|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 08/02/2010
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| || DEUPREE, TAYLOR: Shoals (Edition) 7″ (12K 2017EP) 10.00|
“Shoals (Edition) is a companion release to Taylor Deupree’s 2010 full-length CD Shoals. This limited edition 7″ record has a shortened version of ‘A Fading Found’ (from the album) on side A and a B-side called ‘Sere.’ While the 7″ format only allows for brief works — and in this case extracted from much longer compositions — Edition creates intimate and physical vignettes into these highly acoustic and tactile recordings. Shoals (Edition) is packaged in 12k’s 7″ style with a heavy chipboard sleeve.” Limited, numbered edition of 300 copies. On clear vinyl.
|ART YARD (UK)|
| || SUN RA & HIS OMNIVERSE JET-SET ARKESTRA: Beyond The Purple Star Zone/Oblique Parallax CD (ARTYARD 005CD) 19.00|
“Two related classic Saturn LP reissues on a single CD, both recorded at the Detroit Jazz Centre in 1980 and 1981 respectively. They share an excellent sound quality and great playing — there’s a classic version of ‘Rocket No.9’ and plenty of otherworldly Moog and electronic keyboards — it’s up there with Ra’s best on record. ‘Rocket’ excepted, all the pieces are original to these LPs and don’t appear elsewhere, though the first track of Purple Star Zone is heard again at the end, with another name (exactly as it was on the 2 LPs), so it was clearly much liked by the boss. These were 10-14 piece bands, featuring the regulars, including June Tyson, and some visiting guests. The first LP features prominent electric guitar (not identified in the personnel list on the CD, but every listing I’ve seen for these LPs is different; this one should be fairly accurate in general, since the promoter helped to get the CD together). A fine release, touched with greatness and with a good sound. Comes in the usual elaborate gatefold digipack, covers for which the Artyard label is justly praised.”
|ASH INTERNATIONAL (UK)|
| || ANKERSMIT, THOMAS: Live In Utrecht CD (ASH 8.8CD) 14.50|
Ash International presents a live recorded performance by Thomas Ankersmit in Utrecht from late in 2007. Live In Utrecht is his first official CD album release. Thomas Ankersmit is a 30 year-old saxophonist, electronic musician and installation artist born and raised in the Netherlands and now primarily based in Berlin who combines abstract, intensely-focused saxophone playing with hyper-kinetic analog synth and computer improvisation. He also creates installation pieces that use sound, infrasound and “modifications to the acoustic characters of spaces” that disrupt the viewer/listener’s perception of the exhibition space and their presence within it. He frequently works together with New York minimalist Phill Niblock and Sicilian electroacoustic improviser Valerio Tricoli, and as well as other collaborators, mostly for live performances, including Tony Conrad, Maryanne Amacher, Jim O’Rourke, Kevin Drumm and Borbetomagus. Thomas Ankersmit: Serge analog modular synthesizer, computer, alto saxophone. Pre-recorded saxophone and reel-to-reel parts composed by Valerio Tricoli, with source material by Ankersmit.
|ATP RECORDINGS (UK)|
| || FUCK BUTTONS: Olympians 12″ (ATPR SP010) 11.00|
“First 12-inch single from the acclaimed Tarot Sport LP. Includes remixes by J. Spaceman (Spiritualized, Spacemen 3) and Alan Vega (Suicide). Strictly limited to 2,500 copies worldwide on heavy vinyl.”
| || MILLS, JEFF: Something In The Sky 4 12″ (SITS 004EP) 9.00|
Fourth installment in the UFO-themed “Something In The Sky” project.
| || AHO, KALEVI: Piano Concerto No. 2/Symphony No. 13 CD (BIS 1316CD) 19.00|
“With fifteen symphonies in his work list to date, as well as numerous other orchestral pieces, Kalevi Aho is one of today’s most important composers of orchestral music. Twelve of the symphonies have already been released on BIS, in recordings that have earned an ever-growing interest. Back in 1999, the release of Symphony No.7 (‘Insect Symphony’) caused the reviewer in the American Record Guide to call the work ‘one of our century’s great orchestral scores.’ More recent discs have met with similar acclaim, for instance in the International Record Review where Symphony No.12 (‘Luosto’) was described as ‘music of such graphic impact and visually arresting imagery that it feels as though you could reach out and touch it.’ On the German website klassik.com, the reviewer similarly praised Symphony No.14 (‘Rituals’) for demonstrating ‘the vitality of a genre believed to be extinct, with its seemingly boundless wealth of ideas and perfect craftsmanship.’ Symphony No.13 was written for the fifth anniversary of the Sibelius Hall in Lahti in 2003, and exploits the acoustic capabilities of the hall to the fullest. Subtitled ‘Symphonic Characterizations,’ the work portrays a spectrum of human character types in two long movements divided into a number of shorter sections. One year before the symphony, Kalevi Aho completed his Second Piano Concerto, for piano and string orchestra. It was written with the Finnish pianist Antti Siirala in mind, and in the composer’s own words ‘the demanding piano writing is primarily a consequence of Siirala’s remarkable command of the ‘Beethovenian-Lisztian-Brahmsian’ pianistic tradition.’ Siirala is the soloist on the present recording, supported by Lahti Symphony Orchestra and Osmo Vanska, the eminent team which also gave the first performances of these two works.”
| || MORGAN, LEE: City Lights LP (BLP 1575LP) 11.50|
Exact repro reissue, originally released in 1957. “Benny Golson’s writing for this date uplifts it beyond most of the jam session sets of the period. Trumpeter Lee Morgan (then 19) is in excellent form, holding his own with his impressive sidemen (trombonist Curtis Fuller, George Coleman on tenor and alto, pianist Ray Bryant, bassist Paul Chambers and drummer Art Taylor). Highlights include ‘City Lights,’ ‘You’re Mine You’ and ‘Just By Myself.'” — All Music Guide
|CARGO EDITION (GERMANY)|
| || TASNADI & JUNO6, SVEN: Jam Sessions 12″ (CARGO 015EP) 12.00|
Sven Tasnadi and Juno6 have demonstrated their skills individually on several labels and together on Cargo Edition. They make organic tech-house which does not settle for samples from too-often quoted sound libraries, but rather places emphasis on originality and good handicraft. “Pound Cake” exposes the roots of tech-house. A child’s vocal nestles amongst a rough groove, providing the track with a sinister flair. “Take Eleven” concentrates on a simple beat which gives way to a vocal and strings theme.
| || KROMESTAR: Thru The Blinds 12″ (ASC 004EP) 11.00|
“This white label promo release needs no introduction as one of the leading pioneers of UK Dubstep provides the second release written especially for Anti Social’s Cloqworq Records. DJ Kromestar has proved his talent time and time again over the past four years through a string of releases with the infamous Deep Medi label and Dubstar Records, alongside others. Kromestar has broken boundaries from the very start of his career producing club smashers such as ‘Get Up’ and ‘Kalawanji’ aswell as bringing to you the more soulful, meditational vibes such as ‘Galactic War’ from the debut album ‘My Sound’ and not to mention a barrage of anthems he released on the mix compilation last year entitled ‘The Other Side’ which he describes as strictly experimental 140. DJ Kromestar has and will be one to watch for the foreseeable future standing as one of the most exciting and not to mention groundbreaking producers to have entered the genre. ‘Thru The Blinds’ is a clever combination of sub low bass pressure with the eerie yet emotive atmospherics to put any dancefloor into a meditational trance — Dark and moody dub vibes with a killer low end sub over a tribal beat pattern in true Kromestar style. This is a real stomper of a hit. ‘Love’ takes a different stance on the B side delving into the more experimental side of this producer’s catalogue — smooth, eclectic pads dropping into low down sub stabs over another unconventional but highly effective beat. This represents the other side to the anti social sound which can only be described of as the deeper liquid Dubstep sound in trademark style.”
| || BAUCKHOLT, CAROLA: Hellhörig CD/SACD (COV 61009CD) 21.00|
“Die Macht der Geräusche Szenische Poesie von Carola Bauckholt (‘The Power of Noises Staged Poetry by Carola Bauckholt’) — that was the original title of the sound opera Hellhörig, which was premiered at the Munich Biennale in 2008, and it is a perfect description of the work’s focus. The composer does not follow the usual path of transforming the sound of traditional instruments into noises but takes the opposite approach. Noises are the starting point; instruments and human voices establish a relationship with them and imitate them, creating a disconcerting interplay. There are no words in this opera, resulting in a unique musical idiom. In addition to cellos and percussion, the instruments also include a zinc tub, scrub sponges, and metal lampshades. A collection of cans and boxes, marbles and balls of various materials, vacuum cleaners, balloons, and plastic cups add ever new listening dimensions.” Stereo/multichannel hybrid SACD that can be played on any CD player.
| || PARASITES OF THE WESTERN WORLD, THE: The Parasites Of The Western World LP (DESTIJL 072LP) 17.00|
“The Parasites Of The Western World are a band from Portland OR who released their recorded debut in 1978. It’s a fascinating spin, a galactic ramble across the otherworldly themes of alienation and paranoia, seemingly inspired by LSD and Philip Dick. Primarily the creation of Patrick Burke and Terry Censky, the Parasites were limitless with invention and completely DIY. This is a record that was recorded in an apartment, by a crew thoughtful enough to curtail its loud excursions for the daylight hours. Its rockist moves are surprisingly informed by the typical institutions of this era : Pink Floyd, the Beatles and Hawkwind and it’s many electronic flourishes are an above ground sound that would presage the likes of Vertical Slit, F/I and Vertigo. The Parasites remain to be light years ahead of a time that has yet to come. Swank, one time vinyl pressing of 1000 copies.” Includes poster and insert.
| || MIDNIGHT RIDERS: Posse Form A Line 7″ (DKR 019EP) 5.50|
“Channel 1 — no introduction needed. With reverence, we present the first batch in a series of mainly never-before-reissued selections from the Channel 1 catalog, to be distributed by DKR. Midnight Riders’ ‘Posse Form a Line’: a special request to the Channel 1 crew of the day. This is one of the best tunes from the Riders, who are one our all-time personal favorite artists, so this one is a special joy for us to bring out. A simply amazing late era Channel 1 riddim, proving that Channel ruled from beginning to end.”
| || SAMUELS, STEPHANIE: Africa We Want To Go 7″ (DKR 020EP) 5.50|
“Stephanie Samuels’ ‘Africa We Want to Go’, beautiful one-away deep roots with birdsong, truly mystical tune.”
