VA: Skin Is In 2CD (DES 011CD) 15.50|
2006 release. Dessous Recordings proudly presents a new highly fashionable double-album: Skin Is In combines deep and sexy quality house music with the cutting edge visual style of US top-photographer Sacha Dean Biyan and his company Eccentris. Skin Is In is also the soundtrack to the ground-breaking Eccentris website (www.eccentris.com). Dessous and Eccentris joined forces in early 2006 when Steve Bug’s Dessous label was asked to contribute the music to the Eccentris website, one of the most popular internet sources for premium quality style and fashion photography. Due to the great feedback, both parties started working on a CD release and the result is the perfect symbiosis of style and music. Skin Is In fuses the outstanding visual style of photographer Sacha Dean Biyan with the classy and atmospheric music from Dessous Recordings. The first joint CD release is a deep and exciting journey through modern house music, compiled by Dessous label head Steve Bug. The second CD is mixed by Âme (from Sonar Kollektiv), one of Europe’s finest house music DJs. Skin Is In features a diverse blend of styles, from sexy lascivious tunes to downtempo rhythms to pulsating dance floors anthems, including tracks and remixes from well-reputed house producers like Charles Webster, Château Flight, Nathan Fake, Phonique, I:Cube, Ilya Santana, Marcus Worgull and many more. To allow for a full sensatory experience, the double album includes a styish full-color 36 page photo-catalogue featuring some of the best works by Biyan. The highlight is the interactive bonus content on CD1, an uncompressed version of the Eccentris website featuring the visionary imagery of Biyan. Within this interactive application there are separate sections containing more than 100 photographs, wallpapers, screensavers, e-cards and even a glimpse “behind the lens” of a fashion photo shoot. Insert CD1 into your computer, turn on your speakers, lean back and enjoy sound & vision. Other artists Steve Barnes, Furry Phreaks, Jake Childs, Future Beat Alliance, Tosca, Sa-Ra, Frivolous, Owusu & Hannibal, Morgan Geist, Patchworks Ginger X Press, Tokyo Black Star, Crusho, Blackjoy, Laid, Kids In The Streets, Motorcitysoul, Mike L. & Lanoiraude, Charles Webster, Marcus Worgull, Alexander East, DJ Yoav B., Crusho and Mute.
| || LANGENBERG: Past Present EP 12″ (DES 097EP) 12.00|
Langenberg returns to Dessous with a spine-tingling EP. Lead cut “Past Present” bristles with tough analog energy as a pushing drum pattern opens into a rousing, bass line-led theme. Moody, utterly deep and shining with reverence for the classic days of Chicago, it’s a casual bomb that makes no promises, but fulfills all of your dreams.
|DIE SCHACHTEL (ITALY)|
| || GROSSI, PIETRO: Combinatoria 2CD BOX (DS 020CD) 23.50|
A comprehensive guide to the core recordings of one of the most visionary and inspiring, subversive and radical musicians from Italy, this 2CD box deluxe edition captures Pietro Grossi’s original vision, presenting a wide selection of his studio early recordings, beautifully remastered to preserve the enduring quality. Pietro Grossi used to playfully define himself as pigro (trans. “lazy”), but he wasn’t lazy at all! Few musicians have been working everyday at such a cracking pace, creating, teaching and writing — and when we listen to his music, we should bear in mind how this complex figure of musician, cellist and composer, and also visual artist, has developed creative thinking in a path where a blend of very different aspects organically cohabited. Since the late ’50s, Grossi was convinced of the potential of the “new sound” and was totally obsessed with pioneering it, to the point where he would found the S 2F M (Studio di Fonologia Musicale di Firenze) in 1963 — which made its headquarters in Florence at the Conservatorio, and then in his apartment — spending days and nights on end splicing tapes and working with various modified machines to create his abstract soundscapes. The two CDs feature his first analogical electronic music, as well as some S 2F M studio works by colleagues such as Vittorio Gelmetti, Gruppo NPS (with Teresa Rampazzi) and Albert Mayr, while the second disc is focused on the prototype computer-generated sound synthesis.
| || COLUCCINO, OSVALDO: Neuma Q CD (ZEITC 004CD) 17.00|
The new addition to the Die Schachtel Composers series, Osvaldo Coluccino’s Neuma Q is an utter immersion into the purest electronic sound, exploring a broad spectrum of electroacoustic phenomena, low-end drone, magically-constructed and sequenced in a way that preserves its intimate feel. The composer serves as a seismograph of both the inner and the outer world and the composition as a record of a momentary musical horizon that combines four pieces that defy any standard modern music evaluation criteria and explore new spaces of sound. Osvaldo Coluccino (1963), is a composer and poet. His compositions have been commissioned by Biennale Musica (Biennale of Venice), Milano Musica (Teatro alla Scala), Orchestra Sinfonica Nazionale della RAI (RAI Nuova Musica), and Compagnia per la Musica in Rome, and have also been performed at several international festivals.
| || PETRONELLA, ANGELO: Rimandi E Scoperte CD (ZEITC 005CD) 17.00|
Long-awaited new album by the enigmatic Italian composer and sound artist Angelo Petronella, in a superb piece of electroacoustic microsound, intertwining scrupulous minimalism, environmental recordings, and an intense glacial drone nebula. Angelo Petronella is a missing link, a unique artist drifting to and fro between classic instrumentations and electronics. He was raised on the drums, the initiator of the legendary InsiemeMusicaDiversa collective ensemble in the mid-’70s, then fell in love with the early synthesizer and computer. He turned his attention to sound installation and field recordings, and the range of sound worlds he has traveled so far, with brilliant but little known results, encompasses classical instrumentations, tape manipulation and state-of-the-art computers.
| || OST & KJEX: Cajun Lunch CD (DIYNAMIC 004CD) 17.00|
With a sound that straddles electro, funk, disco and house, Oslo-based duo Ost & Kjex return with their second long-player Cajun Lunch on Diynamic. Having released their cheese-fixated (and indeed sampled) debut album Some, But Not All Cheese, Comes From The Moon in 2004, the food-obsessed Norwegian pair have released a multitude of EPs and remixes on labels such as Crosstown Rebels, Planetnoise, Modular, Snick Snack, Punkt, Dialect and now Diynamic Music and played in venues and festivals all over the world. The debut album awarded them a nomination for “Best Electronica Album” at the Norwegian Grammys and the pair continued to develop their sound on releases such as More Songs About Cheese And Revolutionary Tarts, How Not To Be A Biscuit and Boston Food Strangler. Since then, the food boys have awoken, got their hands on some serious sounds and started shredding out tunes aimed at the dancefloor. In between live shows and remixing, the busy food geeks have now prepared their second course for your delectation. As the title suggests Cajun Lunch mixes elements of Delta blues and bayou bass lines into their organic house sound, especially on the guitar-filled “Bluecheeseblues” parts 1 and 2, but also in the general laid-back atmosphere that envelopes every track. From the opening sun-kissed grooves of “Mosambiquetravelplan” featuring Bugge Wesseltoft on piano to the sexed-up funk of “Continental Lover” and the deep house tones of “The Yellow Man,” the boys continue to conspire with the album’s guest vocalist, Tracee Meyn. Providing a juxtaposition to the pairs’ house foundation and Mr. Ost’s falsetto lead vocals, Tracee becomes an integral part of Cajun Lunch’s funk-filled sound, giving it that extra spice to their production relish. On the darker and minimal-edged “A New Deal” and bass line driven “Seraphine” Tracee is further assisted by members of her gospel choir who combine to give Cajun Lunch a fuller, more rounded sound while tracks like “We Got Ticket To Moon” and “Bluebird” see the guys strip everything down to the bare essentials and groove with their machines. Ost & Kjex’s love for electronic music takes the boys wherever the cheese is fresh and the beats are crunchy.
|ECHO BEACH (GERMANY)|
| || VA: King Size Dub Chapter 13 CD (EB 078CD) 10.00|
This is the 13th volume in the long-running King Size Dub series, once again showcasing dub music in all its variations. Proving that the dub style has really evolved, King Size Dub Chapter 13 features a good mixture of household names and newcomers covering everything from roots to soul, from dub-dance to dope beat. And all this for a very good (low) price! Artists include: Dubxanne, Earl 16, M, Riddim Wize, Ruts DC, Rob Smith, Izrael, Dreadzone, Noiseshaper, Adrian Sherwood, Smoke, The Senior Allstars, Red Earth Dub, Manasseh, Dubmatix & Mighty Howard & Aldubb, Dubblestandart, Kaya T, Herbst In Peking, Dub Spencer & Trance Hill, Freaky Fuckin Weirdoz, Umberto Echo and Up, Bustle & Out.
|EDITION RZ (GERMANY)|
| || GABER, HARLEY: Indra’s Net CD (RZ 1022CD) 20.00|
Edition RZ releases works circa 1972-1974 from American composer Harley Gaber. “Both works on this CD form, in a manner of speaking, bookends for another piece of mine, The Winds Rise In The North. The first of the two, ‘Sovereign Of The Center,’ was my initial attempt at putting a new musical way of thinking into an ensemble rather than solo form. The second, ‘The Realm Of Indra’s Net,’ builds on musical ‘discoveries’ I made in the course of revising The Winds Rise In The North. It is a hybrid work in as much as it is an ‘acoustic-tape piece’ (not musique concrète). There are four tracks of solo violin mixed down in different track combinations (the one heard on this CD is a full-track mono version of the work). Both of these pieces reflect a general shift in my musical thinking, which occurred in 1968 with ‘Chimyaku’ (Japanese for ‘barely moving’) scored for solo alto flute. It was with that work that I began to compose ‘slowed-down’ music, like slow-motion images in film, not merely slow music such as that of Feldman.” –Harley Gaber, July 2009 Performed by Linda Cummiskey (violin), Steve Reynolds (viola), Barbara Riccardi (violin), and John Dexter (violin).
| || VA: Mira Mira EP 12″ (EINMAL 056EP) 12.00|
Four cool, deep tech house tracks from UGLH and Federico Locchi, Men In Trees, Art Bleek and Solan.
|ELECTRIC TEMPLE RECORDS|
| || MV & EE: Sweetheart Of The Nascar 7″ (ET 001EP) 8.50|
“‘Fans of the lengthy psych of Bardo Pond, the noise jams of Fushitsushsa, the yawning drones of Pelt– will admire their refusal to sacrifice peaks in order to avoid valleys.’ – Pitchfork The always prolific Matt Valentine and Erika Elder are back at it with the debut 7-inch on Electric Temple Records, Sweetheart of the Nascar. Rising from the depths of the grass-roots, free-riding psychedelic underground, MV&EE provide the nighttime companion over two midnight-oil burning tracks to their recent masterwork for Thurston Moore’s Ecstatic Peace label, Barn Nova. The A-Side titletrack, ‘Sweetheart of the Nascar’ is perhaps one of the duo’s heaviest tracks to date, pushing the threshold of Rust Never Sleeps-era Neil Young into sludge metal meets Mark Hollis ambience. The b-side, ‘Crow Jane Variations’ is a slow-burner featuring Erika Elder’s reverb-drenched echoes behind a wash of lap-steel guitar and minor-key rustic psychedelic vibes. Sweetheart of The Nascar was recorded with Matt Valentine’s mind-boggling production technique, Spectrasound. The Spectre Sound engineering was done by James Anderson, while the final mix was done by long-time producer/engineer Justin at Barn Row Studios and Matt Valentine himself at their home studio, Maximum Arousal Farm. The inventive technique is highlighted on ‘Sweetheart of the Nascar’ with two drummers playing – one in the left channel, one in the right, spread across a gorgeous stereo-pan.” On brown-colored vinyl.
|ENABLING WORKS (UK)|
| || CONNORS, LOREN: Hell’s Kitchen Park LP (EW 001LP) 23.50|
180 gram vinyl special. Hell’s Kitchen Park is the first of a selection of Loren Connors’ typical and truly addictive guitar suites from the ’90s to be reissued on vinyl. With his initial imprint release in 1993 on Black Label, Loren introduced his first thematic effort that later would prove to have shaped the identity of his work as it is today. Loren started using the electric guitar in the late ’80s, which enabled him to experiment with more sustain and subtlety. This resulted in recording shorter, more structured pieces as opposed to his earlier acoustic solo work of long, on-going improvisation. He put down chord material on the four-track tape recorder, a sequence, and then overdubbed leads onto it. Pieces were built up in this way, and subsequently, suites of pieces. The first album recorded in this fashion was In Pittsburgh, followed by Blues: The “Dark Paintings” of Mark Rothko, Fallen Son, Midnight, concluded by and partially compiled on Rooms. All were self-released on the St. Joan label in very limited numbers, during a very productive period from 1989 to 1990. With the exception of the occasional tracks on which Suzanne Langille sang, most were merely numbered and named “Blues,” still leaving Loren’s work strongly signatured only in sound. In 1993, a picture of a poverty scene from around the turn of the 20th-century led Loren to come up with his first theme-based suite, continuing his solo home-recordings, now most distinctive in both sound and image. Hell’s Kitchen Park radiates with inspiration. On this album, Loren introduces the contrast between tender, often anthem-like melodic lullabies, and haunting, thick distorted guitar crying, which causes great intensity. Suzanne Langille’s occasional singing adds surprising diversity and warmth to the recording. It mingles so naturally that it sometimes is difficult to tell her voice from the guitar, as it seems to appear in tracks where it is not recorded. The tracks are strung together to build a composition as a whole, so it works as a composition itself rather than just a collection of pieces. The story the suite tells is of the poor circumstances the early 20th-century Irish-New York folk were living in, clustered in a neighborhood called Hell’s Kitchen. The theme first saw light on a 7″ EP called Mother & Son, which was released in 1993 by Road Cone, shortly before the Hell’s Kitchen Park CD. The picture that inspired Loren to put the suite together is shown on the cover of the LP. Probably one of the best known, yet least-owned albums by Loren is now available again, on 180 gram quality vinyl with an insert.
| || TELEVISION PERSONALITIES: …And Don’t The Kids Just Love It LP (SFIRE 002LP) 19.00|
New pricing. 180 gram vinyl. “The first full-length release from the UK’s Television Personalities was originally released in 1981. And Don’t The Kids Just Love It is lo-fi, minimalist, and quirky pop, post-punk, psychedelia, and folk from one of the era’s most idiosyncratic songwriters. Featuring such classic tracks as ‘I Know Where Syd Barrett Lives’ and ‘A Picture of Dorian Gray,’ this is one of the greatest and strangest debut records ever.”
| || TELEVISION PERSONALITIES: Mummy Your Not Watching Me LP (SFIRE 007LP) 19.00|
180 gram vinyl. “The second full length from Television Personalities, also released in 1981, is more psychedelic than the first, but still with plenty of dry and acerbic wit. Featuring the classic title track and the acid rock drone of ‘David Hockney’s Diaries,’ a style and sound that Daniel Treacy would explore further on subsequent records. Eccentric post-punk and pop from one the UK’s most original bands.”
| || SPACEMEN 3: Sound Of Confusion LP (SFIRE 015LP) 19.00|
Repressed. “Originally released on Glass in 1986, Sound Of Confusion is the debut album from the Spacemen 3 led by Sonic Boom (Spectrum) and Jason Pierce (Spiritualized). Featuring covers of 13th Floor Elevators, The Stooges, and Juicy Lucy amongst some classic originals, this is the band’s first foray into the deep, stoned, trance-inducing, psychedelic sound they would master on later albums.” 180 gram vinyl.
| || SPACEMEN 3: The Perfect Prescription LP (SFIRE 016LP) 19.00|
“This is the album on which the Spacemen 3 perfected their woozy, psychedelic drone-pop, moving beyond mere tribute to their influences into a world all their own. A concept record about a drug trip, from the euphoric high of album opener ‘Take Me To The Other Side,’ to the drowsy, disturbed finish of ‘Call The Doctor,’ Perfect Prescription is, arguably, this band’s finest moment and the album that best represents the creative collaboration of main members Sonic Boom and Jason Pierce.” 180 gram vinyl.
| || SPACEMEN 3: Performance LP (SFIRE 040LP) 19.00|
“Recorded live in Amsterdam in 1988, on the Perfect Prescription tour, Performance is a fine document of the Spacemen 3’s early, noisier sound, a hopped up version of the band’s more woozy recorded output. Beautifully recorded and featuring the band at their live best.” 180 gram vinyl.
