|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 08/16/2010
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| || ALTERED NATIVES: The Bitch/Crop Duster 12″ (3024 009EP) 11.50|
“A north London born producer and DJ who’s been expressing himself through drum abuse and perverting genres. Altered Natives is establishing himself as one of the most forward thinking producers around right now, with his unique blend of broken/tech/dub/house-inspired productions… Danny has been cooking up beats and productions for a number of years, releasing his first works through the Goya music affiliated People records, Broadcite and London broken beat institution COOPR8. His ‘Rass Out’ firmly put him on the map as a buy-on-sight producer. DJs supporting such as Laurent Garnier, Benji B, Kode 9, Sinbad, DVA.”
|AMERICAN TYPEWRITER (SPAIN)|
| || VA: Keys LP (AT 005LP) 22.00|
Subtitled: A Comprehensive Collection Of Contemporary Piano Compositions. “First compilation on American Typewriter is Keys and, as the subtitle says, it is a comprehensive collection of contemporary piano compositions. Includes tracks by Peter Broderick, Nils Frahm, Library Tapes, Rafael Anton Irisarri, Machinefabriek, Richard A Ingram, Sommer, Krater and Gabriela Parra. From the strictly modern classical sound to the more experimental and electronic stuff using piano. In addition to the music, the great sleeve design is made by Rutger Zuydervelt. 550 numbered copies.”
| || GENFUOCO: Dentro L’invisibile LP (AMS 028LP) 34.00|
“A band from Tuscany, formed in the mid-70’s in Siena, they released a self produced nine-track tape, Antichi confini, in 1976, and, being part of the international Gen Christian movement, they were invited to play in various European Genfest festivals. Their first and only album in 1979 was on the religious Città Nuova label that had also produced bands with similar names like Gen Verde and Gen Rosso. Dentro l’invisibile had a limited distribution mainly in bookshops, and is rare to find now. Acoustic, soft atmospheres are prevalent with good use of flute, sax, keyboards, like in the opening ‘Ouverture,’ but the tracks have limited instrumental interludes and are mainly built on the vocal parts.” — Italianprog.com “First time 180gr vinyl reissue, identical to the original version with lyrics and info printed on the inlay LP envelope.”
|ANALOG AFRICA (GERMANY)|
| || VA: Afro-Beat Airways CD (AACD 068CD) 22.00|
Subtitled: West African Shock Waves: Ghana & Togo 1972-1978. Organ-driven Afro-beat, cosmic Afro-funk and raw, psychedelic boogie — just some of the flavors to be found on this highly danceable compilation by Samy Ben Redjeb, founder of Analog Africa. No effort has been spared! To document these irresistible tracks and the music scene from the ’70s, Samy crisscrossed the lengths of Ghana and Togo in search of the producers and artists — or their relatives. In the process, he recorded a dozen interviews, scanned 90 pictures and transferred 120 master tapes. All the evidence can be seen in the 44-page full-color booklet accompanying these 75 minutes of heavy West African sounds. Afro-Beat Airways showcases an amazing diversity of local rhythms spiced with Afro-American funk, soul and jazz. Samy Ben Redjeb, in his own words: “While some light has been cast on the Ghanaian music scene of the 1970s, Togolese music is relatively obscure and badly documented. However, we are working on this! In fact, we’ve already made a start, with our previous Analog Africa compilation African Scream Contest which showcased 3 Togolese artists. Afro-Beat Airways presents two more — Orchestre Abass and Cos-Ber-Zam. While the first band developed into one of the country’s best, to such an extent that none other than Fela Kuti once offered them a contract to play at his Afro-Spot night club (which later became The Shrine), the second artist was a one-hit wonder. “Né Noya” was a monster hit in Togo, but it is to-date the only release by this obscure artist. The reason why I decided to include these Togolese tracks on this compilation is that they were all recorded in Ghana and thus they worked well in the mix.” These tracks have been hiding for 30 years, and, as you will hear, these are modern African sounds created to stand the test of time. Afro-Beat Airways is like a time capsule, and promises to take you on a fascinating musical journey through West Africa’s vintage Afro sounds.