| || LIVINGSTON, CARLTON: Tale Of Two Cities 7″ (DKR 021EP) 5.50|
“Carlton Livingston’s ‘Tale of Two Cities’, not only his first released tune, but one of his best. A tough riddim by the Revolutionaries, with wicked horns. “
| || RADIO PEOPLE: Radio People LP (DIGI 015LP) 18.00|
LP release; limited to 500 copies only. Radio People is a project from Ohio-stalwart Sam Goldberg. After a handful of solo releases under his own name on Weird Forest, 905 Tapes and the Emeralds-run Wagon & Gneiss Things labels, he debuted Radio People on an ultra-limited self-titled cassette on his own Pizza Night imprint. At that point, there was no way back and the only move was to push forward with this cosmic beast. Two more short-run tapes followed and it was clear that this new chemically-imbalanced synthesizer project wasn’t just a quick hit one-off. Radio People is here to stay. On this, his debut vinyl effort, Goldberg has compiled the best elements of those three, long-gone cassettes. This Dubplates & Mastering-cut slab of wax is the strongest statement Goldberg has made, proving his talent lies far beyond ambient soundscapes and well into the world of pop-infused synthesizer chaos and Kraut-inspired composition. Major hooks sit alongside dense planetary drones. Goldberg pairs rivers of polysynth tracery with deep shards of droning organs, minimal live percussion and a whole host of drum machine backbone. This really is the best of both worlds. Melodies suck you in, beats get your head bobbing and then you’re sucked down a complex tonal wormhole of introspective loops and ambient synthscapes. Pop song frameworks nestle themselves neatly beside somber soundscapes, sometimes jumping back and forth in the same track. Barely-there vocals foil the stasis, leaving the listener guessing and wondering if there’s a ghost in the mix. Radio People’s embracing of simple Kraut rhythms to underscore the catchy, kosmische wanderings give this music an accessibility not present in much of Goldberg’s previous work. It crosses boundaries and comes back and shows still-untapped wells of talent and ideas in Goldberg’s bag of tricks.
| || SVARTE GREINER: Penpals Forever (And Ever) CD (DIGI 056CD) 14.50|
The first side (first two tracks) were originally issued on the Penpals Forever cassette on Digitalis in 2008, limited to 180 copies. Both tracks have been completely remastered. The remaining pieces are all new and exclusive to this release. Svarte Greiner is the nom de plume of Deaf Center’s Erik K. Skodvin. Hailing from Norway, his solo efforts are always stripped bare, white-knuckle sojourns through dark, haunted ambient sonic corridors. Penpals Forever (And Ever) is the imaginary tale of a long dead Baroque painter and his telekinetic correspondence with a flightless bird. It feels archaic; experimental death marches circa 1622. Like Guercino’s Et in Arcadia ego, once the end is realized, there’s nowhere left to go. It’s beyond our experience and sometimes you never recover from the shock. Despite its rather cheery title, Penpals Forever (And Ever) is another step toward the abyss. Musically sparse, Svarte Greiner finds new channels connecting desolate landscapes through ethereal nightmares. It is music best served cold. Chattering, looping guitar lines that feel like muscle being separated from bone slowly build into aching piles of aural dissonance. It’s painful to a point. Recorded voices speak a language you can’t understand underneath ominous, echoing single notes. Distant metal fragments scrape the dirt from detuned strings while a nefarious feathered minstrel bows dying instruments in the background. No hope left, death is just around the corner. As it ever was, Svarte Greiner is again weaving something deliciously sinister. This is music that is uncomfortably bare. Within its blood-stained confines, there is nowhere to hide. Skodvin’s tangled, gnarled tale goes back and forth into infinity until it becomes clear that the flightless bird in question lives inside your skull. Drowning slowly into one’s own twisted mind, Penpals is the soundtrack of loss; the procession of fears gradually becoming so overbearing that you can’t escape your own demons.
| || DIGITAL MYSTIKZ: Return II Space 3×12″ (DMZ 001LP) 35.00|
“Six tracks, pressed on 180 gram vinyl and shrink wrapped within a full color gatefold sleeve.”
| || CALLAHAN, BILL: Woke On A Whaleheart LP (DC 332LP) 13.50|
2010 repress, LP version. “You could say this is Bill Callahan’s debut album. Although he’s sired a dozen albums under the name of Smog, he has laid that name to rest and, well, Woke on a Whaleheart. Another debut. With the same maverick spirit of, say, a Nilsson or a Cat Stevens, Bill Callahan has made an album that is born of no school of music other than what is in his heart and soul. Boasting the propulsive, glittering and classically pretty arrangements of Neil Michael Hagerty, this album manages to bypass the trends of the modern day while shunning retro entrapments. With a mix of gospel backing vocals by Deani Pugh-Flemmings of the Olivet Baptist Church, the incendiary guitar work of Pete Denton, and the honeyed violins of Elizabeth Warren, the music on this album touches on gospel, tough pop and American Light Opera.”
| || BISHOP, SIR RICHARD: The Freak Of Araby LP (DC 398LP) 15.00|
2010 repress, LP version.
| || YONKERS, MICHAEL: Lovely Gold LP (DC 428LP) 17.00|
Repressed. “As of late 2009, the legend of Michael Yonkers has taken its place among the great stories of underground rock and roll music. He’d been playing rock and roll for nearly forty years when Microminiature Love was finally issued in 2003 (Sire had taken a pass way back in 1968). A thousand noise-rock ears pricked up — for Yonkers, a reclusive Minneapolis dancer-musician with a handful of self-released records over the years, had seminally prefigured proto-punk/metal/noise through his own brand of amped up garage rock. Since the revelation, Michael has picked up where he left off, exploring blown-out frequencies with collaborators around the globe, and his work has claimed a seat next to immortals like The Fugs, Velvet Underground, Sonic Youth and even ol’ Jimi. What a lot of folks STILL don’t know is that Michael put aside his hand-built fuzz boxes and bellowing vocal style in the 1970s to record and self-release some truly curious albums of lilting loner-folk music, including Grimwood, Goodby Sunball and Michael Lee Yonkers. Of this holy trio of albums, only Grimwood has yet seen reissue. Throughout this time, Yonkers layered madrigal-like vocals, simple acoustic guitars, and used electricity in only the most subtle of ways – all to serve his somber, mesmerizing songs. This brings us to Lovely Gold. Planned as the fourth LP in his 70s trilogy, it was never released – a true crime, because it is an exotic work of homespun brilliance. Recorded in 1977 on a four-channel ‘tube type’ tape recorder that Michael built himself by combining parts of other machines, it is perhaps his most multi-faceted solo album. The trademark Yonkers chug appears (though more stripped-down and dreamlike) and even some spraying acidic guitar on the title track, but the sweeping choral voice arrangements on gorgeous hymns like ‘Will It Be’ are entirely unique and indeed lovely creations. What’s more, while digging through his archives Michael located previously lost cuts intended for the album, including the harrowing, near-Krautrock glide of ‘Nevermore.’ Utilizing original photos and the exact layout specs/fonts/and notes of the planned 1977 Lovely Gold release, a lost classic at last becomes available — once again! How many more reside in the Yonkers vaults? Only time (and Michael) will tell…”
|DUG OUT (UK)|
| || BROWN, FOXY: Love Is Where You Find It/Version 7″ (DO PO8218) 9.00|
Careening from the Black Sublime of Dadawah to the, er, Foxy Brown of Jennifer Hylton, Dug Out lets off this early-’90s r’n’b-tipped torpedo, recorded by Lloyd Pickout Dennis at Dynamic, with the Firehouse Crew — George programming drums, Danny the bass, and Wrong Move the other keys.
| || NAPHTALI: Hole Up Your Hand/Version 10″ (DO VS003EP) 12.50|
Brilliant, icy, rude-boy minimalism from Naphtali, ticking and clopping out of the Vibes Sounds studio on Mayville Road, Leytonstone, East London, in 1987. Blacka at the controls, Jah Warrior the apprentice dentist.
| || FLUXION: Waves EP 12″ (ECHO 046EP) 12.00|
This is the third EP from Fluxion on Echocord. The Waves EP contains 2 original tracks from his album Perfused (ECHO 007CD) with remixes by Rod Modell of the tracks “Waves” and “Inflection.” Greek artist Fluxion (aka Konstantinos Soublis) first presented his style of dub-influenced techno through a series of 12″s and albums on Chain Reaction. In 1999, he created the Vibrant Music label. Both remixes are powerful dub techno for the dancefloor.
| || ART BLEEK: Message To The Dreamer CD (NEXT 018CD) 17.00|
Paris-based Art Bleek is back on EevoNext with a 10-track album aptly named Message To The Dreamer. True to form, Art walks the fine line distinguishing house from techno with his trademark hypnotic and elegant textures. This is soft, supple dance music that will lift you on a current of delicate chimes, rubbery bass, crisp beats, and rhythmic vocal snippets. Delve into a musical journey specially designed for the wee hours of dawn, when the promise of the rising day reveals itself in all of its shining glory. Just open your ears and listen to the message — for it is a message to the dreamer.
| || LO JENGI: Dans Les Toilettes Du Paradis/Eläköön Mummo 10″ (FR 070EP) 15.50|
The French trio Reines D’Angleterre performed in Finland in 2009 at Mental Alaska’s 10 year anniversary. At some point during this visit, someone had an idea of recording music, which led to a random group of people playing in a small basement room. The album was Recorded at Katajanokan Pommisuoja, Helsinki, by Asko Kananen on March 30, 2009 and edited by él-g and mixed by Mim in Brussels. Lö Jengi is Reines D’Angleterre, Islaja, Amon Düde and The Hoopo. On clear vinyl.
| || VA: Ten Years Of Fumakilla Part 2 12″ (FUMA 036EP) 12.00|
Part 2 of the 10 Years Of Fumakilla (FK 001CD) compilation mixed and compiled by Woody, now exclusively available on vinyl. Felipe Venegas delivers some live mini-Moog under trippin’ but sweet and smooth harmonies, while the drums and claps are programmed to go on and on. J.M. Aboga & Danny Fiddo provide a great, pumping deep house tune and Alejandro Vivanco teaches a lesson on dark, hypnotic techno with huge dancefloor effects.