| || AUDIOKONSTRUKTE: City Echoes CD (FUR 001CD) 17.00|
This first album by German producer Audiokonstrukte brings together a fine blend of space and urban-sounding electronic chill-out music. Low-slung grooves mix with synthetic vocals, and dubbed-out beats provide a solid backbone for simple synth melodies. Great, catchy production with many lo-fi sounds and a certain IDM touch.
| || SHANNON/DEWALTA/GUILLAUME & LES COUTU DUMONTS, MIKE: Surrender 12″ (HAUNT 002EP) 12.00|
Haunt Music proud to present its second release entitled Surrender — a Berlin-based jazz experiment that consists of producer Mike Shannon, sax player and prolific young multi-instrumentalist David Dewalta and upright bass legend Paul Kleber. With a little remix help by Guillaume & Les Coutu Dumonts, Surrender delivers a cutting-edge, twisted acid-jazz-meets-house package that breaks down the genre norms and café walls of St.Germain. Bringing you right back to the underground where this sound started.
| || SASSE & PHONOGENIC: That Philosophy Track 12″ (HIGH 078EP) 12.00|
A dark club, glimpsed through flashes of light, a little fog dividing the space — the ideal backdrop for a dazzling appearance on the dancefloor. With the abrupt onset of pulsating beats, booming drums and rhythmic rattling, deep and sexy vocals also appear and Sasse & Phonogenic’s “That Philosophy” forms the perfect soundtrack. There is a remix here to fit every mood; from Prompt, we get a restrained and spherical version, while Mihai Popaviciu delivers a more lively interpretation.
|HONEST JON’S RECORDS (UK)|
| || VA: Shangaan Electro: New Wave Dance Music From South Africa CD (HJR 052CD) 17.00|
An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto (an urban area of the city of Johannesburg in Gauteng, South Africa), recorded between 2006 and 2009. From his small home studio in Soweto, Nozinja (aka Dog) sells more than 50,000 records a year (DVD, cassettes, CDs) — without iTunes, without digital distribution. This is hyper?local music, all of it still considered traditional, all of it marketed through Shangaan radio and newspapers to a relatively small set of people who live between Johannesburg, Limpopo and Mozambique. Besides Dog himself — or rather Zinja, Dog’s performance name — his label roster includes BBC, Tiyiselani Vomaseve, and Dog’s famed mask?wearing, clown?dancing group, Tshetsha Boys. Dog often goes to the dances to scout for new talent. That’s where he found Tiyiselani Vomaseve, two sisters who perform together as one of the most popular Shangaan traditional groups in South Africa. They count South African President Jacob Zuma’s wife, Thobeka ka? Mabhija?Zuma, as a fan and won a 2010 SABC award for Best Female Traditional Album, which is just one of many awards that Dog has accrued. Tshetsha Boys won Best Newcomer, Best Male Song of the Year and best Shangaan Song of the Year. BBC (trans. “Black Beautiful Culture”) took home an award for Best Song as well. The awards are indicators of Dog’s success, but the real test comes every Sunday in Soweto. Groups like Tiyiselani Vomaseve and BBC compete regularly for the crowd’s favor. “You must be prepared to see the fastest dance ever,” Dog declares. The dances are wild, with films of them attracting more than half a million hits on YouTube. The tradition grows out of the Shangaan disco movement, a music that dominated in the ’80s with artists like Penny Penny and Peter Teanet. Shangaan disco ran at 110 BPM. Dog’s music is around 180 and it’s getting faster. Yet the lyrics seem to run counter to this rapidity. They read like African soap operas, tied up with domestic matters and a yearning for the slower life. This is country music. There’s something distinctive in this Shangaan perspective: they are one of the more rural and traditional groups in the wealthiest African nation, yet “tradition” to them can also be living, electronic and nuanced. Just as Dog samples American phrases in his songs, his videos cut in shots of white joggers on a spring day, a foggy lakeshore reminiscent of Wisconsin, even a corporate office space — mundane yet exotic images which become intriguing takes on the modern South African dream. Instead of African music becoming Americanized and re?framed for the global market, Dog’s productions do the opposite. American phrases and foreign images become samples in his collage, in his traditional context. This album is the first release of its kind outside South Africa. Here is Dog’s music as?is.
| || VA: Shangaan Electro: New Wave Dance Music From South Africa 2LP (HJR 052LP) 20.00|
2LP version, housed in a radiant full-color gatefold sleeve.
|INTERNATIONAL DEEJAY GIGOLO (GERMANY)|
| || DJ HELL: International Deejay Gigolos CD Twelve 3CD (GIGOLO 268CD) 20.00|
This is the 12th installment in DJ Hell’s much lauded and highly-anticipated annual selection of material from Gigolo artists, new and old. Thirty-one tracks, 17 exclusive and unreleased, 3 CDs, this is CD Twelve. This year, Hell has two themes, one is house music and the other is Vienna, both of which have contributed dramatically to the output from both DJ Hell and International Deejay Gigolo Records. The most obvious evidence for this statement is the critically and commercially successful Teufelswerk album from Hell. Mostly produced in Vienna by Hell and Peter Kruder, Christian Prommer and Roberto Di Gioia, the album reflects Hell’s history and affinity with electronic music, providing some of the most memorable house moments of recent times and a lot of the label’s output. Christian and Hell soon identified an affinity with each other’s sound and chose to collaborate more on both co-productions and remixes. On CD Twelve you will find one of their first outings, which is Hell’s remix of Peaches. As yet only released as a 12″, this monster remix is one of 17 exclusive tracks on CD Twelve. Other artists that feature on this compilation include Makossa And Megablast, who presented a sublime 12″ for Gigolo in 2009 and have returned with “Soy Como Soy” (feat. Cleydys Villalon). Three new talents Skwerl, Ken Haywakawa and Crazy Sonic present their debut releases for Gigolo, and Diskokaine presents an unreleased Skatebård remix of “Hall Of Shame.” Kick-starting the compilation is David Keno’s cover of Chic’s “Upside Down” which is a statement in itself. Known more for his “big-on-the-blogs” alter ego Riva Starr, this cover is not only much more reserved in its sound, but it is undoubtedly a potential house classic. Following immediately with a classic house sound is DJ Linus’ “Are You Ready?,” already a firm favorite. Next up is the infamous, and until-now impossible-to-get-a-hold-of Soulwax re-edit of Walter Murphy’s “A Fifth Of Beethoven.” For those in the know, this has been a staple of many DJs across the world since its original form in the ’70s, based around one of Vienna’s most important musical exports. The 2nd CD kicks off with Nick Coleman’s “This City I Love,” a firm favorite with DJs everywhere, and G Man vs. Kusserow presents some straight-up house music. On the 3rd CD, we find the track “House Music” by Kikumoto Allstars, which was featured heavily on BBC Radio 1, as well as Hard Ton’s “Forever No More.” CD Twelve is one of Gigolo’s most ambitious compilations to date, sculpted around a concept that will most certainly continue to shape the label’s incredible future. Other artists include: Fagget Fairys, Snuff Crew, Psychonauts, Sam Lynham, Naum Gabo, Axel Boman, Oliver Ton and Ronald Christoph, Uemit Uergen, Vinyl Life, UHU, Ivano Coppola, Sei A, Herman Schwartz, Oliver Ton, Idvet, Tony Lionni, Bryan Ferry, Mugwump, Lenoir & Meriton, Henrik Schwarz, Anthony Rother, and Minitel Rose.
| || GEOFFROY & KOLOMBO PRES. MUGWUMP: Raping The World We Left Behind 12″ (KOM 214EP) 12.00|
Mugwump’s Geoffroy and Kolombo have been on a continuous roll. “Raping The World We Left Behind” may be a dead-serious track title and the tune certainly retains a level of dramatic appeal, but this is a true builder in every sense. Mugwump have an unsurpassed skill in gently rocking the techno/house mainframe with the sounds of the unexpected and certainly demonstrate this right here.
| || WOODSMAN: Mystery Tape LP (LEFSE 008LP) 13.00|
“Woodsman is an experimental ambient post-psychedelic band based in Denver, CO. The quartet contains two totemic percussionists and two sonic animators who employ electric guitars, feedback loops, and recorded samples to build the dreamy astral soundscapes that define Woodsman’s sound. Influenced by hazy mountain passes, the cinema of Stan Brakhage, and early 1970s improvisational recordings by Miles Davis, Woodsman has crafted aural offerings that are uniquely their own. Since 2008, they have released a full length 12″ LP on Mexican Summer, as well as two compact discs and two cassette tapes on their own Fire Talk label.”
|LEXICON DEVIL (AUSTRALIA)|
| || CHROME DOME: Chrome Dome CD (LEXDEV 028CD) 9.00|
Lexicon Devil is mighty pleased to be releasing the debut, uh, mini-album from Melbourne’s Chrome Dome. The band, started by keyboardist/vocalist Shaun South in 2008, went through various line-up configurations before finally settling in as a three-piece in 2009 with ex-Brisbane-ite Andrea Blake similarly on vocals and keys and power-violence percussionist extraordinaire Bryce Sweatman (also from young hardcore/noise outfit Pathetic Human) on drums. That makes the line-up consisting of vocals, keyboards, samples and drums. No guitars. Influenced by legendary cult bands of yesteryear such as Nervous Gender and the Screamers, as well as Suicide and Melbourne’s own Primitive Calculators, Chrome Dome have nailed down the sound of 21st-century synth-punk to a fine art. Like their forebears, Chrome Dome “rock” like a garage band and sing songs of love and despair: they just don’t use any guitars. Their songs are at times frenetic, splintering with nervous energy, while others drone with depressive introspection. They’re a wild mix of live and programmed drums, high-pitched synth freak-outs and ominous bass notes coated with both hyper-driven screeches and gloomy, goth-laden vocals. Best of all, Chrome Dome have the songs — they’re not “improvnoise” nor are they an art project. Chrome Dome is seven tracks at just under 20 minutes, all housed in a black & silver wallet at a nice price.
| || SNYDER AND BOB THOMPSON, DOUG: Daily Dance CD (LION 640CD) 15.00|
“After meeting at a Stooges/MC5 concert, drummer Bob Thompson and guitarist Doug Snyder met one fine day in October 1972 in Thompson’s kitchen and bashed out this set of fiery improvisations, seemingly influenced as much by Iggy’s proto-punk moves as John Coltrane’s whole sheets of sound ethos; the result is a mythical frenzy of distorted guitar and improvised drums, creating walls of psychedelic noise; its sound is unparalleled for its time, preceding its closest kin, New York’s no-wave explosion, by a solid five years. And because of its lack of pretensions (it was done almost innocently), the record comes off as something, dare we say, a little more ‘spiritual’ than is the norm for such excursions. It is a singular recording, one that mainlines the classic high energy pantheon of the Velvet Underground, Stooges, Pharaoh Sanders, Sonny Sharrock, etc. while anticipating the free jazz/noise/no wave synthesis of groups that would follow in their footsteps. Thompson and Snyder get into some abstruse territory, with Snyder tearing industrial gamelan shapes from his six strings while Thompson uses the guts of his kit as the basis for new tonal alphabets. But it’s all rendered with a strong savage ethos that effortlessly equates monochord rock obliteration with the celestial freedom of Cecil Taylor/John Coltrane, et al., while establishing new territory as advanced as that attained by the most far-reaching visionaries of the rock n roll blueprint… still hard to believe that this was recorded in 1972. A major historical unearthing, remastered from the original tapes, and beautifully packaged in a Stoughton paste-on mini-LP jacket, with an informative Obi/U-Card, and an extensive 20-page booklet of liner notes and photos. Produced in conjunction with Cantor Records, who recently made Daily Dance available on vinyl for the first time in 35 years. Includes one bonus track (not included on the LP reissue), which was intended for the original release, but left off at the last moment for time considerations.”
| || HOOD, ROBERT: Omega CD (MPM 008CD) 17.00|
Detroit’s legendary Robert Hood returns after 2009’s Minimal Nation (MPM 001CD/LP) re-issue with his new artist album Omega. The album is based on the 1971 classic science fiction film, The Omega Man, starring Charlton Heston and derived from Richard Matheson’s 1954 novel I Am Legend (which was re-adapted to the big screen). The album is not intended as an exact soundtrack to run alongside the original film, but Hood was heavily influenced by the movie and he has used it as his inspiration. This album’s concept is a long-held vision of Hood’s and the film’s stimulus has presented itself both musically here, and even spiritually for him, since he watched it as a child. Its themes appear even more relevant today and continue to haunt: “It’s definitely metaphoric,” he says, “and if we don’t heed the signs, this is where we’ll end up. We live in a society where we just consume. We just take. We don’t operate on the concept of giving.” The film resonated with him throughout the years, and there are many parallels between the post-apocalyptic world portrayed in the film and parts of Detroit where he grew up. “You can look at downtown Detroit at night after the nine to five have migrated home and it turns into a ghost town,” he muses. “You had abandoned buildings during the crack epidemic and this progressive city had these ‘zombies’ walking the street. Detroit is a prophetic vision of the sign of things to come.” While the brooding “Towns That Disappeared Completely” and laser-strafed “War In The Streets” certainly brings these comparisons together, the album still remains a work of science fiction, albeit one rooted in decaying urban realism as opposed to otherworldly fantasy. Tracks such as “Are You God?” delve into the “messiah complex” of Charlton Heston’s last-man-on-earth battle to save humankind from the infected inhabitants of earth, while the album’s preceding single “Alpha” is dancefloor minimalism at its finest — yet another lesson in stripped-down machine funk. Floating between the cinematic experimentalism of “The Plague (Cleansing Maneuvers),” the low-key minimal grooves of “The Workers Of Iniquity,” and the pure dancefloor adrenalin rush of “Omega (End Times),” Robert Hood gives us another minimal masterpiece. As Hood himself concludes. “This movie is an exercise in faith. Everybody is dead. Through all this adversity, there is still hope, but man has to repent. This is a message of hope and through the adversity, people will begin to look at a higher force.”
| || DEUTSCHE WERTARBEIT: Deutsche Wertarbeit LP (MEDICAL 001LP) 19.00|
“Medical Records will be focusing on high quality 180 gram vinyl reissues of lost classics in the new wave, cold wave, cosmic disco, and synth genres. Fantastic and long out-of-print solo project of Dorothea Raukes. Dorothea was the ex-singer in of the famous German progressive, Krautrock band Streetmark (founded 1968 in Düsseldorf and released 4 LP between 1976-1981). Dorothea Raukes was one of the few female characters of the German progressive rock scene. LP was previously released by Sky Records in 1981. The LP is instrumental and reminiscent of a style similar to other classic late 1970s synth pioneers (Cluster, Tangerine Dream, Wolfgang Riechmann, etc.). LP is released on high-quality 180 gram vinyl in a limited edition of 500 (individually numbered). The LP consists of 6 beautiful synth tracks and will be certain to appeal to fans of the above mentioned artists or any fans of early minimal wave, synth soundtrack, or other lost classics from the era of late 1970s/early 1980s.” Red-colored vinyl.
| || ROBOTNICK, ALEXANDER: Ce N’est Q’un Début LP (MEDICAL 002LP) 19.00|
“Alexander Robotnick (aka Maurizio Dami) is an Italian electronic musician. He made his debut on the Italian music scene as the founding member of Avida, a dance-cabaret band featuring Daniele Trambusti and Stefano Fuochi. In 1983 he attained international popularity with his track ‘Problèmes d’amour’, published first by the Italian label Materiali Sonori and then by Sire-Wea. ‘Problèmes d’amour’ went on to become a ‘cult track’ of the disco scene. It became quite an import hit in America’s underground club scene, and sparked the mini-LP Ce N’est Q’un Début that same year (originally released on Materiali Sonori in 1984 (Italy)). It consists of 6 captivating tracks including the hit ‘Problèmes d’amour’ as well as the track ‘Dance boy dance’ which has appeared on other cult disco compilations. Ce N’est Q’un Début will appeal to lovers of Italo disco, early new wave, and minimal pop. LP is released on high quality 180 gram vinyl in a limited edition of 500 copies (individually numbered).” On blue vinyl.