|APPLE PIPS RECORDINGS (UK)|
| || KOMONAZMUK: Dance Too 12″ (PIPS 011EP) 11.00|
“Komonazmuk drops a tough slice of deep, stepping, and melodic dubstep for our 11th release. With his history in rave culture stretching back to the oldskool days, through releases on Hardleaders & Moving Shadow with Ice Minus, right up to his current cutting edge productions, Keiran Lomax aka Komonazmuk has got his fingers in many musical pies. Having had big releases on scene-leaders like Tempa, and his debut album coming on H.E.N.C.H., his versatility as a producer and engineer is second to none. Teaming up with Appleblim for remix work has resulted in stunning reworks of artists as varied as Bonobo, Brendon Moeller, and Harmonia & Brian Eno, for labels such as Ninja Tune, Francois Kevorkian’s Wave Music, & Will Saul’s Aus Music. In fact after Komonazmuk & Appleblim remixed Lee Jones & Nick Hoppner’s My My project for Aus Music, Lee Jones returned the musical favour with this stunning deeper than deep house rework of ‘Dance Too.’ With a residency at Fabric, and regularly playing all over the world, 2010 is looking great for Komonazmuk! DJ/Radio support coming from Mary Anne Hobbs (BBC Radio 1), Rob Da Bank (Radio 1/Bestival), Sinden (Kiss/Domino), Appleblim & many more.”
| || JOE: Untitled/Digest 12″ (PIPS 012EP) 11.00|
“With the success of our last releases getting props and plays from DJs as diverse as Erol Alkan, DJ T, Martyn, Deetron, & Rob Da Bank we are really excited to present our next slice of futuristic funk for your ears and booty from the extremely talented Joe. With his debut, the awesome Grimelight, being released on Hessle Audio, Joe is part of a loose group of likeminded and future-thinking producers & DJs that includes Hessle Audio’s Ramadanman, Ben UFO, & Pangaea, and Untold & James Blake. Whilst they all have very individual sounds, they share a vision of dubstep, UK Funky, techno & house influenced beats that seem to defy genre. The A-side ‘Untitled’ is a huge stepping wad of funk, bringing to mind 2-step, early Skream & Benga, even stripped down grime classics like Pulse X, but with a truly contemporary twist. This tune drops hard, and has been a secret weapon of Appleblim’s for some time now — he was pleasantly surprised to see ravers of all ages go mad to it! The flip sees Joe’s more experimental leanings come out on ‘Digest’, but he never forgets the groove and funk. With rolling percussion, steppy sub bass and shiny analogue synth stabs cutting through, it seems to us like a mixture of Mala from Digital Mystikz and Theo Parrish! High praise indeed. DJ/Radio support coming from Mary Anne Hobbs (BBC Radio 1), Modeselektor, Peverelist, Rob Da Bank (Radio 1/Bestival), Paul Woolford, Ramadanman, Brackles, Appleblim & many more.”
| || MV & EE: Liberty Rose LP (ARB 004LP) 17.00|
“The brand new LP by contemporary psychic blues visionaries MV & EE. The duo spent 40 days and 40 nights under the twisted trees and endless sky of the Mojave desert via a Vermont homestead, freedom and unity. That’s where these songs were unformed in dreams, floating off to mingle with the collective unconscious of coyotes and rattlesnakes, before they were re-birthed as smoke signals channeled through shaky hands, an old tele, germanium transistors and a bucket brigade. We at Arbitrary Signs feel that this is the purest distillation of the MV & EE ‘S P E C T R A S O U N D’ to date. Embedded within the grooves of this record are 6 streams to dip into as respite from the punishing rays of the hot summer sun.”
| || BRANCA, GLENN: Symphonies #8/10 (The Mysteries) CD (ALP 012CD) 14.00|
2010 repress. “Stunning, heavy requiem for ten electric guitars.” Recorded in 1994, with the following guitarists: Steven Antonelli (alto guitar), Eric Hubel (tenor guitar), Brannon Hungness (soprano & octave guitars), Phil Kline (tenor guitar), Carolyn Master (alto guitar), John Myers (soprano guitar), Dave Reid (bass & octave guitars), Ellen Watkins (soprano & octave guitars).