| || RANDY BARRACUDA: On The Low 12″ (HRMN 012EP) 13.00|
“After a decade of bitter tears and hopeless trying our Finnish funkster Randy Barracuda has finally reached his ultimate goal as an artist. He has managed to combine successfully the music of his two favourite composers: Klaus Schulze and Lil’ Jon. ‘Impossible’, You may say. Well, don’t believe the hype. Take a listen to ‘Streisand Effect”s booming crunk beats, heavy basses, epic synthesizer leads and cristallic arpeggios and choose for yourself. Dubstep hero Tes La Rok’s outstanding remix stays true to the original but adds some extra dubby aesthetics to Randy’s storming soccer stadium skweee vibes. Backside of the record is dominated by more moody and naturalistic atmospheres. ‘Tako To Ama (The Dream of the Fisherman’s Wife)’ is Randy’s homage to the grandiose tradition of Japanese tentacle erotica. In its Asiatic moods and sharp synthesizer stabs you can almost feel the slippery tentacles of an octopus wandering around in your bodily cavities! Record comes to an end with ‘Lebensraum,’ an eight minute long meditative disco reggae. On ‘Lebensraum’ the listener finds a totally new aspect of Randy Barracuda’s aural art: gone are the rapid staccato melodies and usual stiff funkiness. Maybe Credit00, a mysterious East-German bongo player, gave the track its naturalistic charm and the comfy aura of a forest in the springtime.”
| || BJORKE, KASPER: Heaven 12″ (HFN 005EP) 12.00|
Kasper Bjørke is the Danish multi-talent whose beautiful, classic analog meets cutting-edge futuristic. Standing On Top Of Utopia (HFN 004CD/LP) kickstarted a revolution in post-electronic stylings. This remix package represents this whole-heartedly, with three outstanding remixes of “Heaven.” Prins Thomas’ “Diskomiks” version stretches out dreamily over 9 minutes in this timeless rearrangement, while Muzzle Flash adds a little more pressure for the dancefloors while still maintaining that slower, lazy vibe. Also includes a mix by Nicolas Jaar.
| || MOUNT KIMBIE: Crooks & Lovers CD (HF 004CD) 16.50|
Adding a percussive and experimental edge to the current class of post-dubstep pioneers, Mount Kimbie, the duo of Dominic Maker and Kai Campos — release their highly anticipated debut album Crooks & Lovers on Hotflush. Mount Kimbie’s first two EPs — Maybes and Sketch On Glass — seemed like explorations of spaces so private that all within earshot were instantly turned into voyeurs. The experience was less like listening to music and more like eavesdropping on the machinations of a lone mind — albeit a lone mind surrounded by and retreating from millions of other minds. Difficult to categorize, the lush EPs caused a commotion with “Sketch On Glass” undergoing reworks from the likes of Falty DL, SCB (Scuba’s darker techno alias) and their sometime collaborator James Blake. With their own remixes (Foals and The xx) becoming hot property, Mount Kimbie have been a core part of the growing scene in London often associated with labels like Hyperdub and Hessle Audio. Dom and Kai met while at Southbank University, pushed together in a student hall that was previously a mental asylum — where the ceilings were still ridiculously high to stop patients hanging themselves: “a cold, joyless, concrete building — the sort of building where you’d drop a pen and the sound would just go on and on in an echo.” Armed with found sound snips and a siege mentality, Kai and Dom set about turning London’s ambience into rhythm, its chaos into coherence. Traces of influence remain — the hard-earned spaces of Burial and The Bug vie with the berserk melodrama of Xiu Xiu and Grouper’s sad-eyed glow, D’Angelo’s pervert soul gets cleansed in the intimacy of Phil Elvrum’s Microphones, Angelo Badalamenti’s swollen Twin Peaks atmospheres find a cradle in Madlib’s lax lope. The band’s sound and response to the dubstep moment is very much their own. Sceneless and untethered from etiquette and genre codes, Crooks & Lovers floats through dubstep and hip-hop, jazz, techno and ambient, post-rock, UK garage and film scores to startling effect.
| || AUTOMATON UK: British Steel 12″ (HAH 010EP) 12.00|
Glasgow-based Automaton UK makes his Hum+Haw debut with the genre-defying “British Steel,” a mesmerizing, lo-fi dub excursion that resonates deep, dark and pure. Automaton UK is one of Glasgow’s finest DJs and purveyors of fine electronic funk. “British Steel” is an atmospheric masterpiece that digs underground to reveal a killer variant that fuses dubstep with Fly-Lo style electronic manipulation. Alex Smoke ups the tempo with a swarming mix that demonstrates Smoke at his most abrasive and brutal. Think Audion meets T++.
|INTERNATIONAL FREAKSHOW (GERMANY)|
| || ZIMMERMANN, JENS: C30 CD (IF 001CD) 17.00|
2008 release. Japan-only edition. Jens Zimmermann’s unique sound could be defined as a bubbling, hypnotizing groove monster that fits together with labels like Cadenza or Perlon, except for the pure roughness and intensity that make his tracks kind of special. By being reduced-to-the-max on the production level, his tunes have an almost spiritual character and they develop an enormous power when they emerge through the world’s most proper soundsystems. Ever been to Fabric when Ricardo, Richie or another member of the crew was dropping a Zimmermann-tune in there? Chaos. Jens Zimmermann’s name should be on the lists of all serious minimal techno lovers in the world, as he has created a whole bunch of underground techno hits and all of them carry his special kind of Zimmermann’ish trademark-sound. Also includes an unreleased 17-minute version of “ModModBlubBlub.”
|INTERNATIONAL RECORDS RECORDINGS (GERMANY)|
| || BRUNN, BENJAMIN: My Heart 12″ (IRR 006EP) 12.00|
Probably has a Nord Modular synth. Had a collab album with Move D on Smallville. Tracks have an out-of-body liquid atmospheric vibe. Includes a remix by Ada.
|KARAOKE KALK (GERMANY)|
| || DONNA REGINA: The Decline Of Female Happiness CD (KK 054CD) 15.50|
Cologne-based melancholic electro-pop duo Donna Regina release their sixth album for the Karaoke Kalk label. Günther and Regina Janssen have been around longer than electronica and the term never really fit their music that well. After all, the duo from Cologne are really all about writing songs, not just producing tracks, and certainly not electronica. But you can’t take such categorization so literally. They fit all the characteristics that we attribute to withdrawn and playful electronic music with all its nuances. Donna Regina are masters of reservation, allusion and vagueness. Only they are capable of keeping listeners in suspense in the way that they do. For example, the piece “Vague,” with its really stunning Giorgio Moroder bass-line, creates expectation right from the first note. They knowingly build up tension and consistently hold that level right through to the end without ever letting up. Donna Regina would rather play one note briefly than two for too long. They deliver a wonderful production that is sonically varied and full of ideas. Their sound and their songs are elegant and melancholy, in varying degrees. And for as long as anyone can remember, Regina Janssen has been singing like the great Nico, who after all, was also from the Rhein area. And yet The Decline Of Female Happiness is somehow different. But Donna Regina wouldn’t be Donna Regina if this difference was noticeable at first glance. It seems as if the band, or at least its front woman, is taking stock with this album. Not only in the title track does The Decline Of Female Happiness deal with womanly situatedness and self-reflection. Loneliness, growing old and everyday life are also topics. These songs speak of experience and perhaps also of disillusionment. It’s this sublime aloofness that makes The Decline Of Female Happiness such a special album, and the music sounds equally at ease and experienced. Donna Regina achieves a kind of unity with their songwriting that many strive towards, though few attain.
| || FEHLMANN, THOMAS: Visions Of Blah CD (KOMP 020CD) 14.50|
2010 repress, originally released 2002. “To explain who Thomas Fehlmann is and what his contributions to modern music are would take some time. A few catchwords should be enough: Ex-member of German post-Dada band Palais Schaumburg, worked together with The Orb, Eddie ‘Flashin’ Fowlkes, Blake Baxter, Moritz Von Oswald (Rhythm & Sound) and numerous others. This man obviously knows some things about good music and other people know that he knows. There are not many musicians out there who still have an impact on the current club scene after so many years in the business. Thomas Fehlmann has, as his new album Visions Of Blah impressively proves. After several succesful and highly acclaimed 12’es and compilation contributions (not only on Kompakt), Thomas Fehlman explores the possibilities of the minimalistic yet pop-fueled Cologne Techno/House sound at full length. The styles on Visions Of Blah range from groovy Ambient tracks to clubby Techno smashers, all spreading soul and a deepness that many club records just don’t have. To put it simply and short: Visions Of Blah is a fantastic dance album you should’t miss, your life would be poorer without it.”
| || NAPOLETANO, MARCELLO: Electronic Atmosphere 12″ (LAID 008EP) 12.00|
Italian dude Marcello Napoletano’s love of analog instruments and old school house updates classic Detroit and Chicago templates.
| || BIG BROTHER & THE HOLDING COMPANY: Big Brother & The Holding Company LP (MAIN S/6099HLP) 14.00|
The band’s debut album, originally released in 1967, that introduced the world to Janis Joplin’s fiery voice. Moondog’s “All Is Loneliness” was a song begging to get dipped into some sort of acid-psych rock froth, and no one did it better than the brash, powerful fuzz rendition that concludes this album, with ecstatic contributions from bassist Peter Albin and guitarist Sam Andrew. Also includes the single “Down On Me.” A reckless blues-rock classic of the era. On 180 gram vinyl.
| || CELLULE EAT: Froggie’s Wurste 12″ (MINI 021EP) 12.00|
Two Parisian electronic music activists and a German housemeister meet to get Cellule Eat on its feet and offer a micro-house composition: efficient beats, melodic and “bruitistes” sampling. After a year of hard work in Mainz and Paris, keen on avoiding the minimal boulevard, these three guys invite you on a dancing journey. The warm and funky Minibar-style house EP Froggie’s Wurste kicks off a series of great releases in a brilliant way.
| || AMBIVALENT: Rumors 12″ (MINUS 091EP) 11.00|
With his Ambivalent alter ego, Kevin McHugh has become a leader in the new school techno underworld. Rumors is cutting edge dance music with a balance of form and function, made to tear the clubs to pieces. The title track is a disorienting vocal number that takes the words and throws them into a warped headspace of paranoia, humor and confusion. “Bumble” takes a quick peek back into previous Ambivalent productions, with a familiar focus on some clever FX work.
| || XENAKIS, IANNIS: Works With Piano DVD (MODE 217DVD) 27.00|
Featured works: Eonta (1963) for piano, 2 trumpets & 3 trombones; Morsima-Amorsima (1962) for piano, violin, cello & double-bass; Akea (1986); Paille In The Wind (1992). “Aki Takahashi follows her critically acclaimed first volume of Xenakis’ piano works (on MODE 080) with a recital of works for piano and instruments. All of these works are under-represented in the Xenakis discography. Ms. Takahashi is joined by superb players including Stephen Drury’s Callithumpian Consort, The JACK Quartet, and Rohan de Saram (formally of the Arditti Quartet). Recorded in hi-definition 96khz/24-bit sound; DVD presented in surround as Dolby and DTS. The visuals are dynamically directed by Tim Chu, shot in widescreen HDV.” Region 0, NTSC format; 53 minutes; aspect ratio: 16:9 widescreen; color.