| || CHAD’S TREE: Crossing Off The Miles 2CD (MEMO 007CD) 18.00|
For the first time on CD, these are the long-awaited recordings of Chad’s Tree, the band that introduced the singer-songwriting brothers, Mark and Rob Snarski to the Australian public. The brothers are best known for their post-Chad’s Tree careers in The Jackson Code and the ARIA-nominated Blackeyed Susans, respectively. They also both sing with the remaining Triffids, when that band stages their tribute to the songs of Dave McComb in the Secret In The Shape Of A Song concerts. Emerging from Perth in the early 1980s and relocating to Sydney mid-decade, Chad’s Tree were championed by fellow West Australians, The Triffids — a band they more than shared stylistic and thematic similarities with. Chad’s Tree’s brittle, off-kilter sound evoked the sense of distance, desolation, harshness and loneliness of the Australian landscape. Crossing Off The Miles features both the Buckle In The Rail (1988) and Kerosene (1989) albums, every single and B-side and 11 unheard early demos and live recordings. All audio has been remastered from the original master tapes. Crossing Off The Miles is housed in a smart gatefold wallet with a 32-page booklet stuffed with rare photos and exclusive liner notes from eight contributors, including both Rob and Mark Snarski, authors Niall Lucy and David Nichols.
| || KOMATON: Corrupt 12″ (MERKE 004EP) 12.00|
Merkesdir are proud to present Komaton, two young Austrian sound artists living in Vienna and Linz. Always focusing on their passion to touch and move the body and soul of their audience, they express their musical sentiments through the utter infinities of electronic sound, without compromise.
|MILLE PLATEAUX (GERMANY)|
| || AMETSUB: The Nothings Of The North CD (MP 301CD) 17.00|
This is the second album from Tokyo’s wunderkind Ametsub, originally released in 2009 on the Progressive Form label. Ametsub produced the album The Nothings Of The North and its cover art after being deeply impressed by a trip to Iceland. With the same incredibly detailed production and crystal-clear sound already established by his debut, Ametsub shows more mature composition and arrangement skills. There is always something new to discover while listening. Based around his great and chordful piano playing, the tracks range from experimental via ambient to IDM-ish sounds. This results in an experimental but still very listenable album. There is a reason why Ryuichi Sakamoto and Yagya became fans of Ametsub: this album already now is a true electronic classic. Includes a remix by Helios and a video edit.
| || VA: Clicksandcuts: fivepointone (The Bonus Package) CD (MP 306CD) 12.50|
The influential electronic label Mille Plateaux kickstarts its newest chapter with its flagship: a new edition of the legendary Clicks & Cuts compilation series that in fact, named its own genre of electronic music. Volume 5.1 is a special bonus package featuring seven full-length versions available only as shorter versions on the original 5.0 release from a totally new generation of young artists, giving a 360-degree view on fresh glitch sounds: from minimal clicks to IDM-/dub-ish tracks via ambient and sound art. There is also a free album teaser, revealing 20 seconds of each track from the album. Each song has its own distinct character, and with a significantly higher amount in melodic and compository details than its predecessors, this is probably the most musically substantial Clicks & Cuts compilation ever. Other artists include: Lodsb, Rimacona, Pleq, Damián L. Felitte, Aoki Takamasa, Wyatt Keusch, Ametsub, Kiyo, Manathol, Nicolaus, and Sifa Dias.
|MO’S FERRY (GERMANY)|
| || DAPAYK SOLO: Decade One (2000-2010) 2CD (MFP 050CD) 17.00|
This is the third full-length release from Dapayk Solo (Niklas Worgt) on Mo’s Ferry. Dapayk has been a producer and live act to be reckoned with for the last ten years. Starting in comfortable Thuringia, the Berlin-based musician can now look back on a decade of his work. So Dapayk’s label Mo’s Ferry gives us Decade One (2000-2010), a double album wrapped up beautifully with a thick booklet of pictures taken on the road over the last ten years. On CD1 he once again masters the balancing act between techno, house and a hint of broken beats and combines brand new tracks with refreshed classics. With this album, Dapayk takes a stronger approach to jazz and classic film score influences, which already played an important role on his previous album Devil’s House (MFP 039CD). The second CD contains remixes of various Dapayk projects such as Dapayk Solo, Dapayk & Padberg or Dapayk & Midnight that were contributed by artists Oliver Koletzki, Exercise One, Florian Meindl, Pan Pot, Olene Kadar, Heinrichs & Hirtenfellner, Format:B, Tassilo, Dominik Eulberg, and Sebastian Russell.
| || VA: Hi Five Mobilee Part 1 of 3 12″ (MOBILEE 067EP) 12.00|
Mobilee celebrates their fifth year with the first edition in a limited edition vinyl series with selected tracks from the Mobilee label compilation, 250 copies only. Part 1 kick-starts the party with a huge “Happy Birthday” bomb from label ravers Pan-Pot, packed with bass, energy, euphoric synths, big builds and even bigger drops. The second track on this collector’s item must-have, “Attendance,” comes from Exercise One. Minimal, dark, hypnotic and moody, it’s the perfect compliment to the flip side.
| || GOLDEN DISKO SHIP/JASMINA MASCHINA: City Splits No.1: Berlin CD (MONIKA 065CD) 14.50|
City Splits is a new series presented by Monika enterprise. Whereas Monika’s 4 Women No Cry series is designed to unite artists divided geographically, City Splits will instead focus on one city and present two of the most exciting new musicians from that scene. Berlin was a logical choice for the 1st installment, hand-picked by Gudrun Gut: two interesting female musicians/producers who live and work in the German capital. Golden Diskó Ship aka Theresa Stroetges started playing songs live on her laptop since the moment she first arrived in Berlin in 2007. The sound sculptress has quickly become renowned for her imaginative blend of fragile balladry, novel use of found objects, crunchy distortion, quirky visuals and squealing bits that suggest horrific drum machine abuse. Her uniquely chaotic and original music with magnificently swirling sounds has fast made Golden Diskó Ship a favorite of the Berlin underground-indie scene. Jasmine Guffond aka Jasmina Maschina is a celebrated Australian electronic musician who relocated to Berlin from Sydney in 2003 with her band Minit. Over the last 10 years, Jasmine has been recording and performing with Minit, exhibiting sound installations, and developing works of varied scope based on the use of processed acoustic, electronic, and found sound sources. Equally interested in song, composition and free, improvised music, as Jasmina Maschina has further developed her studio recordings with musicians Theresa Stroetges (guitar, viola, glockenspiel, high hat, zither) and Steve Heather (drums on “City Fever”). The song “Ausland” originates from a live solo electronic performance at Ausland Club in Berlin, and developed into a variation of “Slow Walker,” a song from her album Demolition Series. With a trip to L.A. already planned for #2, City Splits offers a fresh take on the urban musical landscape.
| || PENNER + MUDER: Same Monkeys Different Zoo CD (MOOD 012CD) 17.00|
This is the debut full-length release from Berlin/Hamburg duo Penner + Muder. Nils Penner and John Muder produced their first 4-track demo CD in August 2007. Produced in the Suol Studios in East-Berlin for fun rather than with a full-blown business plan, Sasse signed 2 tracks of this demo for his Moodmusic imprint. Are You Lost (MOOD 065EP) became Penner + Muder’s first vinyl 12″ release. It got great reactions from the DJ community and the B-side “Millennium Falcon” was picked by electro-maestro Oliver Huntemann himself for his mix compilation Play 02! Live At Rex/Paris. Release-wise, the guys kept it slow and focused on quality rather than quantity. Same Monkeys Different Zoo is the result and sees the duo draw on their solo output (Nils and his Wazi Wazi imprint and John’s Johjon alias and Suol imprint) as well as vast knowledge of classic deep house sounds to create something fresh, varied and essential. From the opening keys of the piano-led intro and first full track “Let The Music Play,” there’s a beautiful and slightly melancholic thread throughout. This is a house album, however, and groove does not suffer as the stripped-back drum&vox of “All About You” aptly proves. Whether it be the dubby feel of “Sunset Blvd” or the future soul of “Time Has Come,” Same Monkeys Diffferent Zoo is bristling with emotion and even in tracks like the decidedly austere “Solitary Movement” (with Muder’s long-term friend/label partner Chopstick) there’s a real sense of feeling. This impassioned theme culminates in the stunning “Are You Lost,” a future classic in the making. Balancing melody with groove, melancholy with uplift and dancefloor sensibilities with a home listening vibe is a rare feat but Penner + Muder have pulled it off and have done so with a heavily song-based LP — a testament to their talent if ever there was one.
|MOON HARBOUR (GERMANY)|
| || MARTINEZ: The Paradigm Shift CD (MHR 012CD) 17.00|
This is the third album by Denmark’s Martinez. Throughout his career Martin Schwanstein aka Martinez has experienced quite a few musical paradigm shifts. And he is certainly not the only one in the techno scene who has done so. Many of his fellow musicians also started, over time, focusing more on certain forms of techno and house music. In the case of Martinez, it was a shift from deep house to minimal techno and finally to his current dancefloor house sound; however, you never get the feeling that Martinez is just jumping on the bandwagon. When his first record, Momomowha, was released on Moon Harbour in 2008, the house revival had just started, and Martinez instantly managed to establish his own little niche. After 3 EPs and a co-production with label boss Matthias Tanzmann, Martinez has established himself on the label’s roster of musicians and represents Moon Harbour at label parties all over the world. When you see Martinez DJ, his many years of experience become obvious — he simply knows how to set a club on fire. The Paradigm Shift is unique in having mastered the balancing act between dancefloor rhythm and home-listening quality. His organic sound combines all elements such as dense beats and jazzy chords so well, the listener is convinced that all of these are cast from the same mold. Every now and then, you get the feeling you are listening to a really old house record that was simply produced with 2010 technology. Funky and explosive at all the right moments.
|MULE ELECTRONIC (GERMANY)|
| || BASIC SOUL UNIT: Night Heat 12″ (MULE 071EP) 12.00|
This is the 2nd release by Canadian producer Basic Soul Unit on Mule Electronic. “Night Heat” is a melodic and playful Detroit-ish house track. On the B-side, Fred P aka Black Jazz Consortium remixes, almost cutting off the melody to make a more DJ tool version. It fits perfectly in a dark club. If you like the sound of Underground Quality releases or that kind of house music, you will definitely need to check this out.
|MULE MUSIQ (GERMANY)|
| || DE SONG, CULOE: Ambush 12″ (MUSIQ 049EP) 12.00|
“Long awaited second release from the new star from Africa. His releases from Innervisions and Mule Musiq were highly acclaimed. The new song ‘Ambush’ is Culoe’s unique touch on the deep house sound with his African taste. it’s beautiful as music but off course it will make a great DJ tool as well. Culoe can do no wrong at the moment!!”
|MUNSTER RECORDS (SPAIN)|
| || PLASTIC PEOPLE OF THE UNIVERSE, THE: Magical Nights 3LP (MR 294LP) 34.50|
3LP version. Munster Records presents the most complete anthology of the legendary Czech band The Plastic People Of The Universe. PPUS was formed in autumn 1968 in Prague by teenagers and former school-mates bass guitarist Milan “Mejla” Hlavsa and guitarist Jirí “Premek” Stevich. They teamed up with vocalist and clarinetist Michal Jernek and drummer Pavel “Eman” Zeman. Their increasing popularity attracted attention from Ivan Martin Jirous, until then the artistic mastermind of the legendary Primitives Group. He secured them a professional license and equipment from a state-owned agency. Eventually, another ex- Primitives, Josef Janícek, joined on guitar (later he switched to keyboards). Since the invasion of the Warsaw Pact armies in August 1968, the Czechoslovakian Communist regime was continuously tightening the reins on most segments of the society, and particularly on the West-influenced youth culture. By 1970, the PPU had lost their agency support and the state-owned instruments. Jernek and Stevich quit, replaced by guitarist and violinist Ji?í Kabes and the Canadian vocalist Paul Wilson. In 1973, Hlavsa, Janícek and Kabes were joined by saxophonist Vratislav Brabenec. As an experienced jazz musician, Brabenec caused a further major shift in the group’s orientation, from relatively straight progressive rock towards more experimental music forms. They also ditched the English lyrics in favor of original Czech poems, supplied at that time by the underground philosopher and poet Egon Bondy. During the winter of 1974-75, the PPU clandestinely recorded their first “album” on archaic equipment in the unheated rooms of the Houska castle. Parts of it were released in France as Egon Bondy’s Happy Hearts Club Banned LP in 1978. In 1976, dozens of members from the underground community were arrested by the secret police, including the PPU musicians, and several of them were put on trial. Brabenec and Jirous were sentenced to eight and 18 months in prison. That trial was the impetus for playwright Václav Havel and other intellectuals to publish the Charter 77 document in January 1977. Despite all the hurdles, the PPU kept on writing new material, which they occasionally performed and recorded at Havel’s private farm. The persecutions by the secret police continued, and in 1982, Brabenec was forced to emigrate. Although the PPU home-recorded several albums through the 1980s, after 1981 they did not play before an audience until their break-up in 1988. After the Velvet Revolution of 1989, the PPU briefly reappeared in 1992 for a few gigs, featuring the original founding members. In 1997, after being asked by Václav Havel (then Czech president) to perform at the 20th anniversary of Charter 77 at the Prague Castle, the classic 1978-1982 line-up eventually decided to reunite. And despite Hlavsa’s premature death in 2001, they continue touring successfully to the present day. 3LP package features 31 tracks recorded between 1969 and 1985 by this influential and revolutionary experimental band. Includes printed inner sleeves with notes by expert Luká Machata, with rare photos of the band.
| || LOS SAICOS: ¡Demolición!: The Complete Recordings CD (MR 295CD) 17.50|
“With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted ‘punk’ explosion of the ’70s. The unhinged nature of the song titles is one thing, but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There’s a point where nature takes over and in kicks the call of the wild. The individuals have no other option than to just go with it. I don’t know about you, but I have an intense dislike of artists that are nothing more than a modular, cookery book approximation of what somebody reckons might be a hipster record collection. This is decidedly not a case of that. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy.” –Lindsay Hutton; Includes a 40-page color booklet with extensive notes in Spanish and English with many unseen photos and a free download card.
| || ESKORBUTO: Maldito País: Primera Época 1982-84 2CD (MR 297CD) 17.50|
Compilation of all the recordings by this legendary punk band prior to their LPs: the sessions for their single Mucha Policía, taken for the first time in 27 years from the original tapes, which has unearthed two studio recordings unissued until now; plus rehearsals, demos and live recordings. Completely remastered. A furious, no-holds-barred sonic account of a period of immense changes for Spain and the Basque Country. The origins of the most important Spanish punk group, regarded as one of the essential bands of the genre all over the Spanish-speaking world. It was a time when the walls were teeming with socio-political proclamations, where the hammer and sickle — alongside the illegal Ikurriña (the flag of the Basque Country) — were the most widely-used symbols. A time of general strikes and smoky joints, where huge speakers played loud rock. In Santurtzi, on the left bank of the Nervión estuary, a unique band was born: Eskorbuto. Iosu Expósito and Jualma Suarez lived in working class neighborhoods that had grown fast. In the ’60s, industrialization and rampant development transformed them into urban areas without any investment in urbanism. Some elements for the alchemy led to the explosion: intelligent young guys who were nevertheless incapable of adhering to school discipline, a country in full swing towards freedom after 40 years of dictatorship. One day at the end of the ’70s, they decided to start a band. The first period of Eskorbuto’s life, before the damage done by the needle became noticeable, was incredibly fruitful. They soon found a rehearsal space, thanks to their first drummer (“Gu”), and there the first songs were born: “Enterrado Vivo,” “Busco En La Basura,” ‘Éste Es El Porvenir,” and “Mucha Policía, Poca Diversión.” It was a period of line-up changes. Iñaki Laiseka played bass for them, and that role was also taken by “Seni” and “Garlopa,” two precursors of “left bank” punk. Later on they found Paco Galán, who also came from a similar neighborhood to theirs. Paco always was the necessary engine, the piece around which the rest revolved, which guaranteed continuity. His drumming also added an apparently chaotic element to the already unbridled guitar melodies and visionary texts, halfway between dirty realism and Edgar Allan Poe’s nightmares. These recordings are taken from those early times of excitement and vertigo, of journeys to Madrid and endless trips up and down the left bank looking for “someone that I’ve heard is selling an amp.” Completely remastered from the original sources. Includes two previously-unissued tracks. Includes a 12-page booklet with notes and rare photos.
| || ESKORBUTO: Maldito País: Primera Época 1982-84 LP (MR 297LP) 19.50|
Limited vinyl edition with 60×40 cm poster. Features 22 of the tracks from the CD.