|BLACKEST RAINBOW RECORDS (UK)|
| || TWINSISTERMOON: Then Fell The Ashes LP (BRR 170LP) 19.00|
“Brand new full length vinyl LP from Natural Snow Buildings’ Mehdi Ameziane solo project. This is the third Twinsistermoon release since 2009’s The Hollow Mountain LP and Bride of Spirits 7″ which were both released on the excellent Dull Knife label. Following on from these two gems, various obscure self released items and CDs on Digitalis and Students of Decay, Ameziane’s sound has grown somewhat darker at times with this LP featuring nearly 50 minutes of brand new material. The A-side features 6 tracks, where as the B side is complemented with a huge, almost 25 minute track. The opening track ‘Black Nebulae’ is a gorgeously textured psychedelic drone-based piece, followed by a short, quieter, guitar plucked piece with vocals, but no words, entitled ‘1976’. ‘Ghost That Was Your Life’ is a stunning beautiful layered guitar piece with Ameziane’s astounding beautiful vocals shining through. ‘Big Sand’ opens as one of the darker pieces, with an occult feeling to its sound, swirling vocal drones, almost like a choir at times, and in come those stunning warm and distinctive gutar sounds with layered ghostly sound scapes, that haunt much of Ameziane’s solo and NSB recordings. Half way through this track it fades into layered field recordings, drones, and distant chimes, the sound of this track at this point just has a real melancholy vintage sound, the last two minutes are again a change of sound with a slow plucking of guitar strings. ‘Desert Prophecy’ returns of the sound of just Ameziane and his guitar, with some lo-fi electric riffing distortion in the background. It’s pretty incredible to hear this and think that it’s from 2010, and not from the 60s or 70s. The sixth and final track on the first side is ‘Trailer’, another beautiful somewhat lighter folk sound, which is interesting considering the following is the album’s title track, ‘Then The Ashes Fell’, a side long track which is a considerably darker and heavier track than much of the rest of the LP, but it weaves in some beautiful lighter more reflective moments. Pro printed covers and labels. Heavyweight vinyl.”
| || BEGGIN’ YOUR PARDON MISS JOAN: Edges CD (BRR 186CD) 13.00|
“Edges will be the first widely available release by Beggin’ Your Pardon Miss Joan. It is a collection of several old songs from previous highly-limited releases on Centre of the Wood, Dead Pilot and Reverb Worship, plus five new tracks. The project is from the minds of Lex and Vanessa Panayi. Some of you may recognize Lex, as he also plays under the name of Guanaco ±, whose LP Sky Burials was released earlier this year on BR. On this 9-track CD, there are moments comparable to some of the material on the aforementioned LP, but at times its approach is more singer-songwriter based with more vocals, as well as merging autumnal psychedelic string picking excursions and traditional folk guitar meanderings. A really gorgeous collection of songs. Edition of 500, full color pro-printed card wallets.”
|BPITCH CONTROL (GERMANY)|
| || ALLIEN, ELLEN: Our Utopie 12″ (BPC 220EP) 12.00|
The second single from Ellen Allien’s Dust (BPC 217CD/LP) album, “Our Utopie” radiates the epic vitality of the open-air season, using a serene, floating synth line, a melody as soft as butter and a break which could bring the toughest of us to our knees. On “Should We Go Home” all shapes are elusive, all surfaces are glistening and everything’s a mystery — but then the beat returns and restores order, transforming right angles into gentle digital twittering.
| || BAKONGO: Amhara 12″ (MATH 009EP) 13.00|
“Roska brings his first Bakongo production in over a year to BRAiNMATH. As always, limited info, limited copies.” One-sided release.