|MODERN LOVE (UK)|
| || DEMDIKE STARE: Liberation Through Hearing LP (LOVE 065LP) 20.00|
This is the second in a series of three vinyl-only albums to be released by the UK’s Demdike Stare aka Miles Whittaker (MLZ, Pendle Coven) and Sean Canty (Finders Keepers). Once again indebted to the black arts, the occult and Tibetan spiritualism, there are dark currents running through these 6 pieces, each one referencing the six images displayed on the cover. Demdike Stare will be back later on in 2010 with the third and final part in this mystical odyssey. Mastered and cut by Lupo at D&M, Berlin. Artwork by Andy Votel. Strictly limited vinyl pressing.
|MUNSTER RECORDS (SPAIN)|
| || MICKY: La Cuenta Atrás CD (MR 302CD) 16.50|
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
| || COOPER, JEROME: A Magical Approach CD (MUTABLE 17538) 13.00|
Jerome Cooper: Drums, balaphone, chiramia, Yamaha PSR 1500. “Drummer/percussionist Jerome Cooper’s fruitful musical legacy with the Revolutionary Ensemble and stints with saxophonist/composer Anthony Braxton, pianist Cecil Taylor, and others reads like a who’s who in modern jazz. This makes A Magical Approach – a new release of Jerome Cooper’s multi-dimensional drumming, a very special event. The music on this CD is drawn from two live performances, recorded almost 30 years apart. Root Assumptions was recorded in 1978 while the other five tracks are from Cooper’s 2007 performance at an A.A.C.M. concert. Cooper’s remarkable agility and captivating musical spirit is enacted throughout these endearing works. What is multi-dimensional drumming? Imagine a drummer who plays this flute with one hand, bass drum and high-hat with his feet, and triggers drum loops, chord sequences and bass patterns with his other hand. Whether it is written or improvised, the resulting music is closer to world-funk than avant-garde jazz. Divided into many parts and facets, the drum set and secondary instruments Cooper uses and play are all aspects of the drums. In the future, there will be many changes and developments in the area of the mind — so what we (humankind) think and hear, is what we shall see and hear. In order to play the drum set you must be able to manipulate four or five things at one time (i.e. bass drum, snare drum, high-hat, ride cymbals and maybe voice). So an instrument’s name and structure doesn’t stop him from playing them like a drum. You have instruments that are structurally different from the drum, but they have the same characteristic in the approach to the drum (i.e. piano, balaphone and shoes with taps). In order to find the music of the drums, Cooper had to change my assumptions and beliefs about music in relation to the drums, which is sound in the creation of multi-rhythms.”
| || PARRAN, JD: Window Spirits CD (MUTABLE 17539) 13.00|
JD Parran: double wooden flutes; bass saxophone; clarinet; alto flute and mbira. “This recorded solo performance, Window Spirits, manifests memories, dreams and feelings expressed in my life through music. Here, on this plain called life, we can experience existence on level ground with the ancestors.” — JD Parran “J.D. represents the ideal performer of my music. He combines a profound understanding of the composer’s intention with an expressive individual voice that is both nuanced and dramatic. ” — Anthony Davis “This truly wonderful new release by JD Parran, performing solo, was recorded live at the Kampo Cultural Center. The event was a celebration of Parran’s 50 years of music making. For a composer and performer who has played for so long and with so many people this solo CD — luminous, lyrical, and difficult — is long-overdue. Playing a variety of instruments, Parran focuses on improvisations of the moment: visions of his solo compositions developed during his years of creative music work. He also takes the opportunity to perform works by Anthony Davis and James Jabbo Ware, composers who have written for Parran and featured his instrumental voice in their music.”
| || BAD BRAINS: Live at CBGB 1982 LP (MVD 4994LP) 16.00|
“Not to be confused with the CD release, Live CBGB 1982, this vinyl-only release contains audio selections from the DVD release, Live CBGB 1982. Sure it sounds confusing, but the material on the CD and LP, while culled from the same series of live shows around Christmas 1982 at CBGBs, is completely different. Besides, who can have enough live stuff from the world’s best hardcore band at the peak of their prowess? This colored vinyl slab comes in a limited edition for indie retail only. Includes blazingly awesome live versions of ‘FVK,’ ‘How Low Can a Punk Get,’ and more.”
|MYSTIC FIRE VIDEO|
| || DEREN, MAYA: Experimental Films (1943-1959) DVD (MC 377DVD) 26.00|
Restocked, 2003 release. “From the early 1940’s until her death in 1961, Maya Deren evoked and exemplified the American avant-garde movement virtually by herself. Her first film, Meshes Of The Afternoon, set the tone for the decade and linked the movement to the older European avant-garde films of Cocteau and Bunuel”. — Cecil Starr, The New York Times. “Intensely personal, symbolic and surreal films that reveal her deepest, darkest fantasies. She’s Fellini and Bergman wrapped in one gloriously possessed body. Watching these films can change forever your concept of what cinema can be”. — L.A. Weekly. Contents: Meshes Of The Afternoon, At Land, A Study In Choreography For Camera, Ritual In Transfigured Time, Meditation On Violence, The Very Eye Of Night. DVD edition. B/W. 76 minutes.
| || DEREN, MAYA: Divine Horsemen – The Living Gods of Haiti DVD (MC 521DVD) 26.00|
Restocked, 2006 release. “Maya Deren takes us on a journey into the fascinating world of the Voudoun religion, whose devotees commune with the cosmic powers through invocation, offerings, song and dance. The Voudoun pantheon of deities, or loa, is witnessed as being living gods and goddesses, actually taking possession of their devotees. The soundtrack conveys the incantatory power of the ritual drumming and singing. ‘Maya Deren first went to Haiti as an artist… but the manifestations of rapture that seized her, and transported her beyond the bounds of any art she had ever known. She was open to the messages of that speechless deep, which is, indeed, the wellspring of the mysteries.’ — Joseph Campbell. 52 minutes, black & white, NTSC format. Filmed by Maya Deren during 1947-51, edited posthumously by Teji and Cherel Ito.
|NOT NOT FUN|
| || TOPAZ RAGS: The Crown Center 7″ (NNF 198EP) 6.00|
“West Coast ghost squad Topaz Rags stalk back into the deadlights with a fresh vinyl single, their first new material since the Capricorn Born Again LP. Recorded in the heart of winter in a room with one blue light bulb, ‘The Crown Center’ is pure nightprowler music: quaking bass, grime-jazz keys, dusty drums, witch choirs floating through the smog and into sleeping homes with the power lines cut. The sound of crime to come. The flip (‘You Go On’) slips deeper into the psych-psycho psyche, a bleached-brain riff-rhythm grinding away endlessly while voices and electric piano stabs arc across the stereo field, raining ash. A grimmer twist on the Topaz formula, the dreamer’s dream turned dark. 33 RPM 7 inches of variously colored vinyl in hand-silkscreened cardstock sleeves. Edition of 345.”
| || VA: Boddie Acetate Box 3×7″ BOX (ES 001BOX) 17.00|
“Three 45’s with original Boddie acetate artwork plus extensive notes, housed in a 7″ shipping box, and sealed with faximile Boddie paper shipping tape. From 1965 until 1987, husband and wife Thomas and Louise Boddie provided the greater Cleveland, Ohio, area with custom recording and affordable record manufacturing. The Boddie Recording Company operated out of the African-American couple’s house on the east side of Cleveland, complete with a fullservice, hand-wired analog recording studio and a busy pressing plant steaming around the clock in a converted dairy barn at the back of the estate. A kaleidoscope of northern Ohio musical acts used the Boddie services in one way or another, booking time in the tracking room, cutting reference acetates, or pressing a couple hundred 45s for local distribution. Selecting from the reliable parade of musicians crossing paths with his enterprise, Thomas found time to curate his own stable of talent through his Soul Kitchen, Luau, Caribi, Plaid, and Bounty labels. But by and large, Boddie Recording Company was not a creative endeavor for Thomas or Louise. Instead, it made the Boddies an honest living by providing teenage bands and aspiring gospel ensembles an inexpensive shot at having their own creations laid to wax. Of these hundreds of groups, we’ve selected three that were found in unmarked boxes, never picked up, certainly never released. The labels are a facsimile of the Boddie’s custom acetate sticker, pressed on 48 gram vinyl, housed in a tape box, and sealed with Boddie Recording kraft tape.”
| || MARSEN JULES: Yara Remastered CD (OKTAF 001CD) 15.50|
The new label Oktaf is a platform for music in the realm of ambient, neo-classical and modern jazz. Marsen Jules presents one of his most important albums to-date — a work of warm, shimmering ambient soundscapes, originally released on the Autoplate label in 2004, now available on CD for the first time and completely remastered. The Dortmund-based musician has been pushing the boundaries between ambient and neo-classical with his releases on City Centre Offices as well as with his contributions to the renowned Pop Ambient series on Kompakt for quite some time now. His music casts a delicate warmth that combines both digital and analog elements to create a sound that has inspired many artists over the years. With a completely reworked and remastered version, Marsen Jules fulfills his wish to release this gem from the back-catalog of the internet-label Thinner so that it will get the attention it deserves. On his follow-up to 2003’s Lazy Sunday Funerals, Marsen Jules continues to work on his vision of blending otherworldly strings with fragile ambient sounds. The resulting compositions are reminiscent of the deep, atmospheric sounds of the Pop Ambient compilations, but in their minimalistic approach also pay respect to experimental composers such as Steve Reich and Eric Satie. The source material for Yara was the recording of a band from the circle of Marsen Jules’ friends. After listening to it repeatedly, the background noises of the concert that were recorded accidently became more and more important for him: the tuning of an instrument, the opening of a beer can, the laughter of someone from the audience — emotional moments that transcend the music itself and capture the very atmosphere of the concert. These acoustic fragments were afterwards digitally re-edited in the sense of musique concrète and then put together again to create a texture of elegant ambient sounds. The result is a highly personal sonic web of modulated loops and permanent tempo variations that have influenced many musicians in their creative output. The re-mastered version now impresses with an even richer, more complex sound than the original. In addition, U.S. designer Noah McDonald provided the cover artwork. Includes two bonus tracks not included on the original release. Limited to 500 copies only.