| || MICKY: La Cuenta Atrás LP (MR 302LP) 19.50|
LP version, limited edition of 500 copies. Micky, a rock & roll pioneer in Spain along with his legendary backing band Los Tonys, has recorded a new album featuring 12 hits at Jorge Explosion’s Circo Perrotti vintage studio. This time he’s accompanied by a band of true lovers of rock & roll, including members of Doctor Explosion, Raunch Hands, The Kaisers, The Reak McCoyson and Bubblegum, among other underground garage stars. “In 1997, on the occasion of a Dr. Explosion show at the Actual Festival in Logroño, the organizers suggested each band play a couple of songs that night along with a singer from a ’60s band. So there’s me, meeting up with Micky at Hotel Pathos and rehearsing Los Tonys’ ‘I’m Over.’ During the following 11 years, we saw each other a couple of times thanks to a friend in common, Miguel Escalada, who in the ’60s led his own beat group, Los Sonys. A June Sunday in 2008 when I was working in the studio, I got a call from them and we met up for an aperitif. I was really glad to see Micky again, and when he asked me what I was up to, I told him about Circo Perrotti and he seemed really interested. We ended up having lunch together and talking about rock & roll, and one thing led to another. Suddenly it struck me. I’m tired of seeing old rock & roll stars from past decades coming back and trying to recapture that period with records that sound, to put it gently, ‘rather cheesy.’ So I thought: ‘Wouldn’t it be amazing to work on something with Micky? Would he be willing to be in my hands and trust my judgement?’ Without thinking twice, I asked him. I immediately thought about getting my friend John Gibbs, founding member of The Kaisers, involved. Micky was a rock & roll pioneer in Spain with Los Tonys, and he’s probably the only person from the ’60s with the required energy to get on board with something like this. He’s an artist whose emotion while talking and singing is contagious. But this time, he’s doing it in a brutal, raw and honest way, without overblown productions or flashy musicians, where the recording breathes with the urgency and excitement of proper rock & roll.” –Jorge Explosion
| || LEGENDARY TIGERMAN, THE: Femina 2LP (MR 303LP) 25.50|
This is the fourth album by the Portuguese blues one-man-band who combines the tradition of the original blues from the Mississippi Delta with new technology (samples, beats, loops). The Legendary Tigerman (Paulo Furtado: ex-Tédio-boys, Wraygunn) is the man behind the kick, the hi-hat, the kazoo and the guitar, here accompanied by several famous women from the musical scene. Following the tradition of the old blues men, this one-man-band literally jumped from Coimbra, Portugal to the world. Well, the Tigerman has the roots but he also combines it with new technology (samples, beats, loops), always keeping it real, playing the instruments live. The consequences of this blend are explosive and have brought him exposure in Europe, USA, Brazil and Japan. Being a one-man-band, it’s hard to think of a live show as something that has a lot of stir. But, in fact, it has. There’s something of a punk attitude in the Tigerman’s shows. The blues is alive in the music he plays, but it always feels like a riot is about to explode and we can’t guess when, such is the tension he brings onstage. Now, it’s time for Femina, the fourth album of The Legendary Tigerman. This time, only women are allowed to step in the Tigerman’s world. After three records where, in an explicit or hidden way, women just existed in the songs, the lonesome Legendary Tigerman isn’t alone anymore. Asia Argento, Peaches, Lisa Kekaula, Becky Lee, Phoebe Killdeer, Cibelle, Maria de Medeiros, Rita Redshoes, Claúdia Efe, Mafalda Nascimento, Dorit Chrysler, Rita Braga and Cais Sodre Cabaret are this album’s co-owners. Like a Serge Gainsbourg drunk on blues or a post-punk Lee Hazlewood, the Legendary Tigerman has created an album where two worlds collide and the result is an album of duets, but not as you know them. Double LP gatefold vinyl in a limited edition of 1,000 copies only.
| || LOS SAICOS: ¡Demolición!: The Complete Recordings 6×7″ BOX (MR 7224EP) 64.00|
6×7″ box version. Comes with a 56-page color booklet with extensive notes, many unseen photos and a free download card. Limited to 1,000 copies.
|MY BEST FRIEND (GERMANY)|
| || SQL: Midnight Brunch 12″ (MBF 12068EP) 12.00|
SQL’s 4-track EP Midnight Brunch is based on magic, stripped-down tracks which seem sparse, but are, in fact, super-funky. A bit of Chicago’s house history is incorporated for sure, but Pim van Horssen is definitely also new school. His dry and wailing sounds put him next to Daniel Bell. “Midnight Brunch” is a peak-time rocker, while “Border Dot” is a more sensual mover, with a more recognizable arrangement. “Funky Visa” and “Sunday” represent the more deep end of SQL.
| || WHITE, PAUL: Paul White And The Purple Brain 2LP + 12″ (NA 5061LP) 27.00|
“Paul White And The Purple Brain is the intriguing sophomore album from South London producer Paul White. A collaboration of sorts, the entire record is based around and inspired by the work of little-known Swedish psych-rock guru ST Mikael. 25 psychedelic hip hop tracks that will be enjoyed by fans of Broadcast, Madlib, Dungen and Caribou. Packaged in a deluxe ‘paste-on’ jacket. First 1000 sets will include a bonus 12″ from Paul White featuring Guilty Simpson.”
| || JORGE AND ALMAZ, SEU: Everybody Loves The Sunshine/Cirandar 12″ (NA 5069EP) 8.00|
“Now-Again announces the latest album by Brazilian singer/actor Seu Jorge – Seu Jorge and Almaz – with a 12″ single: a Brazilian take on the Roy Ayers’ classic ‘Everybody Loves The Sunshine’ and the dark samba of Martinho da Vila and João de Aquino’s ‘Cirandar’. This single is mixed by Mario C; instrumentals included.”
| || VA: Local Customs: Lone Star Lowlands CD (NUMERO 034CD) 18.00|
“The second in Numero’s series of peeks into the world of regional studios hones in on Mickey Rouse’s Lowland operation out of Beaumont, Texas. Long after the Bopper’s plane crashed and the Winter brothers (Johnny and Edgar) and Janis Joplin split, Texas’ Golden Triangle was home to a vibrant scene of musicians, songwriters, and entrepreneurs just trying to make it in Houston, let alone the world. From the ashes of a vibrant garage and stage band scene, the Lowland studio and its clientele were formed. Holed up in a rundown strip mall, groups like Mourning Sun, Insight Out, Sage, Sassy, Mother Lion, Hope, Circus, and Boot Hill tracked out hundreds of demos, most of which were put on the shelf and left to bake in the South East Texas heat. Until now. Over the last two years, Numero has painstakingly gone through every tape in the studio’s archives, selecting the best of the best for this peerless compilation. The songs themselves run the gamut; southern boogie rock, CSNY clones, British blues thunder, garage-psych hangovers, Morricone-esque supper club instrumentals, yacht rock, and what can only be described as Bobby McPherin fronting the Velvet Underground, are threaded together in the way only a tightly-knit scene can be. Forget bringing these treasures back to life, Numero’s giving them the life they never had.” Includes a 36-page booklet with extensive notes and rare photos, and a Lowland studio family tree.
|OLDE ENGLISH SPELLING BEE|
| || LYNCH, JULIAN: Mare LP (OESB 051LP) 17.00|
“Second full-length album by Julian Lynch. Recorded in Madison, Wisconsin and Ridgewood, New Jersey in 2009 and the beginning of 2010. Download coupon included.” “An earthy, eclectic record that manages to be challenging, but also remarkably patient, it’s the sound of the formerly Ridgewood, NJ-based songwriter quietly coming into his own….a major creative step forward for Lynch, whose absorbing ambient pop sounds prove how refreshing this kind of subtlety can be.” — Pitchfork (8.5)
|OPTIMO MUSIC (UK)|
| || BIG NED: Big Ned CD (OM 003CD) 15.50|
This is the debut album by D. James Clark and John Murray aka Big Ned, two twisted Glaswegians with a penchant for dark and twisted tales and tones. Imagine David Lynch getting stuck in a barrel of booze with a big, crooning cowboy. Tales of dark liaisons, women trouble and spiritual prowess are finely blended with an array of dark melodies, terror noises and warped guitars. This is an album with dysfunctional America coursing through its veins and oozing from every pore. This concoction of sleaze, fuzz and death is difficult to categorize. Other obvious influences include Angelo Badalamenti, Smog, Nick Cave, Elvis, Swans, Johnny Cash, Chris Isaacs’ “Wicked Game,” Carl Denver and The Gun Club. And most likely Satan. Thrown into this electric soup is Charles Bukowski, Repo Man, Gummo, Lost Highway, Clint Eastwood, Lux Interior, the Bible, Glasgow city barbers’ window display, Casper The Friendly Ghost, and every impressive boxer who ever entered the ring. For Big Ned, this is the soundtrack to drag racing, zombies, drinking, shoplifting, dancing like a maniac, arm-wrestling, fucking, smoking and Lee Marvin putting the boot in. One hand raised in the air with a stiff middle finger, the other raised with a glass of whisky; saluting those with charm and machismo that make music a delight and who entertain. Expect mayhem, chaos and maybe even death.
|OSTGUT TON (GERMANY)|
| || KLOCK, BEN: Berghain 04 CD (OSTGUT 013CD) 15.50|
Following Berghain mixes from André Galluzzi, Marcel Dettmann, and Len Faki, this is the fourth installment in this series, mixed by Ben Klock. When it comes to Berlin’s Berghain and its myth, we all know the deal by now: techno, concrete, and marathon dances. Fact or fiction, Berghain 04 comes in the nick of time. It is impossible to reduce Ben Klock’s musical vision and especially his work as a DJ. He seems not to care about classifications, about the limits and differences of techno and house, if something fits into the dubstep formula or if a record is in line with the scheme of an almighty and dominating bass drum. The Berghain resident is just doing what always separated a brilliant DJ from a good one: Klock adopts the music as his own. Literally, Ben Klock’s debut mixed CD is a cornucopia of new, unreleased and exclusive pieces. Bass music hero Martyn delivers one of his clunky hybrids, Berlin’s best-kept secret Roman Lindau presents breathtaking, chrome-plated dub techno and a new player by the name of ACT surprises and amazes all at the same time. You will hear fantastic novelties by Rolando, New York’s very own Levon Vincent, Klockworks artist and Minneapolis genius DVS1 and of course, by Ben Klock himself. On the one hand, there’s an astonishing melodic and engaging track called “Compression Session 1” and another called “Elfin Flight.” There is an unwound collaboration with Elif Biçer and a perfect lead to the levitating grand finale. Klock turns all these ingredients into one long and harmonic blend. Without any sign of hectic or nervous breaks, but not without thrilling moments, peaks, valleys, or turning points, Berghain 04 primes its listener for the climax of a long night out: the disappearance of space, time and the outside world. Other artists include: 154, Junior Boys, Marcel Dettmann, STL, Jonas Kopp, Mikhail Breen, Kevin Gorman, Tyree, The Echologist, and James Ruskin.
|OUT HERE RECORDS (GERMANY)|
| || VA: Yes We Can: Songs About Leaving Africa CD (OH 017CD) 15.50|
Out Here presents a compilation of 15 artists from modern Africa and the Diaspora who share their perspective on migration. The CD starts with “(Still On A) Money Talk” by Nigerian rapper Rapturous from Berlin who intones “Gimme the glitz, the glamour, the fame, the fortune, that euro, that dollar, that Dolce & Gabbana” dreaming of what it could be like “if I follow my dreams.” Senegalese hip-hop stars Daara J Family are present with the exclusive track “Unité 75,” named after the 75 Cfa that a phone call to Europe costs in Senegal. It addresses a problem many immigrants face: the pressure to send money back home, money they often do not have. Another well-known Senegalese rapper, Matador, talks about the growing alienation the youth feel towards their home country Senegal: “The youth protest, kids organize a petition. The police catch them and beat them till they’re silent — if they don’t smoke ganja or drink wine, I don’t know what they’ll do to forget the pain.” The freestyle rappers of CAPSI Revolution, also from Dakar, are even more cynical: “Illegal immigration — I know that you’re destroying my continent, you empty us of the best people, to feed the depths of the Atlantic.” In “Green Card” Wanlov from Ghana talks about getting to the USA by marrying an older white woman from Texas. Martin Pecheur from Cameroon sheds light on another perspective behind migration: he is infected by the “virus des sapeurs,” a movement originally from the Congo that worships western designer clothes. Celebrating one’s riches is also in the heart of the Coupe Decalé movement from the Ivory Coast that has brought Africa a dance craze which consists of displaying the designer clothes acquired in Europe. Coupe Decalé is represented here by one of the stars of the movement: Kedjevara. Izé from Cape Verde sings about going home for a different reason: he feels homesick in Paris and wants to go back to his home country to party with a funaná dance. These 15 songs (containing 12 previously-unreleased tracks) reflect some of the many different perspectives on migration. Each one tells a different story that is confusing and complex, but one that is ultimately shared by many Africans all over the world. Includes a 24-page booklet with full-color photos and extensive notes about each artist.
|PAST & PRESENT (UK)|
| || VA: Psych Bites Volume Two CD (PAPR 2116CD) 17.00|
The Past & Present label presents the second volume in their Psych Bites series of compilations. Psych Bites Volume Two throws up an international melting pot of twisted mantras and wide-eyed rockers that are almost religiously defined by the volume of their fuzz boxes. This global garden of unearthly delights hosts a variety of rare species including the last-ever mod boogaloo from 1970, presented by the honorary Spencer Mac and the pure psychosis of Decca’s African warriors Ofo The Black Company, with their distorted take on strumming the guitar taking on new levels of hysteria for lovers of acid, fuzz and punk. The Psychomaniac offers a complete course in horticultural hallucinogens for the headcase with Indian chants, psychosis and neurotic reactions. It’s all here in its most frenzied form of enlightenment for your spiritual consumption. Other artists include: Zappatta Schmidt, The Chartbusters, The Messengers, Anvil Chorus, Frumpy, The Revells, Blackbirds 2000, Kannibal Komix, Krokodil, Rote Gitarren, Madeleine Chartrand, Athanor, Rattles, Danta, Dave Dean, Janie, and Orange Peel.
| || VA: Talking About The Good Times Volume 1 CD (PAPR 2122CD) 17.00|
Subtitled: A Collection Of Unreleased Acetates & Obscure Psychedelic Pressings. The Past & Present label presents volume 1 of the Talking About The Good Times series — an interesting collection of lovingly compiled ’60s rarities, now digitally-remastered for the delight of all you collectors out there. Rare acetates and scarce unreleased tracks from 5 Gentlemen, Smoke, East Of Eden, Young Flowers, Orange Peel and others. The whole album is just a groove-fest, and is deeply worth checking out. Don’t even ask about the price of the originals of these — you couldn’t possibly afford them! You need never know a moment’s peace again. Includes comprehensive liner notes. Other artists include: Skip Bifferty, J And B, 1984, Creation, John Williams, Still Life, Henri Shrifter, Bruno Castiglia And I Bisonti, John Deen And The Trakk, Hard Meat, and some unknown artists.
| || VA: The Electric Asylum Volume 5: Rare British Freakrock CD (PAPR 2123CD) 17.00|
The Past & Present label presents volume 5 of The Electric Asylum. In this, the last installment, an eternally-immoral cast of British freakbeat players from the late-’60s to mid-’70s have been assembled in the ritual meeting place for a few hundred seconds to perform near-impossible feats of eccentricity for your listening pleasure. To secure your eventual dementia, an insane epic has been hidden amongst the handsome absurdities contained herein. We hope you have enjoyed your stay in the Electric Asylum. Artists include: Tracey Dean, Colonel Bagshot, Biggles, Iron Horse, Dunno, Hector, Baby, Slow Dog, 13 Amp, Matchbox, Life, Now, Squeek, Dawn Chorus, Jets, Boston Boppers, Barry Green, Mustard, and Whistle.
|PATTERN REPEAT (GERMANY)|
| || PATTERN REPEAT: Pattern Repeat 03 12″ (PATTERN 003EP) 12.00|
This third release on Pattern Repeat is a powerful techno chord EP with dubby elements, perfect for the dancefloor. Kenneth Christiansen and Dennis Bøg met eachother when they worked together at a famous Copenhagen record shop. At that time, Dennis was more into broken beat, hip-hop and deep house. Kenneth was already running the label Echocord, and soon Dennis started his label Baum. The duo decided to do a new project together, and Pattern Repeat was born. On white vinyl.