|BUREAU B (GERMANY)|
| || MOEBIUS & BEERBOHM: Double Cut CD (BB 056CD) 17.00|
In 1984, two years after their first album collaboration, Strange Music, Dieter Moebius and Gerd Beerbohm issued their second LP, Double Cut. It bore the same distinctive hallmarks as its predecessor, but this time around, the two musicians had simplified matters significantly. This was not simplification due to a lack of inspiration, however, but a masterful concentration on what really counts in pop music: rhythm. Today, any discussion of German electronic pop music of the 1970s and 1980s takes for granted that the origins of a whole range of future music movements can be traced back to this period. German groups anticipated punk and were producing proto-techno and ambient music long before these had entered the genre pool as recognized categories. A number of the protagonists from that era would become enduring worldwide legends. Others, such as Moebius and Beerbohm, have thus far been limited to the shelves of certain enthusiasts. Yet, as a precursor of prescient future music, Double Cut is a perfect specimen. The centerpiece of the album, the 22-minute “Doppelschnitt,” can be tagged as proto-techno. Moebius and Beerbohm have grafted an endless stream of rhythmical electronic particles onto an ostinato bass and drum figure, fluttering to and fro like the lightest of shimmering veils. The utter and deliberate absence of any kind of melody makes it even easier to be carried away by rhythm to distant places. Double Cut is musical askesis of a formidably persuasive nature, avoiding energy-sapping meditative ballast and the anaemic contemplation of new sound academia. Double Cut is powerful, sensual pop music. Moebius never set foot in the studio with the aim of recording structured, premeditated compositions — he rather more resembled a child in a sandpit. Beerbohm was a congenial partner in this respect, as he and Moebius bounced artistic ideas back and forth, surprising each other time and again with their musical caprioles. Beerbohm’s contribution to the pair of albums cannot be regarded too highly. And Moebius, the brilliant spark, had once again proved shrewd in the extreme by enlisting Beerbohm to record two albums with him. Liner notes by Asmus Tietchens.
| || MOEBIUS & BEERBOHM: Strange Music CD (BB 057CD) 17.00|
Bureau B reissues the first collaborative release by Dieter Moebius and Gerd Beerbohm, originally released by Sky Records in 1982. In the latter half of the 1970s, alongside their Cluster collaboration, Dieter Moebius and Hans-Joachim Roedelius embarked almost simultaneously on individual musical journeys. Roedelius focused primarily on solo projects, while Moebius preferred to engage with other musicians on equal terms. Strange Music — as unimaginative as the title may first appear — speaks volumes about where Moebius was coming from, artistically speaking. Moebius is a master of perspicuity, without ever oversimplifying or lapsing into banalization. Instead, he uncovers the rich variety inherent in the detail of minor variations. Moebius’ principles of pop music are drawn from three sources: the uncomplicated minimalism of the late 1960s, archaizing, instrumental rock’n’roll of the late 1950s and improvisation. Working with Gerd Beerbohm saw him combine these elements to create an exact representation of his understanding of contemporary pop music. Gerd Beerbohm turned out to be the perfect musical foil for Moebius, affording him free rein, in the very best sense of the expression, to bring his concept of pop music to life. While “unleashed” best describes his mindset, this should be equated with neither chaos nor arbitrariness. On the contrary, the only liberty Moebius took was to focus exclusively on his and Beerbohm’s musical visions, without feeling the need to consider any higher group concepts. This gave rise to a forceful, energized album, steering a clear course ahead, full of improvised ideas and unencumbered by frills or embellishments. Moebius und Beerbohm had well and truly arrived in the early 1980s, with the future clearly in their sights, most definitely not looking over their shoulders. It is impossible to ignore distant echoes of punk and new wave — DIY, the “do it yourself” ethic had been common practice for the Harmonia family since the 1970s, recording with their own equipment, independent of the bigger studios. Liner notes by Asmus Tietchens.
| || MOEBIUS & BEERBOHM: Strange Music LP (BB 057LP) 17.00|
180 gram LP version with liner notes by Asmus Tietchens.