| || J.B.’S, THE: Food For Thought LP (PE 5601HLP) 13.00|
180 gram exact repro reissue, originally released in 1972. The full-length debut by James Brown’s backing band, sampled by Public Enemy, Heavy D, Grandmaster Flash & the Furious Five, GangStarr and more. Centuries after humanity annihilates itself, an alien race will pluck this one up from across the galaxy just to loop the horns off “Gimme Some More.”
| || J.B.’S, THE: Doing It To Death LP (PE 5603HLP) 13.00|
180 gram exact repro reissue, originally released in 1973. “This live recording is definitively one of the greatest groove jams of all time. All songs are written by James Brown, but the whole album is credited to his backing band and the bandleader Fred Wesley as a thank you and a ‘repayment’ of their hard work. The 10 minute title track alone — an exquisite rip of polyrhythmic funk — makes this album a must-have for every funk fan.”
| || WESLEY, FRED & THE J.B.’S: Damn Right I Am Somebody LP (PE 6602HLP) 13.00|
180 gram exact repro reissue, originally released in 1974 and recorded during the same session as James Brown’s The Payback album. Fred Wesley was a long-time director of Brown’s backing band The J.B.’s — and essentially was responsible for a lot of Brown’s drug-addled ideas coming to fruition, having even written classic songs like “Doin’ It To Death” and “Papa Don’t Take No Mess.” Damn Right I Am Somebody and Breakin’ Bread contain classic Wesley-Brown proto-funk cuts, and this album includes covers of Marvin Gaye’s “You Sure Love To Ball” and “Going To Get A Thrill.”
| || WESLEY, FRED & THE NEW J.B.’S: Breakin’ Bread LP (PE 6604HLP) 13.00|
180 gram exact repro reissue, originally released in 1974. Produced by James Brown, “minister of new new super heavy funky.” “The last of the Fred Wesley and the JB’s albums. ‘Breakin’ Bread’ and ‘Makin’ Love’ charted R&B. The funk is still much in evidence, although some new twists and turns manifest themselves on the ‘rapped’ title cut.” — All Music Guide
| || CASSY: Seteachotherfree 12″ (PERL 082EP) 14.00|
Catherine Britton aka Cassy has continuously worked on her very own definition of house. Besides releasing on labels like Playhouse, M_nus, Mental Groove, Dessous, Get Physical and Perlon, she also started her own label, entitled Cassy. She’s also known for her countless collaborations with musicians like Ricardo Villalobos, Steve Bug, DJ Elin, Dave The Hustler, Luciano, Mathew Jonson and Swayzak, and of course, for her excellent DJ sets all around the world. Seteachotherfree is Cassy’s third 12″ for Perlon.
| || HEATER: God And Hair LP (PERM 017LP) 15.00|
“Heater is a three-piece Columbia, Missouri super group, if such a thing exists. Heater’s guitarist and lead singer, Zach ‘Zz’ McLuckie, used to be a member of CAVE and Sneakers (both have released records on Permanent Records), among others. God and Hair is a super upbeat, melodic pop record in essence, but as mentioned before, these guys come from a very DIY background. It’s got some fast repetitive lo-fi punk rock jams with reverb enhanced vocals similar to those found on the Sneakers Children Into People 7″ EP, and some Clean-esque pop elements, but it’s also got tracks with a great laid back summertime ’90s alt-pop vibe not too dissimilar from the least noisy ’90s moments of Sonic Youth and Sebadoh. All of these elements come together and make for a unique sound (thanks to a little help by Cooper Crain [of CAVE]’s analog production techniques) and one hell of a summertime DIY pop jammer. Here comes the summer (of pop)! There are only 500 copies of this limited edition LP and it may never be pressed again.”
|PERMANENT VACATION (GERMANY)|
| || DIAMOND, KATHY: Miss Diamond To You CD (PERMVAC 007CD) 15.50|
2007 release. This is the debut album from English singer/songwriter Kathy Diamond. Produced by prolific house and future-soul devotee Maurice Fulton, this album includes the 2006 club hits “All Woman” and “Over.” A devoted listener of soul and disco music all her life, Diamond has been creating music for years, receiving rave reviews with 2002’s self-released track “Miracles Just Might” (originally written with writers/producers Swag), causing quite a stir with “Sunshine,” released on the Idjut Boys’ Cottage label as well as Tirk Records’ 2005 Press Play compilation and contributing vocals to Aeroplane’s “Whispers,” released on Eskimo. On Miss Diamond To You, Kathy’s voice and great production make this a strong-as-hell bundle, demonstrating how good pop music can sound today. “Miss Diamond To You is the most exciting piece of modern boogie, disco or soul music this year will have to offer” — Groove Magazine (March 2007). “…hard soul for beardos…. This is a good record.” — Pitchfork
| || VA: Permanent Vacation 2 CD (PERMVAC 016CD) 15.50|
2007 release. The second compilation CD on Munich’s formidable Permanent Vacation label shines with a blend of Kraut-disco, cosmic rock, modern day house music and electronic dance pop, again mixed and handpicked by Tom Bioly and Benji Fröhlich. Nick Nicely’s forgotten Balearic uber-jam “On The Beach” is a perfect opener, making way for more Balearic-styled sounds with Michoacan’s beautiful deep house tune “Walk Away” and then the outstanding “Flamingo” from Tomboy, the drummer from Whomadewho. With two of the hottest dance heavyweights on one track, nothing can go wrong on “In The Morning,” a Junior Boys track remixed by Hot Chip. Hot Chip takes the controls again, turning ex-Pavement singer Stephen Malkmus’ “Kindling For The Master” into a spacey, melancholic disco groover. Other artists include Parker Lewis, Findlay Brown, Beyond The Wizard’s Sleeve, Home Video, The Loving Hand, Only Fools And Horses, Holy Ghost!, Lexx, Bostro Pesopeo, Woolfy vs. Projections and Glass Candy.
| || LE-TAN & JESS, ALEXIS: Space Oddities Vol. 2 CD (PERMVAC 038CD) 15.50|
2009 release. Permanent Vacation are delighted to bring you the second volume in the Space Oddities saga, again compiled by Alexis Le-Tan (Tigersushi Bass System) and Jess (Jess & Crabbe, 10lec6). This time they’ve chosen a new direction: A psychedelic journey through libraries. More organic, guitar-led and psychedelic than the previous Space Oddities compilation, this release still hones in on the dancefloor — featuring freaky synths and fierce beats — but contains some of the most delirious excursions into forgotten library music, from head-nod prog to acid-folk and Middle Eastern-tinged funk, then more orthodox psych grolwers ending in a sea of synth-wave, all presented in a well-researched package with all material fully-authorized and licensed. Featuring a 12-page booklet with artwork courtesy of Parisian illustrator Sanghon Kim as well as sleevenotes written by Joel Martin and Gareth Goddard, the two greatest authorities on library music.
| || BELLOWS: Handcut LP (BIPLANO) 27.00|
“Giuseppe Ielasi and Nicola Ratti, two musicians from Italy with an extensive solo activity, started the Bellows project together in 2006 and released their first CD in 2007. Their second release, an LP available now on PLANAM, was recorded in November 2009 in Tübingen, Germany. Quite different from the first, this new project was developed around the simple technique of cutting/destroying and amplifying vinyl records with contact microphones, creating new grooves and physical loops while capturing the sounds on a Revox tape machine with long tape loops. No further transformations or processing were applied even if a couple of effect pedals and simple sine waves were sometimes used too. The result is a sort of very atmospheric and modern-electronic music as if these sonorities were recorded at the beginning of the last century on 78rpm shellac records. The sleeve features the original artwork by Italian artist Amedeo Martegani. Edition limited to 250 copies.”
| || GOL & CHARLES HAYWARD: GOL/Charles Hayward LP (PLANAM CDG) 27.00|
“For this new ‘gollaboration’ the French combo GOL confronts the British drums legend Charles Hayward for a rough/delicate and intense/mellow paradoxical music delight. The studio side compiles four improvised sessions exploring some possible oblique acceptations of the word ‘rock’, while the live side recorded at 104, Paris, in Dec 2008 during the Sonic protest festival, takes the encounters into the realm of psychedelia. The apparently chaotic home-made electronics of GOL find a perfect counterpoint in Hayward’s ‘This Heat-ish’ incomparable kickass-snare-cymbals style machinery of straightforward beats meet subtle and continuously reinvented variations. A touch of pop, gamelans from afar, an unexpected song underlined by a frenetic electric organ, make this LP a surprising journey into sonic explorations. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. On this record GOL play modified synths, modified organ, bass guitar, home-made electronics, SH101 and crackle box. This LP is the third in the ‘gollaboration’ series after records by GOL with Dumitrescu/Avram and with Charlemagne Palestine. The very minimal sleeve features a four color reversible double front side with sinister photo portraits of Charles Hayward and the GOL members. Black and white inner sleeve with title tracks and liner notes. Edition limited to 350 copies.”
| || FERRARI, LUC: Exercices D’Improvisation LP (PLANAM FERRA) 27.00|
“Luc Ferrari conceived this work in 1977 as a sequence of seven individually or collectively improvised exercises for tape and any instrument or group of instruments. Never performed before, Exercices d’improvisation have been released by the GOL collective and issued now on LP by PLANAM. The seven exercises follow each others in a suite of growing intensity where GOL acoustic and electric instruments react to Luc Ferrari’s tape, lively re-interpreted by Brunhild Ferrari: from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrete drama. The tracks were recorded at Ferrari’s Atelier Post-billig on April 12th and 13th, 2010, a few days before the world premiere performance at La Maison Rouge in Paris. Exercices d’improvisation on one hand presents a new perspective on Ferrari’s music and on the other pays a panorama-like tribute to his rich and eclectic corpus; somewhere between ‘Tête et Queue du Dragon’ and ‘Tautologos’ with a touch of ‘Danses Organiques’. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. On this record GOL play flutes, electric guitar, bass guitar, melodica, janotron, ocarina, nagara, electric guembri, vocoder and message box. This LP is the forth in the ‘gollaboration’ series after records by GOL with Dumitrescu/Avram, with Charlemagne Palestine and with Charles Hayward of This Heat fame. The front sleeve shows a four colour wild collage by the French artist, film-maker and Ferrari’s collaborator Jacques Brissot based on photo sessions done by Myriam Tirler, who also shot the back cover and inner sleeve images presenting GOL members and Brunhild Ferrari in Kagel-Exotica-like appearances. The edition limited to 350 copies also includes an insert with the complete score by Luc Ferrari. Please note: this previously unpublished work revealing a hidden part of Luc Ferrari poetics is not included in the INA 10CD boxset. Only available on this LP edition.”