| || PEANUT BUTTER WOLF: Straight To Tape 1990-1992 CD (PBW 009CD) 14.00|
“Not so sure about anything with these songs except for the fact that I made them while living with my mom in the early 90s and almost all were recorded with the rappers rapping through headphones plugged straight into the DJ mixer. I didn’t use compression on anyone’s voice nor did I know what that was back then. That’s why the vocals are all over the place. Most songs didn’t have effects on the voices either. A lot of adding loops on top of other loops live, which made it sloppy. At this point in my ‘rap music career’, my goal was to make a Marley Marl In Control type comp with all the rappers in San Jose I was meeting at the time. My situation was a lot different than Marley’s though, mainly because he established a crew of rappers that all worked together (before Wu-Tang) and most of the rappers I worked with never even met each other. The fact that I put out a record with Lyrical Prophecy (Quiz One and Deshee) in 1989, made it easy for me to find MCs to record in San Jose. I was known as the ‘kid with the record out’, even though it didn’t really sell. I was also the only kid with a sampler besides King Shameek, but Shameek moved to New York. None of these ‘songs’ were really finished and definitely none were polished. They were all rough draft versions with the intention of going into a proper studio to re-record. The only rappers I really finished songs with and took to the studio back then were Quiz One and Charizma, but none of those ‘actual’ songs are on here. I think at that time, if I made a beat that a rapper liked and he had lyrics, I’d record him over it to hear what it sounded like. Some of the beats were chosen by more than one group or artist, and I’d try different guys over the same track. My idea to do this comp back in 1990 quickly got scrapped as I found myself working with Charizma more than anyone else and decided that he was the one I worked best with. We both had that slightly warped sense of humor. Plus, we both liked the Whirlwind pinball machine, so that sealed the deal.” — PBW
|PERMANENT VACATION (GERMANY)|
| || YANKO, STEVE: The Boy/Prostitute Pink 12″ (PERMVAC 010EP) 12.00|
2007 release. Toronto-based producer and DJ Steve Yanko offers his take on French-Belgian electro-samba group Antena’s “The Boy From Ipanema,” featuring vocals by Isabelle Powaga. This version originally appeared on the Versions Spéciales remix collection (PERMVAC 012CD) of Antena’s classic album Camino Del Sol. On the flip, “Prostitute Pink” offers more smoked-out disco dub, with uplifting key and string sounds you can’t escape.
| || LEXX: Axis Shift/El Sueño Lúcido 12″ (PERMVAC 018EP) 12.00|
2007 release. Zurich-based Lexx (also known under his more house-oriented alias Kawabata) is one of the key figures in the ever-growing nu-disco scene. A sure shot on the floor, “Axis Shift” is an absolute space boogie bomb. On the flip, “El Sueño Lúcido” is a psychedelic Balearic affair with mesmerizing guitar.
| || SHAPIRO, SALLY: Jackie Jackie (Spend This Winter With Me) 12″ (PERMVAC 020EP) 12.00|
2008 release. Heavily influenced by ’80s Italo disco, Sally Shapiro’s “Jackie Jackie (Spend This Winter With Me)” is a stunningly beautiful song with a catchy hook and a refrain that won’t leave you for a long time. The mighty Junior Boys turn “Jackie Jackie” into a blinding disco stomper with an energy level that will have people going nuts on the floor while Dyylan’s remix is a dreamy ambient rework.
| || PESOPEO, BOSTRO: Falls 12″ (PERMVAC 022EP) 12.00|
2008 release. This is the first proper EP from Munich-based newcomer Bostro Pesopeo, who made an appearance on Permanent Vacation’s second compilation (PERMVAC 016CD). On Falls, he develops his very own unique vision of house music. NYC’s highly in-demand disco phenomenon Hercules And Love Affair come up with a funky acid house smasher for their remix of the title track.
| || WOOLFY VS. PROJECTIONS: Absynth/The Return Of Starlight Remixes 12″ (PERMVAC 028EP) 12.00|
2008 release. After hi s much talked-about remix for The Juan McLean, Innervisions’ Marcus Worgull produces a stunning remix of Woolfy Vs. Projections’ “Absynth.” On the flip, The Invisible Conga People, known for their impressive debut on Italians Do It Better as well as previous remix work for Simian Mobile Disco, offer their take on “The Return Of Starlight.” Both remixes make the tracks suitable for the dancefloor for maximum pleasure.
| || TERJE, TODD: Remaster Of The Universe 2CD (PERMVAC 055CD) 20.00|
The lean, mean remix machine of Oslo aka Todd Terje, is finally compiling his finest work on this two disc compilation. And just to be a nice chap, he also remade half of his catalog as a bonus. Just for you! Remaster Of The Universe contains his best remixes, his worst re-edits, half a dozen exclusive re-remixes, plus more. Following a string of celebrated releases leaning on everything from kitschy Euro sounds to dub disco and psychedelic house, Todd Terje has made his mark within dance music circuits. Gems such as the cheese anthem “Eurodans” and the Latin disco-fuelled edit of Jacko’s “Can’t Help it” under his Tangoterje edit-moniker instantly made industry types and clubbers alike go bananas, and made him everybody’s darling, from Gilles Peterson to Pete Tong. Artists include: Reverso 68, M, Chuck Norris, Simon Baker, Chaz Jankel, Duliatten Disco Dandia, José González, Felix Laband, Percussion Break + Shit Robot, Mungolian Jetset, Fox N’Wolf, Dølle Jølle, Gichy Dan, Rogue Cat, Kacic Kullmann, New Mjøndalen Disco Swingers, Antena, and Studio.
|PHOENIX RECORDS (UK)|
| || FAR EAST FAMILY BAND: Parallel World LP (ASH 3013LP) 22.00|
LP version. Originally released in 1976 by Nippon Columbia, now digitally remastered, this is the final album by legendary Japanese space/psych-rockers Far East Family Band. Unlike other albums where the band focused on Pink Floyd-esque psych ballads, on Parallel World, the influence of German producer/electronic music composer Klaus Schulze is more pronounced, merging prog rock with electronic music to create something rather weird and wonderful. Although Schulze oversaw the production of the album rather than playing on it (which he definitely didn’t!), the synth star here is Masanori Takahashi who was later to find new age fame and fortune under the name of Kitaro. This is space rock at its finest and the band’s extended compositions attracted favorable comparisons with both Tangerine Dream and Pink Floyd, and even at times the vocal style of the Moody Blues. Unfortunately, this was the band’s last album, but they went out on a high, achieving the rare feat of appealing to devotees of both Krautrock and electronic psychedelia alike.
| || LES RALLIZES DENUDES: Blind Baby Has It’s Mothers Eyes CD (ASH 3035CD) 17.00|
Legendary Japanese rock outfit Les Rallizes Denudés were formed in 1967 and incredibly, for a group that had only one official release (Oz Days Live, a double vinyl compilation release in 1973), played their last gig almost 30 years later in October 1996. The band’s name apparently means “fucked up and naked,” which more than adequately describes their music. Formed by band leader Mizutani Takashi, the music remained remarkably familiar over the years, and is best described as high volume, raw, lo-fi, repetitive, feedback-drenched guitar-noise fests with nods in the direction of The Velvet Underground and Blues Creation, but without the electronics. Radical left-wing politics were never far from the band’s agenda, with one original band member (Wakabayashi) being involved in the Japanese Red Army’s hijacking of a flight to North Korea. Consequently, the group’s live appearances became less frequent and increasingly clandestine. All the band’s albums were released in very small quantities, and because of the group’s reputation for secrecy and violence, as well as the difficulty in tracking down their recordings, Les Rallizes Denudés has assumed almost mythical status. Blind Baby Has It’s Mothers Eyes sits at #11 on Julian Cope’s list of top Japanese albums. Limited edition of 1,000 numbered copies only, housed in a unique LP-replica card wallet.
| || LES RALLIZES DENUDES: Heavier Than A Death In The Family CD (ASH 3037CD) 17.00|
Phoenix Records releases the oft-bootlegged Heavier Than A Death In The Family by legendary Japanese rock/psychedelic noise band Les Rallizes Denudés. This “album” is in fact, a blistering assemblage of live performances (all recorded in 1977, except for “People Can Choose,” which was recorded in 1973) which sits at an esteemed #3 position on Julian Cope’s Japrocksampler top 50 list. Reverb so heavy, it will split your frontal lobe in two. Limited edition of 1,000 numbered copies only, housed in a unique LP-replica card wallet.
| || QUANTEC: Force Vive EP 12″ (PHONOBOX 008EP) 12.00|
Quantec’s Sven Schienhammer’s first release for Phonobox Records brings four tracks of deeper dub house and techno. “Circles (Re-Edit)” contains the classic Quantec elements, foggy atmosphere and slow-mo techno, reminiscent of the most smacked-out Echospace/Deepchord releases. “Ramified” revolves around Maurizio-dipped bass lines with spiraling dub chords. “Force Vive” and “Swayings” are the closest you’ll come to a house rhythm. On white vinyl.
| || TEEJ, JAMES: Evening Harvest CD (REKIDS 005CD) 15.50|
Canadian James Teej releases his solo album on Radio Slave’s Rekids imprint. Evening Harvest is a selection of material that Teej wrote over a 6-month period in the first half of 2009. With an emphasis on deep techno and house, the album is a journey through an array of different musical sounds and moods, with Teej also adding his own soulful vocals to the music. The tracks were written to be deep listening pieces, while also being DJ-friendly. Evening Harvest is the culmination of 14 years spent listening to, DJing, writing and producing electronic music, and represents the diversity of sounds he is deeply passionate about. In 1997, he released his first EP on his self-created label Reflection Records, under the name James T. From here, he began DJing at afterhour parties, warehouse raves and festivals, everywhere from his hometown to the Rocky Mountains. In 2005, Teej made the move to Canada’s main stage, Toronto, where he set up a studio with long-time friend Nitin. Remixes for Trentemøller, Tobey Tobias and Solee followed, as did releases on Rebirth, My Favourite Robot and Connect Four Records. Evening Harvest also features collaborations with dOP and Richard Hennessey, and in addition, Teej’s own soulful vocals are woven into the deep techno and house of the album.
| || CARTWRIGHT & DAVU SERU, GEORGE: Rag LP (ROAR 019LP) 18.00|
“Rag captures the best from a series of freely improvised meetings between saxophonist George Cartwright and percussionist Davu Seru, recorded at various Minneapolis venues over the course of 2009. Cartwright — longtime leader of Curlew, and owner of a musical c.v. which includes Ornette Coleman, Half Japanese, Alex Chilton and Loren Mazzacane — can be restlessly melodic or jaggedly guttural on the reeds, although his bedrock lyricism is never far from the surface. Seru’s playing is a trompe l’oreille marriage of forward motion and suspended stasis; over the past decade, he’s performed with Milo Fine, Paul Metzger and Evan Parker, among others. From the anthemic opening of ‘Titus’ to the miniature coda of ‘I Think Eudora Knows,’ Rag is a lively dialogue between two masters of their craft. Released in an edition of 300 copies on colored vinyl, each with a unique cover print by Anne Elias and a digital download coupon.”
| || OHO: Okinawa CD (ROCK 028CD) 14.00|
“Official reissue of this rare tripped-out progressive psychedelic rock private press record out of Baltimore circa 1974. This release features the entire original recording as it was meant to be, but was shortened for release back in 1974 due to the time constraints of the original vinyl format. Package includes liner notes and photos and 20-page booklet with lyrics, short stories, quotes, poems and more. The unique progressive style of Oho should appeal to fans of the Frank Zappa, Captain Beefheart, Gentle Giant school of progressive music as well as those looking for something original, psychedelic and/or bizarre and daring. Were they musical geniuses or just completely zonked out on acid? Housed in high gloss tri-fold digipak cover with 20-page booklet insert!”
| || COMMON EIDER, KING EIDER: Worn LP (RS 072LP) 16.00|
“Now expanded to a four piece, Common Eider, King Eider have crafted yet another blast of high-end wind chill that whips through the empty spaces in your skull. More stories of flora and fauna that hang beautifully in dynamic rooms of piano, strings, voices; and stargazing guitar explosions born of layer after layer of feedback. This ghost world is all gray and black, with a high condensation of loss penetrating throughout. Moonlight occasionally lights the path, but for the most part, prepare to be lost in the woods. Liz Harris (Grouper) and Tom Carter (Charalambides) on the tracks ‘Ennui’ and ‘Earth Liver’ add to the overall sense of dread.” Includes poster.
|SENSE MUSIC & MEDIA (GERMANY)|
| || SLICES: The Electronic Music Magazine Issue 2-10 DVD (SLICES 210DVD) 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. Limited stock. Features: Agoria, Motor City Drum Ensemble, Lusine, Massimiliano Pagliara, Claude Vonstroke, Green Velvet, Louderbach; tech talk: Funktion One; label feature: Ostgut Ton; videos: Trentemøller, Riley Reinhold, Rhythm Monks feat. Barbara Panther, Niederflur; EB live & Rare: N.O.H.A., Munk, Roni Size. Format: PAL 16:9. Running time: 165 minutes.
|SHADOKS MUSIC (GERMANY)|
| || ODMENN: Ódmenn CD (SHAD 121CD) 17.00|
This self-titled album was the only one that Icelandic ’70s progressive rock trio Ódmenn ever released. It was made at a critical point in Ódmenn’s history, when the band members had agreed to take a sabbatical year while the guitarist studied law at the University of Iceland. They got together for the last time a year after the album was released and split up directly after, having played only one gig. Ódmenn was formed in early 1966 by the Jóhannsson brothers playing the most popular music clubs in Reykjavík. Most of Ódmenn’s music could be categorized as protest songs or social studies touching topics like anti-war protests and fights against pollution, greed and deception, balanced with more positive stances like hope for a better world with love and eternal brotherhood. Ódmenn recorded this double album in Copenhagen with a release in late December 1970. The group made a great impression with their blooming mixture of energetic blues rock and was probably one of the best progressive rock bands in Northern Europe. There are some mellow, dissonant moments in there, too, illustrated by hazy, ornamental organ. Fifteen great songs, 70 minutes of music. Including a 12-page booklet and many never-before-seen photos, plus extensive liner notes. Members include: Eirirkur Jóhannsson (solo guitar), Jóhann G. Jóhannsson (vocals & bass), Valur Eiriksson (rhythm guitar), and Engilbert Jensen (drums).
| || COOPER, JOHN & PHILIPA: The Cooperville Times CD (SHAD 122CD) 17.00|
It was a long search to locate the rights for this album, since it was not with EMI anymore. With the help of musicians and producers from The Third Eye and Freedoms Children, Shadoks found the original producer. He told Shadoks that, shortly after the album was recorded in 1968, the brother/sister band John & Philipa Cooper went to Britain and from there, they lost track. This amazing album has the same class as Billy Nichols, Duncan Browne and Blossom Toes. Many other musicians from South Africa helped out on this album, and every track is just great. Well-composed underground songs, folk-rock, effects, pop tunes — just the right mixture for an album full of ideas and masterfully played. Perhaps one of the rarest albums from South Africa. This album would have been a great success if it was produced in the UK. It just has the right feel, with the combination of great songs with a ’60s art vibe. Female/male vocals and Julian Laxton on guitar and keyboards, plus eight more musicians on the album. This LP is a perfect slice of 1969 underground folk-rock. Includes an 8-page booklet. Other band members include: Ivor Back (drums), Werner Krupski (keyboards), Art de Villiers (acoustic guitar), Bob Hill (bass), Francesco (fiddle), and Rory Blackwell (tambourine).
| || SVANFRIDUR: What’s Hidden There? CD (SHAD 124CD) 17.00|
The Icelandic prog-rock band Svanfrídur released only one album, recorded six months after they played their first gig. This short-lived band rapidly rose to fame, receiving rave reviews for live performances, but in fact, their music was way ahead of its time. They were unable to seal a recording contract, so they formed their own label — Swan Records. When the album What’s Hidden There? was released in autumn 1972, it got mixed reviews and sold only a few hundred copies, leaving the band with a great album, but sadly, not the income they had been hoping for. Recorded at London’s Majestic Studios, the album was cut and pressed in England. Perhaps one of the best heavy prog/underground albums from Scandinavia, with amazing guitar and all English vocals. Would have been a famous and successful album on Decca UK. Includes a 12-page booklet. Band members: Birgir Hrafnsson (electric & acoustic guitar, vocals), Gunnar Hermannsson (bass, vocals), Sigurdur Karlsson (drums, percussion), and Pétur Kristjánsson (lead vocals).
| || TRUBROT: Trúbrot CD (SHAD 125CD) 17.00|
Trúbrot was the first super-group ever founded in Iceland. It was created in May 1969 when leading members of Hljómar (trans. “Sounds”) and Flowers set out to create the finest Icelandic rock group of all time. Guitarist and composer Gunnar Thórgarson, bass player and singer Rúnar Júlíusson and lead vocalist Shady Owens of Hljómar had been plotting this for some months, along with organist Karl Sighvatsson and drummer Gunnar Jökull Hákonarson of Flowers, before the band’s genesis was announced publicly. These were troubled times, and Trúbrot had countless hurdles to overcome before the band eventually fell apart early in 1973. After the debut album was released in December 1969 by EMI, the vocalist Shady Owens announced that she was quitting. Trúbrot recorded 3 more albums after that which will be released on Shadoks, too. Tony Branwell of Apple Records said that Trúbrot were one of the two best bands he had seen perform on stage in the preceding six months. Really cool underground album full of musical ideas and well-crafted music, including beautiful male & female vocals. The music should appeal to listeners of UK bands such as Blossom Toes and Billy Nichols — totally catchy underground with a touch of pop. Includes a 12-page booklet, and six bonus tracks.
| || ELONKORJUU: Harvest Time LP (SHAD 127LP) 42.00|
From Finland 1972. 500 numbered LPs, heavy sleeve, 180 gram pressing. “Elonkorjuu came from Pori, Finland and were founded in 1969. At first the sessions were done in a rather dark cellar; the musicians were young, talented and highly motivated. Already in the same year Elonkorjuu won the second place at a competition at Helsinki´s House of Culture. Shortly after this the band´s success grew very fast. They toured through all of Finland and were quickly well-known. One of the band´s highlights was the gig at the rock festival in Turku, where they did a big act in front of thousands of youths who went wild about the fantastic band. At the end of the same year they decided to make an LP entitled Harvest Time. This album received progressive rock cult status. The Finnish quintet Elonkorjuu are one of the many little-known bands that did heavy blues/psych with strong prog elements, drawing initially from the schools of Cream, Sabbath and Colosseum, but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius. A killer album from beginning to end. Heavy guitar work all over and great English vocals.”
| || SHOES: One In Versailles LP (SHAD 128LP) 42.00|
From USA, 1975. 500 numbered LPs, heavy engraved sleeve, 180 gram pressing, 2-page insert. “Shoes were formed in Zion, Illinois, in 1974 by brothers John and Jeff Murphy, and Gary Klebe. The Murphy brothers and Klebe were high school friends and decided to form a band following graduation. In the fall of 1974, Shoes was in its infancy as a band. Members Gary Klebe, John Murphy and Jeff Murphy had just completed their first official recording project, Heads or Tails, recorded in a basement on a Teac 4-channel tape machine. In college at this time, Gary was an architecture student signed up to study abroad at the campus in Versailles, France. In his absence John and Jeff decided that it would be a fitting tribute and testament to their commitment to the new band to record a new batch of songs in their newly established home base in Jeff’s small rented flat (referred to as La Cabane) and dedicate it to their pal Gary. The title would be One In Versailles, in his honor. The inspiration of Versailles, France became the basis of an imaginary long-distance romance between a boy and his overseas girlfriend. Despite the limited resources, limited equipment and strained working schedule, the elemental sounding One In Versailles proved to be a crucial link in the fundamental development of the band. The initial pressing of 300 copies have become sought-after collector’s items among record collectors the world over. Appearing here on vinyl for the first time since its limited, 1975 pressing, the songs of One In Versailles provide a look inside the very earliest days of the band and represent a snapshot in the development of Shoes, one of the first do-it-yourself bands to embrace and capitalize on the home-recording technologies. The Shoes have released 20 recordings over the years. Really amazing album. Not so power-pop as the others. This has an underground charm, with lots of heavy guitar, great vocals and tight song-structure. It sails in-between a great wave/pop album with a touch of Spoils Of War avant-garde underground on a rough but clear ocean.”
| || EMBRUJO: Embrujo LP (SHAD 129LP) 42.00|
From Chile 1971. 500 numbered LPs, heavy sleeve, 180 gram pressing, 2-page insert. “The band Kissing Spell changed their name to Embrujo in early 1970 due to the political climate in Chile causing it to be less than ideal for a band with an English name. Embrujo is the Spanish translation of the word Spell (bewitched). So Embrujo is the same band as Kissing Spell and the album came out on Arena Records in 1971. Among the great albums from Chile like Blops, Aguaturbia, Los Jaivas and Escombros, this album is just amazing, just like their first. Beautiful compositions and instrumentation, very well played, strong vocals and poetic lyrics; we would vote this album as one of the best from the of South America. Chile seems to be ‘the county’ for extraordinary pop and underground songs going right into the heart. What a shame that after 1973 until 1990 (Pinochet dictatorship), no more bands could work anymore. We are missing a lot of great future albums by those bands.”
| || SHINDIG: Shindig! Vol. 2, Issue 17 July-Aug 2010 MAG (SHIN V2#17) 9.00|
“Giles, Giles & Fripp: The cheerful insanity that led to King Crimson; Lee Hazlewood: From Peter Gunn to A Cowboy In Sweden; Michael Fennelly: The Millennium, Crabby Appleton and beyond; Pandamonium: The strange journey of the mod/psych heroes; Bang: Philadelphia hard-rock legends spill the beans; Captain Sensible: He’s nuts about garage, psych and prog!; Louise: British psych Zeligs discovered.” 84 pages.
| || LEROCK, SID: Tout Va Bien CD (STRIKE 115CD) 15.50|
The Franco-Canadian and Berlin-based producer Sheldon Thompson (aka Pan/Tone, Gringo Grinder ) aka Sid LeRock presents his third album Tout Va Bien, with 11 fresh and bright tracks that never stop rocking. All his work can be described as very personal electronic music that keeps on searching for the human touch — the errors, wrong paths and trials that one can find in all creative works. The computer and electronic instruments are just alternate ways to create sound and rhythm, just as with drums, guitars, and bass. Sid Le Rock makes use of all these mediums and fights to stray away from the machine’s calculated ways of the straight track. Human error is vital. Tracks such as “Swollen Member,” “Incliner,” and “Pow Wow” are examples of great, rocking, funk tunes with the typical Sid tchak (snare/clap/boom!) style, combined with classical, melodic rock riffs and techno bass patterns. And best of all, are the wonderful hidden gems with amazing vocal tracks such as “Still Life” and “Walk Alone” — classical songs, classical moods, and wonderfully charming singing from a bearded man. After the bankruptcy of Ladomat, Sid LeRock was without a home, so he focused his attention on his other alias, Pan/Tone and his own imprints, Cereal/Killers and Beachcoma. As Pan/Tone, he released with Kompakt, Sender, and Sub-Static and completed some random productions as Sid LeRock with remixes for Depeche Mode, Gui Boratto, Fairmont and Placebo. It took him 4 years to return to a big Sid LeRock album, and it’s about time.
|SMALLTOWN SUPERJAZZ (NORWAY)|
| || BROTZMANN CHICAGO TENTET, PETER: 3 Nights In Oslo 5CD BOX (STSJ 197CD) 48.00|
“Smalltown Superjazz is very proud to present Peter Brötzmann`s Chicago Tentet box set. The boxset features 5 discs, all recorded over 3 nights in Oslo 19-21st of February 2009 at Victoria, Nasjonal Jazzscene. This is a free-jazz smorgasboard.” Featuring Peter Brötzmann, Mats Gustafsson, Ken Vandermark, Jeb Bishop, Joe McPhee, Johannes Bauer, Per Åke Holmlander, Fred Lonberg-Holm, Kent Kessler, Michael Zerang and Paal Nilssen-Love.
|SOUL JAZZ RECORDS (UK)|
| || VA: Nu Yorica Roots! CD (SJR 045CD) 18.00|
Subtitled: The Rise Of Latin Music In New York City In The 1960s. “Soul Jazz Records’ classic journey into New York’s Latin music scene of the 1960’s featuring all the Latin giants — Ray Barretto, Tito Puente, Mongo Santamaria, Joe Bataan and many more. Tenth anniversary issue of a seminal album packed to the rafters with bugalus, mambos, Latin jazz and Latin soul. Comes with limited-edition free postcards, poster and extensive booklet. Nu Yorica Roots! is a definitive study of the Latin music scene in New York during the 1960’s. This album features non-stop bugalu and Latin classics from Tito Puente, Ray Barretto, Joe Cuba and others alongside the original deep Afro-Cuban sounds of Machito, Mongo Santamaria and Arsenio Rodriguez and the pioneering avant-garde radicalism of Eddie Palmieri and others. Nu Yorica Roots! presents a fascinating documentation of how Latin musicians in East Harlem blended elements of their Cuban and Puerto Rican musical roots with African-American jazz, funk and soul to create wild, exuberant new musical hybrids that rocked El Barrio. This is the music of Spanish Harlem, a vibrant melting-pot mix of cultures. The album contains many classic as well as rare tracks from all the masters of Latin music such as Eddie Palmieri, Tito Puente, Machito, Ray Barretto, Joe Bataan, etc. alongside unknown gems. The artwork of Nu Yorica Roots! is an adaptation of an original poster by Izzy Sanabria, Latin designer supreme who single-handedly gave Latin music its visual identity, a wild mix of striking graphics and street-level energy. As a celebration of his work, the CD comes with a limited-edition set of four postcards of Sanabria’s original Latin poster designs. Nu Yorica Roots! is a comprehensive guide to the development of Latin music in New York City. This album has been long out of print (over ten years) and is one of Soul Jazz Records’ most celebrated releases. The CD comes with extensive sleeve notes, exclusive photos, booklet and slipcase.”
| || VA: Nu Yorica Roots! 2LP (SJR 045LP) 21.00|
Gatefold 2LP version.
| || VA: Rara In Haiti CD (SJR 230CD) 16.00|
“To coincide with the release of the Kanaval book, Soul Jazz Records are also releasing Rara In Haiti. Rara is the music played throughout Kanaval, an anarchic folk-meets-punk collision of drums, voices and bamboo sticks which all creates an exciting, energizing soundtrack to Kanaval in Haiti. Rara bands tour the countryside for days accosting people, car drivers and anyone in their way, demanding payment before they move on and the crowd of musicians and singers gets bigger all the time. This music was recorded by Soul Jazz Records in Port-au-Prince and coincides with Soul Jazz reissuing two other of their Haiti releases, Vodou: Spirits of Life and Voodoo Drums. CD comes in limited mid-price box edition with extensive contextual sleevenotes by the writer Richard Fleming (author of Walking to Guantanamo).”
| || GORDON, LEAH: Kanaval Book (SJR 231BK) 30.00|
Subtitled: Vodou, Politics and Revolution On The Streets Of Haiti. “Vodou, sex, death and revolution are key ingredients in the stunning themes and visual imagery of the street theatre of Kanaval in Jacmel, Haiti, where the men drag-up, wear diabolic cow horns, whip lassos and carry around dismembered doll parts. Light years away from the sanitized corporate-sponsored tourist parades of carnival throughout the world, this event is a vessel for everyday Haitians to shock and sexualize through masquerade, to mock local politicians, replay the slave revolt that gave birth to Haiti, the world’s first Black Republic, and to commune with the dead, with both personal and historical ancestors. ‘After the devastation of the 2010 earthquake, Carnival was cancelled in Haiti — no one can remember the last time that happened, if ever. Thank the Lord and the Lwa that we have Leah Gordon’s astounding new book — which shows us all the beauty and awe of Haitian carnival and also teaches us, with its masterful photographs and prose, what that celebration means to Haiti and also to the human race.’ — Amy Wilentz (author of The Rainy Season: Haiti Since Duvalier) These photographs were taken in Haiti between 1995 -2009, the year before the devastating earthquake in Haiti. A percentage of the profit from this book will go to Ciné Institute, teaching video skills in Jacmel and Brand Aid, rebuilding the artisanal community in Jacmel.” Photography and oral histories by Leah Gordon, with essays by Madison Smartt Bell, Don Cosentino, Richard Fleming, Kathy Smith and Myron Beasley. Deluxe flexi-bound heavyweight cover, 160 pages.
| || VA: Palenque Palenque: Champeta Criolla & Afro Roots in Colombia 3LP (SNDW 022LP) 29.00|
… 1975-91. Deluxe gatefold triple LP version featuring 2 bonus tracks not available on the CD. Palenque Palenque reveals a unique and fascinating story of how Afro Colombian music developed from the 1970s onwards and how the local sound-systems in Cartagena and Barranquilla played such an important role in shaping the sound of the Colombian champeta. Co-compiled by Lucas Silva (resident of Bogota and owner of Palenque Records) and Soundway Records’ Miles Cleret, the album highlights the long relationship that the Caribbean coast of Colombia has with Africa stretching back to the 17th century — specifically, the rise of the percussion-heavy champeta sound, born out of a wave of popularity for psychedelic Afro, Latin & Caribbean music inspired by the DJs of the time. The influence of the sound-systems spread to local artists as well as re-energizing traditional African folk songs and rhythms that had survived since the days of slavery. Record labels recognized the major change in direction from the days when cumbia and porro ruled the hearts of the ghettos and began employing bands that began experimenting and tapping into these new cultural and musical movements. Around 1981, several groups were recording Afrobeat in Baranquilla including Abelardo Carbonó who features with his ode, “Quiero A Mi Gente.” A true proponent of the avant-garde, he can still be heard playing in Anibal Velasquez’s orchestra. Son Palenque were considered pioneers of the crossover sound of Africa and the Caribbean and are featured three times including the title-track of this album. Fela Kuti’s “Shakara” is reworked by Lisandro Meza entitled “Shacalao,” while Fela’s influence is further felt through Wganda Kenya’s contributions, especially on the shuffling cut that is “Pim Pom.” Soundway have unearthed a magical era, exposed a radical movement and have, in the process, found some of the world’s most eccentric and highly addictive modern dance music. Package includes extensive liner notes plus rare photos and cover art.
|SOUVENIR MUSIC (GERMANY)|
| || TIEFSCHWARZ: Chocolate CD (SOUVENIR 002CD) 17.00|
Berlin’s Ali and Basti Schwarz joined rhythmic forces sometime around 1997. Their first venture was 24 Seven, which firmly put the then-sleepy Stuttgart on the map as a top nightlife destination. The deep house duo then debuted with their single Music in 1999 and by 2001, the pair were expanding the parameters of modern dance music with their album RAL9005. Tiefschwarz quickly became a mainstay on the club scene. With the licensing of the album by Classic Recordings, Tiefschwarz captured the attention of London, paving the way for their rise to international notoriety. Through high profile remixes, they have also made a name for themselves as masters of reworking other people’s tunes. Depeche Mode (“John The Revelator”), Madonna (“Get Together”) and Spektrum (“Kinda New”) are just three of the many artists who have had the Tiefschwarz treatment. And as it gets dark and the deep black of the night sets in, Tiefschwarz come to life — clubbing being their biggest vice, yet also their biggest strength. Now they’re back with their third album Chocolate, the first release on their own label, Souvenir. Techno and house still form the foundations, yet Tiefschwarz push themselves beyond their previous limits. They’ve found a new, intrinsic sound of their own that oscillates between numerous genres — at once both clear-cut and immensely intricate. One minute, the steady bass drives a dancing rhythm, the next, it would have you believe that four-to-the-floor is actually a beat based on a prime number. Chocolate is everything: subtle, bitter, and sweet, without milk and sugar, hand-crafted from only the finest ingredients. The tracks work perfectly on the dancefloor, yet at the same time, the album as a whole is great to listen to outside of the club setting, due to its fantastic depth, enduring vocal tracks and subtle production methods. The first single “Find Me” (featuring Cassy) is the perfect example of striking the right balance between music to dance to and music to listen to. Alongside Cassy, guest features include Seth Troxler, Dave Aju and a talented new singer with an incredible voice, whose identity is yet to be revealed. Ali and Basti worked with Philipp Maier aka Santé to produce the tracks, and the new dynamic that has emerged from the collaborative production process has manifested itself in a distinct live quality.
|STAMFORD AUDIO (UK)|
| || RENDELL-IAN CARR QUINTET, DON: Live At The Union 1966 2LP (STAM 1006LP) 41.00|
“Remastered by Michael King at Reel Recordings in Canada from the original analogue tape in full glorious mono. Double 180g LP in deluxe gatefold sleeve.”