| || HUTCHINGS, SOPHIE: Becalmed CD (PRE 030CD) 15.50|
The Preservation label presents the debut album from Sydney pianist Sophie Hutchings. Having begun playing piano young, growing up in a musical family, Sophie started writing properly in her teens — indeed, the opening piece “Seventeen” is named for her age at the time it was originally composed, though all tracks on Becalmed have been developed and improvised on since their original form took shape. Sophie’s compositions move from disarmingly spare and elegant beginnings to curl out with a tingling edge, propelling its austerity into urgent and epic realms. Violin, cello, drums, percussion and organ heighten the flight these pieces can take, as well as dip and swell within the more dimly-lit moods of gentler nuance, casting a particular spell across the range of feeling captured in Sophie’s playing. Both unfussy and exquisite though constantly evolving, the inspired measure of Becalmed is found in the space it inhabits between the meditative and evocative. Becalmed was produced in two settings, with engineer Tim Whitten — noted for his continuing work with The Necks — and in Sydney and Tony Dupe, otherwise known as fellow Preservation artist Saddleback, in the tranquil surrounds of his former home studio in the Kangaroo Valley on the South Coast of New South Wales. Among other performers on the album, is Sophie’s brother Jamie Hutchings, leader of longstanding Sydney outfit Bluebottle Kiss, and cellist Sophie Glasson, who has also recorded with Sarah Blasko and The Church. Seemingly from out of nowhere, though essentially poured out from deep within, Becalmed is a shimmering, absorbing debut.
|PROJECT SQUARED (UK)|
| || L-OW: Pinpoint/Diver 12″ (PSQ 003EP) 11.00|
“The third release on Project Squared features on its A side two tracks of techno-infused dubstep from L-OW, an Estonian producer who has been building a reputation and discography since 2008 with a string of excellent releases. The first track, ‘Pinpoint’, has an energetic drive and pace despite it’s syncopated individual rhythmical elements. L-OW fuses these disparate elements to make a dance floor track with impact and depth. L-OW’s second track is Diver; a more reflective and introspective piece than Pinpoint, this is not a recording to play at the height of a set, but is more a piece focussed on mood and depth. On the B side, Bristol based artist Furesshu remixes Diver, taking elements of the original 140bpm dubstep track and applying them to a 127bpm techno framework. After a well received debut release on Project Squared that has garnered DJ play from the likes of Sigha , Marcel Dettmann and Ben Klock, Furesshu has produced a superb remix as a follow up. He strips back the original to a haunting, industrial, emotive melodic element, and drives the pace of the remix with cymbal lead drum lines and expansive bass. Mastered at Optimum, Bristol, United Kingdom.”
| || P.U.D.G.E.: Idiot Box CD (RAMP 032CD) 17.00|
“Although you may not have yet heard his name, P.U.D.G.E. has been bubbling up in U.S. beat scene for many years. At age 9, his father gave him a Bass, a Juno synth, a DX drum machine and a Tascam 4 track. He encouraged the boy to start making his own music; P.U.D.G.E. got the bug. By the time young P.U.D.G.E. (thus called because at school he was always extra medium, or less than chubby) hit 13, he had discovered turntableism, and started DJing at house parties around NYC. By his late teens, he had emerged as a promising emcee, standing next to many of the well-known emcees from the Lyricist Lounge; including Mos Def & El P. Still producing, P.U.D.G.E.’s music was starting to gain attention, and his first beat was released on the Vinyl Junkies debut EP. After hearing about the emerging beat scene in L.A., he moved there in 2004, and started getting a few production credits under his belt, including cuts for Rawkus Records and Stacey Epps. After circulating some of his instrumental beat tapes, interest for P.U.D.G.E. started to gain momentum. P.U.D.G.E. headed up All Cty’s L.A. series, on a split 10″ with Dibiase, preceeding releases from Ras G, Samiyam & Matthewdavid.”
| || P.U.D.G.E.: Idiot Box 2LP (RAMP 032LP) 24.00|
| || CUTLER/FRED FRITH/THOMAS DIMUZIO, CHRIS: Golden State LP (RER 966550LP) 24.00|
“This is a limited edition of 1,969 numbered copies, pressed into 180 gram virgin vinyl and rather extravagantly packaged. The music was recorded in California in 1999 with guest Beth Custer (clarinet) on one track and carefully mastered by Tom Dimuzio in wide frequency, solid footprint, broad compass stereo. Though we waved goodbye to vinyl decades ago, we felt this release was made to be an LP — a CD just wouldn’t be the same, sonically, visually or ontologically. And of course we took advantage of the exaggerated dimensions and physicality to make it a thing visually to savour. Off the groove, Dimuzio, Cutler, Frith and Custer do what they do and you get a ringside seat. The first 500 will be pressed on white vinyl.”
| || ANGELI, PAOLO: Tibi CD/DVD DUALDISC (RER PA4) 21.00|
Paolo Angeli’s live soundtrack to the film (viewable on the DVD) by Nanni Angeli. “This disc will play in stereo on a CD player and with film and 5.1 surround sound (or stereo) on a DVD player or computer. The music, as always, is prodigious, sounding like a small band, but played by one person in real time (as the film attests). In this format, you can also see the instrument — close to a highly rebuilt and extended giant Sardinian guitar — with many sympathetic and extra strings, motor-driven hurdy gurdy wheels, whirling strings, springs and other appendages, played like a cello, vertically, with bow, fingers, plectra and machines. However Heath Robinson it may appear, it is clearly under Paulo’s hands, a highly serious and extraordinarily flexible beast that requires and has given rise to new playing techniques. The programme of compositions here navigates through highly-organized additive rhythms, freer Frith-like pointillism and some seemingly impossible mini-orchestrations. The film, professionally made, follows the performance, occasionally interpolating abstract passages and processed images. A remarkable player with a unique instrument, playing a music entirely his own.”
| || MACC AND DGOHN: Some Shit Saaink CD (REPH 209CD) 15.50|
This is the first full-length release by live drummer/producer John Cunnane dgoHn (pronounced “Jon”) and audio engineer/producer Robert Macciochi aka Macc. Each of them has released a plethora of singles/EPs since ’94/’95 on a multitude of labels including Subtle Audio, Inperspective, Alphacut, Subvert Central, Offshore, Transmute, Outsider, Syncopathic, Breakin, 13 Music, Counter Intelligence, Plain Productions, Exegene and SC Digital. This is the first major album to be unleashed; much more in the vein of Squarepusher and Billy Cobham, Buddy Rich, Art Blakey, etc., than the more common all-electronic epic dark rinsers/vocal stabbidge, etc. Tight and solid but laden with atmosphere. Some Shit Saaink echoes a current popular focus on the predecessors of modern dance music, but with the freedom and vibes of early pioneers like LTJ Bukem or Remarc, and with the slickness, modernity and occasional brutality of 2010. A release that continues to prove that there is still something new to be heard in electronic dance music, especially the so-called “drum and bass” genre, or even that of jazz fusion.
|RINGO RECORDS (UK)|
| || LD VS. CLUEKID: Jays Reese/The Intro 12″ (RNG 010EP) 11.00|
“A strand emerging within dubstep is a mutant jungle strain within the sound. Needless to say, it’s impossible to imagine dubstep without the DNA of jungle: it’s prominent in so many ways and places, from Burial’s Foul Play influences to Loefah’s love of the sound itself. Members of the scene used to DJ jungle, from N Type and Kode9 to Jason (Transition’s mighty mastering engineer). In fact the whole ‘dark’ component that makes dubstep distinct from UK garage has its roots in El-B’s twin love of Metalheadz and 2step. Jungle is less an influence on dubstep, more like the foundation on which the whole scene, via garage, was built. But in spite of all that, a re-emphasis on jungle-flavored dubs is emerging within dubstep; songs that use chopped breaks, epic pads, and vocal samples like it was 1994, from producers LD and Cluekid.”
| || VA: I Love Funky 2CD (RINSE 018CD) 17.00|
Following the massive I Love Dubstep album (RINSE 007CD), Rinse presents the genre-defining double disc Funky compilation (this genre is also occasionally referred to as “UK Funky”). Including music from Kenny Dope, Donaeo, Wookie and Major Lazer, highlighting the full spectrum of Funky. Brought to you by Rinse, the sister label to Rinse FM — London’s leading underground station. Mixed by leading ambassadors of the genre, Supa D and MA1, the definitive Funky compilation delivers an all star A-Z of the music that is sweeping across Britain and now steadily spilling overseas. I Love Funky is a must-buy CD for seasoned listeners and the uninitiated alike. This 53-track double CD features significant tracks from the genre’s inception to present day including Perempay & Dee’s “In The Air,” Geeneus & Zinc’s “Emotions” and Hard House Banton’s “Sirens.” Also featured are those tracks adopted by the genre to devastating effect like Major Lazer’s “Pon De Floor” and Kenny Dope’s “Sunday Morning.” Crossover anthems such as Donaeo’s “Party Hard” and “In The Morning” (Fuzzy Logic featuring Egypt) are blended with underground heaters like “Klambu” by Bassjackers + Apster and DJ Sdoko’s “World On Fire,” leaving no stone unturned in this, the ultimate Funky compilation. Much more than an encyclopaedia, I Love Funky is the CD to keep in your car throughout the summer, as Supa D and MA1 work their magic across both discs, ensuring that this is the release guaranteed to give you that Friday feeling. Other artists include: Funkystepz, Lilly McKenzie, Champion, Ill Blu, Shystie, Ms. Dynamite, Roska, Kentphonic, Rocco, Apple, Teedra Moses, Naughty, Pioneer, Shanique, Todd Terry, Mad One, Meleka, Crazy Cousinz, Marlon D, Jan Driver, Karizma, Ultra Nate, Adam Rios, Katy B, Katie Pearl, Yonurican, Jamie George, Altered Natives, Trackheadz, Zaki, Anesha, D Malice, Black Coffee, Bucie, Afefe Iku, Fatima, Rudimental, Natalie May, Attacca Pesante, Shea Soul, Jazmin Sullivan, Missy Elliot, Nikki, Kyla and Lil Silva.