| || CANTERBURY GLASS: Sacred Scenes and Characters LP (STAM 1007LP) 33.00|
“The first engineering job for the great producer Chris Kimsey (famed for his later work with The Rolling Stones, Yes, ELP, INXS among many others), featuring legendary Genesis guitarist Steve Hackett on ‘Prologue’, and with future Whitesnake drummer Dave Dowle in the line-up, this album, a psychedelic/progressive crossover with church-music and bluesy influences, was made by a group of musicians very much on the London underground ‘scene’ of the time, playing gigs at Middle Earth and The Electric Garden, supporting Hendrix, supported by John Peel and pitched to CBS and Polydor, both of whom failed to pick up on a fabulous and original piece of work by a band which, on the strength of these songs, deserved more recognition. At the time of a 2007 CD release on Ork Records/RPM, 2 tracks (‘Battle Hymn’ and ‘The Roman Head Of A Marble Man’) could not be found, but after Simon Ashley at Stamford Audio contacted Malcolm Ironton late in 2009 to arrange releasing the album on vinyl, he searched again and, this time, the search bore fruit! Listening to all of the original tracks together again, he remembered that ‘Gloria’ had been intended as the last track on the album and ‘Battle Hymn’ finished off side one, so ‘The Roman Head Of A Marble Man’ then slotted in between ‘Prologue’ and ‘Gloria’ on side two and we now had the original running order for the vinyl LP, as it should have been issued all those years ago.” 180 gram vinyl pressing housed in a deluxe gatefold sleeve.
| || DETMER, MARKUS: 100 Jahre Einsamkeit: Markus Detmer Plays Staubgold CD (STAUB 100CD) 12.50|
100 Jahre Einsamkeit is the 100th release on the Staubgold label which was founded in Cologne 12 years ago. Owner and label manager Markus Detmer himself carefully selected the tracks on this compilation from the Staubgold back catalog. It’s also the third part in the DJ mix CD series Plays Staubgold after Peter Grummich’s Dinner Music For Clubbers (STAUB 082CD) and Alec Empire’s Rauschgold (STAUB 092CD). 100 Jahre Einsamkeit marks the beginning and end of a long, adventurous travel with old fellows and new friends. Now everything starts again. Staubgold becomes “Staubgold Digital” for downloads and CDs and “Staubgold Analog” for vinyl. There will be no catalog number 101. When the first release came out on Staubgold in 1998, everything was so easy. There was a boom of electronica and experimental music, Mouse On Mars, Oval and To Rococo Rot gained a worldwide reputation, the little Cologne-based record shop A-Musik became an international distributor and home of countless new labels like Sonig, Tomlab, Karaoke Kalk and Staubgold. With a minimal promo budget, the Mapstation album Sleep, Engine Sleep by To Rococo Rot’s bass player Stefan Schneider became the label’s first success in 2000. Internationally acclaimed and commercially successful albums by To Rococo Rot, Vladislav Delay, Ekkehard Ehlers and Oren Ambarchi followed. After moving to Berlin in 2003, the label musically opened, according to the new label slogan “Music Out Of Place.” Oren Ambarchi produced pop music with Sun, the Kammerflimmer Kollektief introduced country and jazz to the label’s profile, Leafcutter John played folktronica, Faust and Dalek let Krautrock and hip-hop collide. Despite rapidly decreasing sales and smaller budgets from 2006 onwards, the label still managed to produce high-quality releases while at the same time further widening its musical spectrum. 100 releases against the mainstream, and still alive. Other artists include: Norscq, Reuber, Klangwart And Philippe Petit, Alejandro Franov, Thilges, The Flying Lizards, Curse Ov Dialect, David Last vs. Zulu, Jim O’Rourke & Tim Barnes, Rafael Toral, Hassle Hound, Heaven And, Jasmina Maschina, Pluramon, and Minit.
| || LIGHTNESS: Burning Mercury 12″ (SFV 007EP) 12.00|
Lightness is a collaborative project comprising Brendon Moeller (Beat Pharmacy & Echologist) and Area. “Burning Mercury (Metal)” is a supremely hypnotic slice of dubby house with a bass line and hook that chug along effortlessly with a low-slung swagger that’s guaranteed to seduce. The B-side mix goes deep — really, really DEEP. The 8 locked groove DJ tools are vinyl-only exclusives that are sure to put a grin on the faces of all vinyl jocks.
| || RANDOLPH: Echoes (Of Lonely Eden) 2CD (STILLM 003CD) 20.00|
Randolph is back on Jerome Derradji’s Still Music with an amazing double CD that includes his original Lonely Eden album featuring collaborations with Amp Fiddler, Waajeed, DJ Dez aka Andres, and Stephanie McKay (as previously-released by Still Music), paired with Echoes — a 12-track remix album featuring A-list remixers such as Underground Resistance, Jazzanova, Charles Webster, Deetron, Recloose, Todd Sines, and many more. All with a superb packaging, Echoes Of Lonely Eden doesn’t come short of demonstrating the multiple facets of Randolph’s huge talent. Randolph’s vocals and superbly crafted music reach new highs and will, once again, ravish his steadily-growing audience worldwide. Detroit soul and techno fans will rally once more around Randolph and his amazing music. With Lonely Eden, Randolph reveals a deeper, more vulnerable side: “Usually an idea comes from a melody, rhythms or phrases in my head. There are so many ways to say one thing. I research words or concepts.” It’s all there on Lonely Eden, beginning with the reflective title track, a collaboration with Waajeed that incorporates harmonic and lilting keyboard lines. Empowering, driven tracks like “Leanin'” add irrefutable funk, whereas the mesmerizing “Earth 2 God” is a journey, which he describes as a “thanks to life.” “Broken” weighs heavy with Randolph’s rich tenor paired with vocalist Stephanie McKay. “The overall message of this record is for people to take responsibility for the world we’re leaving for our children,” the artist asserts. Other remix artists on CD2 include: Simbad, Zed Bias, Aaron Jerome, Aybee, Archetyp, and Mike Banks.
| || UNKNOWN: Story #4 12″ (STORY 004EP) 12.00|
Another main player of the current elite of deep house producers makes an anonymous appearance on the Story imprint. Right from the beginning of “Fascinated,” we get slowly woven into a maze by the spellbinding introduction of a sultry soulstress. “Taj Mahal” has a more robust, earthy beat with tabla and twangy sitar sounds panning around, making you see all these groovy colors. “You Better Find A Job” features warm, pulsating bass, psychedelic feedback and far-out flangers.
|SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)|
| || VA: African Pearls: Mali 70: Electric Mali 2CD (SYLLART 6141132) 20.00|
2008 release. Syllart presents a 2CD collection in their African Pearls series dedicated to the frenzied and hypnotic sounds of ’70s Mali. Mali Electric is a loving tribute to this unprecedented Malian golden age, a decade of electric experimentations and terrific musical adventures. In the ’70s Mali was thirsty for musical modernity, listening to James Brown, drinking Coca-Cola and getting away from both its parents and the former colonial power. Less radical in its revolution, Mali always stayed closer to France and the Western world than neighboring Guinea. Malian music sounds more lyrical and elegiac, sometimes even more solemn than Guinean music. Griots play a significant role in the emergence of Mali’s modern music. They establish the link between the old Mande empire and the new independent state since 1960. Griots became the people’s voice and in the regional orchestras, the instruments underwent a terrific electric revolution. Malian musical modernity lay not only in the Mande tradition, but also in the Bambara language with its pentatonic scales — more hypnotic and frenetic than Malinké’s lyricism. Produced by Ibrahima Sylla. Includes a 24-page full-color booklet with liner notes in French and English. Artists include: Orchestre Régional de Kayes, Orchestre Régional de Sikasso, Rail Band, Super Djata Band, Kanaga de Mopti, Sid de Kayes, Le Super Biton National de Ségou, Les Ambassadeurs du Motel de Bamako, Le Mystère Jazz de Tombouctou, Idrissa Soumaoro, Le Kene Star de Sikasso, Ciwara Band, Orchestre Régional du Mopti, National Badema, Le Super Biton National de Ségou, and L’Orchestre National “A” de la République du Mali.
| || VA: African Pearls: Sénégal 70: Musical Effervescence 2CD (SYLLART 6142032) 20.00|
2008 release. Syllart’s mighty African Pearls collection strikes back with an essential volume dedicated to the funky sounds of ’70s Sénégal. More than any other countries in West Africa, Sénégal was strongly influenced by Cuban music largely played by the ORTS (Radio Sénégal). Widely circulated, this Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal as well as the monikers “stars” and “étoiles” in the history of modern Senegalese music with bands such as Youssou N’Dour’s Super Etoile, Star Number One, etc. James Brown’s 1975 Dakar visit set the country on fire, and opened a new era in music. As a result, “Kelen ati leen,” a Wolof folk tale, shows the Orchestra Baobab’s mighty funk vision driven by Cissoko’s horn arrangements. Released on the wonderful Visage Du Sénégal, part of a series of 5 LPs released in 1975 thru Buur Records, it epitomizes a perfect Senegalese groove and stands as Dakar’s ultimate funk statement. Includes a 24-page booklet in English and French. Produced by Ibrahima Sylla, liner notes by Florent Mazzoleni. Other artists include: Xalam, Super Diamono de Dakar, Guelawar, Watto Siita, N’Guewel, Ifang Bondi, Ouza, Etoile 2000, and Diarama de St Louis.
|THESE DAYS (UK)|
| || ARGY: Argy Presents: D.Edge São Paulo CD (TD 008CD) 17.00|
German DJ/producer Argy has managed to become a leading figure in the most recent wave of house music producers, and now he presents one of his favorite clubs in the world, D.EDGE, via a mix CD on his much talked-about These Days label. Located in futuristic yet classic and tumultuous São Paulo, Brazil, D.Edge is believed to be one of the leading and most influential clubs. Its design and artistic direction, alongside its very passionate and dedicated following, have made D.Edge an institution for modern house and techno music, having high profile guests performing throughout the whole year. After the club’s invitation for Argy to perform there and visit the city for a short period of time, a strong bond was created, and the artist felt the need to express this enthusiasm through his most immediate medium. In this mix, Argy does what he does best, which is to effortlessly combine old classics with a modern club sound, in the process creating a remarkable sonic energy. The musical journey is mixed in a more natural and less computerized “real club DJ mix” style, with wonderful dynamics, key-perfect mixing and with a music lover’s sensitivity, combining a broad spectrum of different colors and textures throughout the CD, while always remaining constantly connected to the venue’s sound. The audio collage, featuring Kerri Chandler, Motor City Drum Ensemble, David Alvarado and Aril Brikha, to name but a few, leads you through at least four different mind states from darker Detroit melodies, to percussive DJ tools, classic NY house, and finally, euphoric techno. The beautifully-curated and stunning product includes a mysterious hidden track of recorded Brazilian wild forest ambience. Last but not least, the CD includes an electronic download voucher that offers the songs as separate, full length tracks. An exclusively in-house production made with great care and passion from music lovers and aimed at like-minded people. Other artists include: Etienne Jaumet, Christian Vance, Art Of Tones, Jaw, Reelsoul & Alix Alvarez, Argy & DJ Said, Filsonik, Jerome Sydenham, Dennis Ferrer, Kaoz, DJ Duke, 51 Days, and Ribn.
|THRONE OF BLOOD|
| || HARKIN & RANEY: Word To The Wise 12″ (THRONE 007EP) 12.00|
A relatively recent partnership, Harkin & Raney draws from years and years spent lost in music. Word To The Wise represents their debut EP and marks the arrival of something truly special. Where “Word To The Wise” jacks, “Casual Occupation” throbs, defying easy categorization by injecting some classic vocal drops and spooky atmospherics into the mix. Remixes come courtesy of label mates Populette and Master Khan, who take both tunes into the deep.
| || BIG BLOOD: Dead Songs CD (TLR 051CD) 14.00|
“CD version, packaged in an identical mini-LP style gatefold cover with clear varnish overprinting and offset printed vellum insert. First pressing of 1,000 copies.”
| || BIG BLOOD: Dead Songs LP (TLR 051LP) 26.00|
“Much anticipated proper full-length release from this wonderful Maine duo after a long running string of self-released CD-Rs and a collaborative 7-inch with Visitations. Colleen Kinsella and Caleb Mulkerin have been key personages of the Portland/South Portland sonic underground for over a decade, as members of Cerberus Shoal,Threads, Fire on Fire, etc. While those groups have no doubt left an impressive body of sound, the intimacy and directness of their Big Blood recordings take things to a higher plane of personal expression, freed from the group mind/’serious’ band trapping of their past musical outlets. Here they are free to romp in their personal micro-verse, following whim and fantasy through the gates of acoustic transcendence. All of the off-the-cuff spontaneity, intimate home fidelity, and deep personal charms of their older releases are as present as ever, but the duo’s scope is now focused to a crystalline clarity of vision. Dead Songs is as sorrowful and joyful in its mirrored symmetry as the infinite life cycle itself, flowing on cleansing waves of inner release and spirit absorption…wailing fuzzed-up garage folk anthems mesh into twisted poetic acid-folk and drift to expansive melancholic meditations of boundless depth. Two voices howl, swoon, alternate and join; lyrical layers peel away endlessly, tiny amps weep in pain, crude percussion booms thunderous, and ragged, beautiful hooks unfurl straight out of the void. Packaged in a suitably gorgeous full-color heavy ’60s style gatefold cover with clear varnish overprinting, Large offset printed vellum insert, full-color art labels, etc. Pressed on the highest quality 180 gram virgin vinyl. Limited edition of 700 copies.”
| || HAYES, TUBBY: Voodoo Session 7″ (TTT 005EP) 9.00|
A limited repress of the legendary 7″ Afro-jazz issue that sold out before even getting to the stores. Only 666 of the original copies were made. Pressed in a limited edition of 500 copies only, guaranteed this time to get out into the marketplace. In 2009, Jonny Trunk was given access to the original Voodoo Session reel, unearthed in the recently-discovered Tubby Hayes archive, which had not seen the light of day since his death in 1973. Previously thought lost forever, this reel contained the three tracks written by Tubby and performed in this legendary slice of British horror.
| || NORTH SEA, THE: Bloodlines CD (TYPE 065CD) 14.50|
Brad Rose is an artist who is notoriously hard to pigeonhole. He might spend his days running the esteemed Digitalis imprint (sidelining the wonderful Foxy Digitalis webzine) but his nights are wiled away chiseling at the petrified corpse of experimental music. Donating sounds to Ajilvsga, Altar Eagle, Sea Zombies and Ossining (among many, many others), he has somehow found time to fashion a new solo work for Type, and it could hardly be further removed from his last outing. Bloodlines is an album rooted in synthesis — the kind of busted power electronics that emerged in the early 80s with Ramleh, Throbbing Gristle and Whitehouse. This is not, however, simply a noise album — Brad has anchored his sound in this explorative mode, but uses his expertise to take it far beyond murk, grit and fractured teeth. With the help of Zelienople drummer Mike Weis (who accompanies the entire record on percussion) the record is a gloriously spacious excursion, with the fizzing Radiophonic blips, drones and tones set against gongs, scrapes and clanks. The sounds are dark and often punishing — torturous and occasionally frightening, but Brad somehow manages to offset it with an occasional flourish of beauty or calm. The record is cut into two distinct acts and each “song” blends into the next, giving a true album experience. Bloodlines is not a simple collection of pieces, but a distinct narrative from beginning to end. As it tumbles from ’50s sci-fi synth tones into haunting off-world terror, there is a sense of purpose and most of all, place. Brad has created a record that might not be an easy listening experience, but is one which grows on every successive play. It is truly deep and intensely troubling music.
| || KADEN, MATHIAS: Studio 10 Remixes #2 12″ (VR 007EP) 12.00|
Here’s a set of splendid remixes for Mathias Kaden’s highly-acclaimed album Studio 10 (VA 004CD/VA 030LP). The A-side sees a remix by Luna City Express and Matthias Tanzmann, who reworked the 36-second disco interlude “Roots” to a full-length house hitter. On the B-side, Studio 10 collaborator Florian Schirmacher and his Wareika project rework “State Of Stasis” (featuring vocals from Gjaezon). Schirmacher manages to turn this Detroit-influenced tune into something crazy from outer space. So get with it.
| || BUCKNOR, SEGUN: Who Say I Tire 2CD (VAMPI 123CD) 22.00|
There’s no doubt that the brightest star which burned in the Nigerian firmament in the early ’70s was Fela Anikupalo Kuti. But for a while Segun Bucknor’s Revolution, with its politics, African roots consciousness, dancers and African funk fusion, gave even Fela something to think about. To date, this is the largest compilation of his music from the early ’70s to have been released. Segun was born in 1946 into a well-regarded Lagos musical family who were church singers and organists. He started to play box guitar and the piano at nine years old. Two years later, he got to lead his first band, The Hot Spots, and then in 1961, he got the chance to play and record with highlife bandleader Roy Chicago’s Rhythm Dandies dance band. But by 1964, highlife was becoming old hat for post-independence Nigerian youth. With three school friends, Segun formed The Hot Four, who played mostly covers of popular pop and rock songs, but in 1965, he left for New York’s Columbia University to study liberal arts and ethnomusicology. During his three years in the U.S., he was totally overpowered by a sonic blast that hadn’t reached Nigeria when he left for the U.S.: sweet soul music. In 1968, he’d completed his studies and returned to Lagos on a mission to bring soul power to Nigeria. Trouble was, he soon found that young Lagos had already succumbed in his absence. The Civil War had sped up the demise of highlife as a popular force, causing a mass exodus of the Igbo highlife bandleaders to Biafra, and juju music had begun to come to prominence in their absence. But then the Sierra Leonean Geraldo Pino and his Heartbeats arrived to turn the Lagos scene on its head with his funky routines and their version of U.S. soul and funk. The Hot Four reformed as The Soul Assembly, recorded two singles, dressed up in sharp Western-style suits and even toured in Ghana, then the molten hot hub of happening African music. But much of the music The Soul Assembly and the other Lagos soul bands were playing were covers of U.S. hits, so when The Soul Assembly disintegrated in 1969, Segun began to develop another musical vision based around his own compositions. He formed Segun Bucknor & The Assembly and headed towards a more organically African expression of soul music. As that African essence evolved, the band became Segun Bucknor & The Revolution. Out went the suits, in came a resplendent vision of bare torsos, cowrie shells, shaved heads and the crowning glory of the non-stop undulations of the trio of dancers, The Sweet Things. Segun was writing and recording politically-aware songs filled with social comment like “Sorrow, Sorrow, Sorrow,” “Poor Man No Get Brother,” “Son Of January 15th,” “Who Say I Tire” and “Adebo,” featured on this compilation. Son Of January 15th, the 1970 (?) album from which most of these tracks have come, turned out to be Segun’s finest hour. His subsequent tunes and lyrics lost their urgency and his popularity waned. By 1975, he had disbanded his Revolution to concentrate on journalism, though you may still be lucky enough to catch him performing, maybe in church or even in the right club in Lagos, where he still lives. Liner notes by African music expert Max Reinhardt (BBC Radio 3’s “Late Junction”).
| || BUCKNOR, SEGUN: Who Say I Tire 2LP (VAMPI 123LP) 25.50|
Deluxe gatefold 2LP version.
| || KIHLSTEDT/MATTHIAS BOSSI/SHAHZAD ISMAILY, CARLA: Causing A Tiger CD (VICTO 118CD) 15.00|
“Violinist/vocalist Carla Kihlstedt (Sleepytime Gorilla Museum, 2 Foot Yard, Tin Hat, Cosa Brava) bassist/guitarist Shahzad Ismaily (Ceramic Dog, Secret Chiefs 3, 2 Foot Yard) and drummer/storyteller Matthias Bossi (Sleepytime Gorilla Museum, Cosa Brava, The Book Of Knots) come together to form Causing A Tiger. The trio explores the language of memory and dreams through songs, improvisation, and field recordings. Marcel Duchamp meets Einstürzende Neubauten meets Nina Simone… in a public bath-house… on the moon.”
| || KAKA DE LUXE: Las Canciones Malditas LP (MRSSS 007LP) 25.00|
The legendary recordings of the first Spanish punk band, Kaka De Luxe. In just a few months between 1977 and 1978, Kaka De Luxe laid out the foundations for what would be later known as “La Movida,” the early-’80s Spanish countercultural movement that also included figures such as filmmaker Pedro Almodóvar and photographer Alberto García-Alix. Kaka De Luxe featured future members of Alaska y Los Pegamoides, Paraíso, La Mode, Radio Futura, Ejecutivos Agresivos, Décima Víctima, Zombies and Los Secretos, and only lasted about nine months. Their mythical status is due to the presence of essential figures of the future of Spanish pop music, such as Olvido Gara (Alaska), Fernando Márquez (Paraíso, La Mode), Enrique Sierra (Radio Futura), Carlos Berlanga and Nacho Canut, not to mention painter Manolo Campoamor. Briefly, the band also featured Carlos Entrena (later in Ejecutivos Agresivos and Décima Víctima), Bernardo Bonezzi (Zombies), Javier Furia (early Radio Futura) and brothers Javier and Enrique Urquijo (Secretos). During those giddy times, these teenagers — most of them underage — achieved a remarkable repercussion: enthusiastically backed by journalist Jesús Ordovás, they gigged frequently, finished second in the Villa de Madrid battle of the bands, and even made some recordings. Though that last detail must be qualified: broadcaster Mariscal Romero got them an audition for Chapa, the hard rock imprint started by record label Zafiro. When he heard the result, Romero was shocked by their amateurism and publicly rejected them; though, that didn’t prevent him from releasing a 7″ with four tracks: “Rosario,” “Toca El Pito,” “Viva El Metro” and “La Pluma Eléctrica.” What we can hear on this record are in fact demos: several tracks start with the title and a “1, 2, 3, 4,” followed by the track played all at once. The band members didn’t have any experience in a recording studio, neither did they have a real producer who could try to give shape to this glorious and irreverent racket. Funnily enough, it’s thanks to Mariscal Romero that we have the first recorded document of Madrid’s new wave: precocious kids who had heard rumors about London punk and dreamed up actions equivalent to the daring stuff happening in the British capital, while at the same time recovering classic pop forms. They had met during the Sunday mornings at El Rastro (Madrid’s main street market), then a sort of post-Franco agora for repressed ideologies and nascent subcultures, where people sold records and fanzines. The British do-it-yourself attitude encouraged people to take up an instrument and challenge social order. The provocations by their Madrid counterparts had a humorous tone (“Pero qué público más tonto tengo,” “Pero me aburro” trans: “Some silly audience I’ve got,” “But I’m bored”) or were related to sex (the amazing S&M odyssey of the innocent protagonist of “La Tentación”). Kaka De Luxe was an eruption of talent destined to radically transform the face of Spanish pop during the following decade. Pressed on 180 gram vinyl in a limited edition of 1,000 copies only.
| || LENO: Leño LP (MRSSS 008LP) 25.00|
Reissue of the first album by Leño, the foundation stone of Spanish hard rock and a record which has been massively influential for over 30 years since its release in 1979. Their sound, with influences ranging from blues rock to prog, and their defiant attitude established a blueprint adopted by different generations of urban rock bands, right up to today. In Spain, the Church of Hard Rock considers Leño’s first LP its gospel. Several generations of Spanish bands have developed under the guidance of Rosendo Mercado, leader of the band and affable pontiff of this institution. In fact, 2010 has seen the release of a tribute double CD to Leño titled Bajo La Corteza (“Under The Bark,” which makes a reference to the band’s name, which means “Log”). It’s important to remember that Madrid’s rock scene spent a good part of the ’70s in clandestinity; only after the death of dictator Francisco Franco did it come out of the catacombs. In the book Rosendo: Rock En Las Tripas (Guía de la Música, Madrid, 1994), Pedro Giner detailed the miseries of the band members’ previous groups such as Fresa or Ñu, and even Rosendo’s struggles during his military service in a Western Sahara under war threat. The urgency to communicate can explain this debut’s fury, made without many means: it was recorded in 70 hours, including mixing. The repertoire ignores conventional structures: over five minutes of the first track, “Castigo,” go by before Rosendo’s voice rises, rough and menacing. Although the guitarist admitted he was influenced by British guitarist Rory Gallagher, Leño’s first steps go beyond the blues-rock canon, trying to crush mental structures. “El Tren,” which Rosendo used to play with Juan Carlos Molina in Ñu, was an invitation to an LSD trip. Although there were some pastoral moments in Leño, the band stood out for their belligerent reaction towards their environment. They sing of a city where “not even the rats can live,” and the track “Este Madrid” also points at the disappointment of a democracy where the powerful can impose their will (and the former rebels are happy to just get high). Rosendo had no patience either for a society which, after years of rejection, couldn’t wait to embrace rock music as a symbol of modernity. “El Oportunista” ironically talked about punk and businessmen who “invest one and get ten in return.” He didn’t know how much that opportunism was going to cost him: the band had signed an onerous contract and, when they split in 1983, its members had to give up all their rights in order to obtain artistic freedom. The record cover also requires an explanation: it represents the replacement of the bass player, with the departure of Chiqui Mariscal and the arrival of Tony Urbano. The overall look reveals they followed the photographer’s orders, who tried to create a kind image which didn’t correspond with the harshness of the grooves. Liner notes in Spanish and English, pressed on 180 gram vinyl in a limited edition of 1,000 copies only. Gatefold sleeve.
|WARP RECORDS (UK)|
| || AUTECHRE: Move Of Ten (Part 2) 12″ (WAP 8505EP) 10.00|
12″ EP version, part two.
| || AUTECHRE: Move Of Ten (Part 1) 12″ (WAP 9505EP) 10.00|
12″ EP version, part one. “On the heels of their most well-received album in several years, Oversteps, experimental electronic music producers Autechre bring an EP of ten all new tracks titled Move of Ten. The EP is released as two separate vinyl releases (four tracks on part 1, six on part 2) with exquisite packaging design and artwork from legendary UK firm The Designers Republic.”
|WATERGATE RECORDS (GERMANY)|
| || DOP: Watergate 06 CD (WG 006CD) 17.00|
On the sixth edition of the Watergate series, Watergate presents the Parisian band dOP, made up of Clement Zemtsov (beat programming), Damien Vandesande (keyboards and horns), and Jonathan Illel (lyrics and vocals). Breaking with the label’s tradition of a classic DJ mix for the first time, this CD sounds more like a live jam to which the three Frenchmen invited numerous renowned guests. dOP had this to say about the mix: “This mix should show how we make music, both alone and with friends or people that inspire us. Watergate gave us the opportunity to create our first mix CD, so we wanted to make it something special. We invited over other artists that we’re friends with to come work on songs with us, and we then used those songs for the mix.” As a result, 12 of the 13 tracks are by dOP and have not yet been released! The CD features Nôze on “Les Fils Du Calvaire,” Mathias Kaden on “The Ceremony,” Wareika on “Play Play Play,” and Catz & Dogz on “Deaf Wagrant.” And the intro was actually recorded live in Watergate, club atmosphere included! You can feel the serious passion for music in each and every second of the mix, and the Parisians’ hopes will definitely be fulfilled: “We hope you will feel the pleasure we felt making it!” Artists include: Enliven dOP Acoustic, Aquarius Heaven & dOP, Daniele Papini & dOP, dOP & Seuil, Tiefschwarz, Catz & Dogz & dOP, Selianka, Art Of Tones (feat. Jaw), Motor City Drum Ensemble, and Khan.
| || MEHLHART, DANIEL: Deep Crazy Synth 12″ (WIR 021EP) 12.00|
WIR resident Daniel Mehlhart reports back with his customary brand of compelling sound synthesis and frenetically grooving beat patterns. “Deep Crazy Synth” spins its way through to the top of the mountain, keeping the peak in view, sporting full-blown mood and delivering one hell of a show. Minilogue seem to like that kind of attitude, so their remix includes chilled soulfulness as well as some truly psychoactive vibes, making this EP a real winner.
|YEAR ZERO (UK)|
| || X-RAY SPEX: Live @ The Roundhouse London 2008 CD/DVD (YZ 001CD) 18.00|
Seminal punk band X-Ray Spex release a special live CD/DVD recorded at a 2008 sell-out concert at The Roundhouse through new future noise music imprint Year Zero. X-Ray Spex’s first live outing since 1979, this performance of their classic album Germ Free Adolescents saw Poly Styrene and bassist Paul Dean joined by friends Sid Truelove (anarcho-punk drummer with Rubella Ballet and Flux Of Pink Indians), Gt. Saxby (former guitarist with Arnold, signed to Creation Records and Poptones) and Flash (sax player formerly with Rip Rig & Panic, Jah Wobble, Don Cherry and The Slits) at London’s Roundhouse in front of 3,000 raucous fans. In 1976, X-Ray Spex were formed by Poly Styrene placing an ad in NME and Melody Maker for “Young Punx Who Want To Stick It Together.” For a generation sifting through the wreckage left by punk rock, X-Ray Spex truly turned our world day-glo. The combination of tough, razor sharp riffs, kooky sax lines and Poly Styrene’s wonderful voice and genius lyrics tearing into plastic consumerist society were perfect. Their 1978/1979 stay was all too brief — a handful of memorable hit singles: “Oh Bondage Up Yours!” then “The Day The World Turned Day-Glo” followed by the anthemic “Identity” with its genius B-side “Let’s Submerge,” and the more atmospheric “Germ Free Adolescents” before the final spring 1979 release of “Highly Inflammable.” Versions of all these songs are featured here, alongside previously-unreleased new track “Bloody War.” X-Ray Spex transcended punk, influencing a whole new scene of indie kids and post-Riot Grrrl rockers like Yeah Yeah Yeahs and The Gossip. The band’s innate genius and brilliant songwriting makes them as relevant now as they were then and they are the rarest of things — a group that has never dated. Also includes an edited version of Poly Styrene’s as-yet unpublished Diary Of The 70s. Housed in a special hard-case digi-book packaging. NTSC Region 0 DVD format; approx. running time: 66 minutes.
| || VA: Bustin’ Out — New Wave To New Beat: The Post Punk Era CD (YZL 002CD) 15.50|
Bustin’ Out — New Wave To New Beat: The Post Punk Era 1979-1981 is an often-startling picture of the no-holds-barred musical ructions which sprang up after punk’s scorched earth revolution. The music termed post-punk is well-represented in many of its diverse strains by some of its prime movers. Compiler Mike Maguire has made a rigid stand against being pigeon-holed throughout his 30-year DJing career, spreading the message that no sound or genre should be compartmentalized. This multi-hued set, the first in the New Wave To New Beat series, is a fine testimony to this ethos, encompassing anything from Gary Numan’s austere electronic pop on “Replicas,” through 23 Skidoo’s atmospheric tribal boogie on “The Gospel Comes To New Guinea,” to the scrabbling, guitar-driven pop of Josef K. What happens elsewhere defies blanket description, as every track charts a different musical seam which, invariably, proved highly influential. Killing Joke’s radical, apocalyptic approach was often cited as a massive influence on anyone from Nirvana to industrial bands, but also incorporated dub reggae and New York dance music, as evidenced by 1979’s “Almost Red.” The set also shows how later musical movements germinated in the new technology around this time, especially in the hands of electronic protagonists like former Throbbing Gristle duo Chris & Cosey, who pillaged the new sampling possibilities and predated techno with their use of proto-electro pulses, as illustrated by “Heartbeat,” from their 1981 debut album. Or Belgium new beat pioneers Front 242, whose “Body To Body” sounds like a spooked house music prototype. New York was also leading the world at this time, particularly the legendary ZE label, which embodied the multi-genred melting pot of disco, punk, reggae and Latin they called “mutant disco.” The label is represented here by Lizzy Mercier Descloux’s infernal treatment of Arthur Brown’s 1968 hit “Fire” and Bill Laswell’s Material with “Bustin’ Out,” his first major dancefloor statement before going on to become a world-renowned producer. Another side of the city is presented by quintessential downtown NY post punk/no wave outfit Bush Tetras and their debut single, “Too Many Creeps,” while visionary musician-producer Arthur Russell flies the wigged-out disco flag under his Loose Joints banner on the Larry Levan-remixed “Is it All Over My Face.” The set also illustrates how the disparate post-punk spirit captured the rest of the world with the Kraftwerkian “Cracked Mirror” from Vancouver’s Moev, Germany’s No More with deadpan electronic classic “Suicide Commando” and San Francisco’s avant-punk Tuxedomoon, providing one of the set’s most grippingly-complex outings. Meanwhile, Melbourne duo Dead Can Dance match Lisa Gerrard’s spooky vocals with Brendan Perry’s subterranean atmospherics on their 1981 Frontiers demo. All perfect examples of how music had moved on since 1977’s spring clean, trampling fences like a herd of elephants during this exciting, unpredictable time. Includes extensive sleeve notes written by Kris Needs, with artwork by Mike Coles (Malicious Damage). Housed in special (carbon neutral) digi-packaging.
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