| || REED, LOU: Metal Machine Music 2LP (SR 002LP) 23.00|
Restocked. “180 gram and double gatefold vinyl. This LP contains a stereo reproduction of the original quadrophonic master, playable on home theater systems. Program ends in a locked groove, just like the original. This is the one and only official re-mastered Metal Machine Music reissue, supervised and approved by Lou himself. The original. The one that started it all. Noise rock — industrial rock. Underground for years, it survived on the power of an idea. No key, no vocals, no set rhythm…. hhhmmmmm feedback forever. Supervised by Lou Reed and faithfully remastered to the last squeal. The out-of-print ‘Quad’ has been replicated for a perfect vinyl version playable on your stereo turntable with the original rear sections moved to the center of the front left/right speakers. It’s worth getting a turntable to hear this. We worked from digital transfers (96k 24bit) made from the original analogue masters. The original label supplied us with these files and photo copies of the analogue reels including copies of Bob Ludwig’s mastering notes. An act of love for an act of sound.”
| || HASSLE HOUND: Born In A Night CD (STAUBDIG 004CD) 17.00|
This is the second album by Glasgow’s Hassle Hound — the follow-up to 2006’s critically-acclaimed Limelight Cordial (STAUB 065CD/LP). Apparently residing somewhere between Sesame Street and Sunset Boulevard, in a building that’s part Heartbreak Hotel and part Pee Wee’s Playhouse, Hassle Hound proffer dayglo audio animations and melancholic, cinematic avant-noir. Born In A Night sees them continue their effervescent assault on bland Ikealectronica and insipid samplers. On this record, Hassle Hound integrate kindergarten kitsch with moodier psychedelicate moments, documenting a celestial domesticity with eccentric but compelling instrumentation and intriguing ideas. Their irreverent and eclectic approach results in a collection of complex, yet cohesive songs, each with their own idiosyncratic sonic identity. Their curious blend of sampled sounds, field recordings, electronic noises and live instruments creates a simultaneously sophisticated and naive seduction where angelic melodies tussle with radiophonic dexterity, digital caresses, analog whispers and jolly anarchy. If Sun Ra and Joe Meek had been Hanna-Barbera cartoon characters, this could well have been the soundtrack. Born in a night, it will deliver for a lifetime. The band is comprised of three core members: Tony Swain, Mark Vernon and Ela Orleans.
| || BUCKFASTER, TAZ: Recovery/Headlock 12″ (SUBWAY 014EP) 11.50|
“Taz Buckfaster — A name that’s been popping a lot recently and no wonder. Cause this Scotsman has been making some extreme riddims! A producer that can flex to any side if he wants to and for his Subway debut he concocted 2 heavyweight dancefloor monsters that will leave the crowd begging for more. ‘Recovery’ strikes like a ton of bricks. The heavy bleeped out intro is only camouflage cause after the towering drop it’ll smash your face in proper. Nasty gnarling midranges terrorize this heavyweight tune giving it that special Subway edge. On ‘Headlock’ Taz shows he can wobble his gut any way he can. Get ready for a epic drunken wobbling style track thats bound to create pits around the globe. The unexpected edits give this tune the WOW factor Subway has been craving all along. This release has been gaining support among some of the key players representing this sound. Play support: 16Bit, Trolley Snatcha, Datsik, Funtcase, Jakes, 501, Flux Pavilion, Doctor P & Loads More!”
| || ANDERSON, LEONA: Music To Suffer By Remastered CD (JBH 037CD) 15.50|
A very rare cult recording from 1958, and possibly the greatest worst album of all time. Beautifully remastered for the very first time, so now it sounds even worse. After a vague career on the silver screen, Leona Anderson hit the recording studio in 1958. She only went once. The results are legendary. In fact, no other album has reached such heights of brilliance and badness at the same time. The album is relentless, from “Indian Love Call” to “Carmen,” the yodelling, crooning and aural torture just gets more incredible, more entertaining and more unforgettable as the album runs on. Add to the mix such classic and unique numbers as “Rats In My Room” and “Limburger Lover” (the greatest song about cheese ever written and performed), and we find that the album moves effortlessly from being just another incredibly strange album to simply the greatest, most consistently entertaining recording of all time. Anderson’s vocal timing is sublime, the orchestra is strong, and the album brims with humor, darkness and more than a touch of utter madness. One listen to Music To Suffer By, and you will not suffer. Instead, you will laugh and revel in the fact that you will not be able to stop singing it or playing it for the rest of your life, whether you like it or not. CD is housed in a beautiful, period color sleeve, and includes a 4-page booklet with original photos and sleevenotes.
| || VVV: Vertigo & Flames/Slacktide 10″ (TUBE10 009EP) 11.50|
“Newcomer VVV racks up his Tube10 debut with 2 productions of sheer quality.. ‘Vertigo & Flames’ is a dreamy slab of heaven that everybody will enjoy. Sounds ranging from house, garage, wonky & whatever you might think of mixed together seamlessly like its nothing. Let the vocal edits whisk you away to a land far beyond the borders of wobble & tearout. Just sit back. Relax and enjoy the ride. Turn around to ‘Slacktide’ for some next level business. Time to change the pace & change the style as Rodigan would say to 130bpm that is and get our funky on!! This dark epic house boomer will test the PA from front to back with its immense subline… Get ready for a lot more of these sounds coming through Tube10 cause we just can’t get enough of it!” On red vinyl.
| || ON (REWORKED BY FENNESZ): Something That Has Form And Something That Does Not CD (TYPE 062CD) 14.50|
This is the third album from French composer/producer Sylvain Chauveau and Chicago-based percussionist Steven Hess (Haptic, Pan American) under their On moniker, continuing their excavation of abstracted experimental sounds. As with the previous records, improvisations were recorded in a studio in Chicago and then handed to a guest musician to rework in whichever way they saw fit. This time around, the guest musician is none other than experimental pioneer Christian Fennesz. Christian’s association with the band goes way back — he performed with them in 2004 as a trio, so it seemed almost inevitable that a collaboration would emerge at some point, but this treatment truly takes the notion of collaboration to another place entirely. Unlike Your Naked Ghost Comes Back At Night (TYPE 050CD/LP) (which was handled by dark-ambient master Deathprod), Fennesz has treated the source sounds with a distinct lightness, allowing them to creak and breathe. Occasionally, you can hear the room itself ticking in the foreground — hands on drumsticks and feet on pedals. The sounds become the backbone of the intense, slow-building dronescapes that Fennesz pulls from the original recordings. We are treated to piercing noise as the album opens with a choir of feedback, but the cacophony gradually disperses to allow pulsing harmony and Steven Hess’ propulsive, metronomic drumming. When we close on the blissful near 20-minute “The Sound Of White,” echoes of Fennesz’s best work drifts through the crackle and pulse of Chauveau’s prepared guitar and Hess’ distant percussion. These hypnotic patterns slowly rise and fall, giving the listener time to truly hear each subtle shift. This is not an exercise in easy listening; rather, here is an album that demands close attention, and one where the beauty truly is in the details.
| || BROWN, JAMES: King Heroin 7″ (PD 14666EP) 7.00|
“‘King Heroin’ is one of James Brown’s finest moments, at the time an urgently needed reality check on the growing heroin crisis swallowing much of inner city America, and appreciated today as one of the most breathtaking pieces of haunted funk and conscious soul ever released. Reissued here in all its glory, and featuring the impossible-to-find instrumental reprise on the B-side, ‘King Heroin’ once again hits the streets to combat the uncertainty of post-civil rights era urban malaise. Much more than a ‘message’ record, more than a few of which James Brown and company put out with preachy fervor, ‘King Heroin’ holds no bars in its blunt reviews of addiction and its painful fallout, all from a man who himself struggled with the beast inside for decades. Beyond the sweet irony remains one of the most disturbing and starkly beautiful down-tempo soul records ever, a perfect encapsulation of a lost era only dreamt of in weak blaxploitation Technicolor vision today. An essential piece of eternal soul history.” Housed in a repro King Records sleeve.
|WAH WAH RECORDS (SPAIN)|
| || ANNEXUS QUAM: Osmose LP (LPS 049LP) 31.00|
2nd pressing on purple vinyl. “Annexus Quam had actually a quite long career, having their roots in the outfit Ambition Of Music, formed back in 1967 Kamp-Lintfort (near Düsseldorf). By 1970, and paying tribute to their early name, they had incorporated a whole array of influences (most important one, the inclusion of jazz instrumentation) and brewed them in what was becoming a very personal progressive fusion of styles, best witnessed in their their debut album Osmose. At that time, the band had grown into a septet formed by Uwe Bick (drums, vocals, percussion), Jürgen Jonuschies (bass, vocals, percussion), Werner Hostermann (clarinet, organ, vocals, percussion), Peter Werner (guitar, vocals, percussion), Hans Kámper (trombone, Spanish guitar, vocals, percussion), Ove Volquartz (sax) and Harald Klemm (flute, vocals, percussion). Far from a typical jazz sound, they were able to integrate rock and jazz instrumentation into a unique style, which borrowed elements from the aforementioned genres but blended those into an ultimate cosmic fusion (which can recall at times the Third Ear Band, Xhol Caravan or even Ash Ra Tempel yet remaining totally their own). Actually, Annexus Quam were able to sound meditative, doomy, stoned, aggressive, exotic and lyrical in the same track without loosing any musical coherence or perspective. With their personal style that even today defies categorization (except for that big umbrella we call kraut rock),Annexus Quam had all the inventiveness and excitement of the 1969/1970 German bands. Osmose is a most unique album by an equally unique band, housed in one of the most luxurious, elaborated and tripped-out gimmix covers ever made, now reproduced in all it’s multi-folding glory. Gimmix folding-pyramidal cover!”
| || SCHICKERT, GUNTER: Samtvogel LP (LPS 082LP) 28.00|
“There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. ‘When I was recording Samtvogel in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.’ Thanks to these three months of work, between June and September of 1974, Samtvogel was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork — titles added to the front cover, which weren’t on the original private pressing. Brain also reissued it on the label’s Rock On Brain LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret — however it must be pointed out that Schickert did not need any mind spreading substances to allow his sounds to float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed atmospheric guitar work of other Krautrock innovators such as Ash Ra Temple, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can’s Tago Mago era. The Wah Wah reissue is limited to 500 vinyl LP copies only, housed in a quality sleeve that reproduces that of the original 1974 private pressing and featuring a 4 page insert with liners and photos, sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away!”
| || HELDON: Third (It’s Always Rock ‘n’ Roll) 2LP (LPS 083LP) 42.00|
“After our acclaimed reissues of the first two LPs by French electronic rock pioneers Heldon, we are proud to offer a lavish vinyl version of their third album (also known as It’s Always Rock ‘n’ Roll), where Pinhas and Co. follow the same paths he created with Electronique Guérila under the strong influence of works by Robert Fripp and Brian Eno, and of course the contemporanean Krautrock movement. For those of you following our line of releases there will be no need to say that composer, guitarist & electronics innovator Richard Pinhas is recognized as one of France’s major experimental musicians and is a pivotal figure in the development of electronic rock. This third delivery of Heldon’s works was first released on Disjuncta in 1975 as a double LP and features Richard Pinhas (ARP & VCS3 Synthesizers, guitars, bass, Mellotron) and George Grunblatt (Mellotron, guitars) plus contributions from some other greats of the genre like Patrick Gauthier (ARP synthesizers), Gilbert Artman (of Lard Free fame on drums), Jean My Truong (also on drums) and Ariel Kalma (Indian Harmonium). The double LP set came housed in a beautiful 7-ink gatefold sleeve that we will faithfully reproduce in full glory (that is, including the two extra gold & silver inks print). Four page insert with notes by Paco Peiró relating the story of Pinhas’ early years is included. Only 500 copies will be pressed! Once they are gone, they are gone — do not miss it!”
| || BUNN, ROGER: Piece Of Mind LP (LPS 084LP) 28.00|
“As K.J. Gustin wrote, Piece Of Mind is a work of ‘exotic psychedelic free-jazz-meets-rock, East-meets-West, progressive and smoky moment in late Twentieth Century music history’. Add to that a spice of jazzy brassed R&B and a touch of minor-key popsike sensitivity and you get an accurate description of the sounds contained in Roger Bunn’s astonishing 1969 LP, originally released in the UK on the Major Minor budget label, but issued in some European countries (Ohr label in Germany or Phillips in Holland) in a beautiful gatefold cover that is the one we choose for our reissue. When the LP was released in 1969, Roger Bunn was already a veteran British musician that had gained an astonishing CV since he began playing in the professional circuit. He spent the sixties moving through several outfits playing skiffle, jazz, beat, R&B, soul… whatever. As The Beatles did, he spent some of his forming time in Germany, playing with British formations there. A versatile musician on several instruments, he became a master of double bass. After the Piece Of Mind days he joined Pete Brown’s Piblotko!, played with members of Soft Machine, worked with Ornette Coleman, saw one of his songs recorded (though never officially released) by a major rock star like David Bowie and even became a founding member of Roxy Music for a short period in 1970-1971, among so many other things. An album that should be an essential addition to any collection that misses it, reissued in full colour gatefold sleeve, quality vinyl pressing and an insert with liner notes, with sound remastered by Denis Blackham at Skye Mastering in a strictly limited edition of ONLY 500 COPIES, made in loving memory of this great musician who passed away in 2005, that we expect to sell like hot bread. Get yours before it’s too late!”
| || KATCH 22: It’s Soft Rock & All Sorts LP (LPS 086LP) 26.00|
“Unearthing another hidden gem from the Saga catalogue. Katch 22 were a bunch of young boys that produced the UK answer to the US soft rock scene. It is ironic that a UK band can be so influenced by those US bands that were most highly under the influence of British popsike! Think of Harper’s Bizarre, The Association, The Millennium or Eternity’s Children even higher on tea! A surprisingly good production for a Saga pop/psych LP, the album is built up of excellent cover versions of some greats of the genre, paying tribute to the likes of The Left Banke (‘Walk Away Reneé’), Simon & Garfunkel / Harper’s Bizarre (‘Feelin’ Groovy’) or even Buffalo Springfield (‘Go And Say Goodbye’) and also of some good originals in the same vein. It is certainly an underrated period piece that deserves a wider recognition, a great sounding album of orchestrated (and non orchestrated) pop sounds. The album was originally issued on Saga / Eros subsidiary in 1968, and the Wah Wah reissue respects the colourful sleeve and reprints the original insert, with sound remastered from the original tapes by Denis Blackham at Skye Mastering. Offered in a limited 500 copies only edition!”
|WAR EXTENSION (ITALY)|
| || BRILLANS, NARKI: Narki Goes Into Orbo’ LP (WEX 013LP) 27.00|
“A mysterious 1981 cassette masterpiece from Narki Brillans from the It’s War Boys catalogue available now on LP. Remastered from the original tapes by Narki himself! Track listing: ‘Worship Worship USA’; ‘Omnicode’; ‘Atom making a bomb’; ‘Fascist tea party’; ‘Dave got a job in the garage’; ‘Postcard from Space’; Saw a great disc land’; ‘I’ve got US dollars’. There are more than half a million pieces of space junk floating above the earth, and of all of them, there’s only one or two that I’d rescue for the benefit of the human race. You know, when you think of all those dreadful Time Capsules and other vainglorious and redundant trivia – if you are someone of a discerning mind, one eye on the eternal fastnesses of our mighty Galaxy (only a suburb really, which is surely what makes David Bowie’s Space Oddity so very effecting for those of us born in the petit bourgeois utopia of the post-war world), the other on the profoundly mysterious internal life of the individual, the essentially irrelevant nonentity which our so-called culture has puffed up and reshaped with the vision of an expert sculptor into the soi-disant Self — well then, if you are of such a mind, well then I say it’s my firmly held belief (one which I will carry to my grave, which I hope may be out there in Space, with Bowie and Meek’s masterpieces alternating with a selection of out takes from the television series Lost In Space starring the immortal Jonathan Harris — ‘Spare me the compliments, Major!’) that the only object really worth a candle among the essentially infinite objects floating in the upper atmosphere is that recording made by Narki Brillans which, if everyone in the chain does what they said they’ll do and if my predictions for our future are correct, the reader of this transcript will soon hold in their hands. Four color sleeve with original primitive-futuristic-cosmic collages by Studio Shitless. Printed inner sleeve featuring an essay by Ed Baxter and a 1982 low-orbit interview by Narki Brillans from Teen Arts magazine. Label based on a original idea by Clive Graham. Edition limited to 265 private copies.” On red-colored vinyl.
| || COOPER, ALICE: Easy Action LP (WS 1845HLP) 13.00|
180 gram vinyl version. Exact repro reissue, manufactured by Rhino. Originally released in 1970, this is one of the most underrated Alice Cooper albums, due in part to the fact that the album takes its name from a line in West Side Story, suggesting the beloved heavy metal singer was not above attending a good Broadway show every once in awhile.
|WOLF AND LAMB|
| || WOLF + LAMB: Love Someone CD (WL 001CD) 17.00|
This is the debut artist album from Gadi Mizrahi & Zev Einsenberg aka Wolf + Lamb, both Brooklyn-born musicians, producers and label-heads who pride themselves on procuring and presenting some of the finest gourmet music from around the world. Coming together over a decade ago, they strived to experience and conquer a new approach to music. And so was born Wolf + Lamb, a project that refuses to conform, yet inspires a legion of followers. Since then, many have had their own personal experience of Wolf + Lamb; within their Marcy Hotel in New York; as far away as the Nevada Desert for the Burning Man festival; and more recently, across Europe as the duo took to the road. Love Someone is a collection of sometimes obscure, but always engaging dance music productions, cultivating the ultimate statement of who they are, and conveying their own unique musical vision. The album opens with the atmospheric trails of “Just For Now,” made at the Wolf + Lamb NYC base — the Marcy — a derelict setting that influenced the gangster feel of this track. Still keeping the tempo slow is their dubbed-out rework of “Shoeshine Boogie.” Made at Matt Tolfrey’s/Jamie Jones’ studio in London, the rework oozes with the succinct flavors of instrumental hip-hop and characterizes the W+L signature blend of non-conformist dance music. The title track begins to heat things up, combining a nice disco oddity sample, cascading melodies and rhythmic low-end bass, all put together in their Marcy studio, a space that doubles as the dancefloor for their infamous parties. There is a sole collaboration, courtesy of label mate Smirk, who helped produce the jazz medley, “Monster Love,” and Dyed Soundorom makes it onto the package with his “Wants Your Love” remix of “Want Your Money.” The original version closes the project with a sumptuous workout of warbling vocals, shaking snares and contemporary resonance. Influenced by a solid knowledge of musical history and inspired by an endless enthusiasm, Love Someone unites a diverse array of tracks, keeping in mind not only the dancefloor, but the journey to and from it.
| || YETI: #9 BOOK/CD (YETI 009) 11.00|
“On the CD: All rare/unreleased music, lots of raw wonderful stuff this time out, including Indian music from 78s selected by Rob Millis and three Pip Proud songs never on CD before. Artists include: Fantastic Palace, The Art Museums, Ko + Friends, Pip Proud, Bobby Charles, Rhythmical Wright Singers, Rev. Lonnie Farris, Bishop R. Mcdaniel, Puppy Hearts, Aias, Arrington De Dionyso’s Malaikat Dan Singa, Teenage Panzerkorps, US Girls, Geoff Soule, Vak Ranga Rao, Mukesh, Tiruvasanaliur Narayanasami Iyer, Sembannarkovil Ramaswamy Pillay, Spencer Moody, Plankton Wat, Reading Rainbow, Human Eye, X-Ray Eyeballs, Arrington De Dionyso’s Malaikat Dan Singa, Modern Women, Marisa Anderson. Lengthy interview with groundbreaking artist Bruce Conner, done for the Smithsonian in the early 1970s; Photos and text forming a kind of tour diary by your favorite member of Speedy & the Castanets, Dean Wareham; Two archival interviews with electronics pioneer Maryanne Amacher; Pip Proud in the 1960s: Excerpt from ex-Cannane David Nichols’ forthcoming massive history of Australian rock on the bizarre, whispery, often revelatory work of Mr. Proud; Reprints from Tuli Kupferberg’s wonderful self-published Birth Press titles from the 1960s; Some very awesome comics from the talented Brooklyn-ite Lizz Hickey; Erik Davis talks to our favorite contemporary British folkie Alasdair Roberts; New drawings by intrepid artist/musician Arrington De Dionyso; Short story by the very talented Kingston, NY resident Mimi Lipson;: A sort-of comic done by Beatriz Monteavaro just for Yeti; Vak Ranga Rao: Groovy article about a collector of Indian music 78s, image-heavy and sweet, by Rob Millis; Another comic done just for Yeti, this one by James Turek — we are very lucky; Previously unpublished translation of under-known South American writer Joaquin V. Gonzalez; Recent works on paper by Portland, OR-based artist Alisha Wessler.” 192 pages, 6″ x 9″ book, $11.95 cover price.