|CHAPTER MUSIC (AUSTRALIA)|
| || COOLIES: Master LP (CH 083LP) 17.00|
LP version. In the beginning, there was South Auckland’s own Coolies, three teenage school chums Tina, Sjionel and Melissa, playing the kind of racket that might have caused Johnny Rotten himself to spin in his grave, had he actually been dead (might as well have been). Back then in the mid/late-’90s, the Coolies’ punk/rock’n’roll/was inspired, it must be pointed out, by nobody… nobody at all. Nonetheless, their signature was a sweet and swinging rah-rah sound (a rah-Ramones/rah-Ronettes car-crash). That, and a burning teenage desire to actually burn things down. The trio recorded a 10-song tape on a ghetto blaster… the tapes circulated Auckland’s oh-so-hip & scenester K Road and the Coolies built up a cult following amongst the crowd who were, er, not their peers at all. For a while, the band played support to virtually every decent touring band to come thru AK, and a bunch of terrible ones who deserve their fate languishing in obscurity. Eventually they got it together to release a self titled 7”, with timeless fucking hits “Madonnas The Bomb,” “Yr So 1960s,” “Go! Hot Metal” and “Pimpmobile.” Also around the turn of the century, Kill Rock Stars put a Coolies song on the Fields And Streams compilation which, at the time, was a big deal. So, not for the last time, the Coolies seized defeat from the jaws of victory and Melissa split. The Coolies either took the first of many breaks or just couldn’t be fucked carrying on. In 2004-ish, Tina & Sjionel recruited Fiona to “man” the drums — a real life drum machine. The Coolies ripped up the plans and returned with a fresh new sound for a new-era/new/no/wave — Sjionel switched it up with synths and samples, Tina stuck with basic blitzkrieg guitar & blah blah lyrics. With a new buzz, the Coolies set off to take on the world. Like lightning, they released a self-titled album (produced by nobody), and toured NZ, Australia + America with a bunch of bands (Erase Errata/Ariel Pink/Bobbyteens/Wives/Mika Miko/Weird War/Coachwhips/Deerhoof). Later, the trio put out a tour EP, Bless The Babies And The Mothers, which was well received in the SF region. They decided to recruit legend mate and drummer Stefan (of Pumice un-fame), and their first show was at Sjionel’s house with Calvin Johnson. This reinvigorated line-up was the perfect scenario band-wise… new/old attitude to music/underground noise staple/post-punk/oioioi like a Shangri-Las and Crass tea party. Master is a collection of Coolies at their finest — raw, lo-fi, annoying, brilliant, monumental, and totally necessary. An accumulation of material recorded and mixed by Stefan Neville reel-to-reel at random places around Auckland….mastered by Rachel Shearer (Lovely Midget) and loved by all.
| || HUMAN ZOO, THE: The Human Zoo CD (CIC 9668CD) 15.00|
“Along with The Human Expression, The Human Zoo were from the Los Angeles suburbs of Westminster and were signed to Accent Records. Their album, released in 1970, was pressed in limited numbers and has become a rare collector’s item. Just recently, a still sealed copy sold for $900 on Ebay. The Human Zoo album is a quirky blend of psychedelic, garage, and funky music. Managed by Jim Foster of The Human Expression and originally called The Circus, the band changed their name to the hipper-sounding Human Zoo in 1969. Now for the first time since 1970, here is an exact reissue of The Human Zoo album, taken from the original master tapes with all album artwork faithfully restored.”
|CRAZY APPLE BOUTIQUE (SPAIN)|
| || VA: Diggin’ Down Argentina CD (CRAP 1040CD) 21.00|
Subtitled: Nuggets From The Rioplatense Scene, 1969-1975. “An exciting and eclectic collection of wild garage and psychedelia from Argentina and the so-called Rioplatense scene. Consisting on mostly original tracks from 1969 to the early 70s, all taken from very obscure 45s (some of them with only less than a handful of existing known copies) that have been lost for decades, and never reissued until now. This is the first compilation entirely dedicated to the little-known underground Argentinean movement, even more for that specific region. Infectious Hammond organs, lots of distorted fuzz guitars, raw-throated vocals. Includes the wildest ‘Heya’ cover version ever by Bosques, over the top heavy psych by Gipsys and Dynamita, hard-psych-funk by Caballo Vapor, exotic Rubble styled psych by Kon-Tiki, Music Machine-styled organ-garage by Brujos, bizarre freakbeat-fuzz by Wooky Toky, trashy psych-rock by Them, killer garage-beat by Asfalto, Jarabe de Menta and Los Fantasmas…and more! A strongly recommended release for collectors and anyone else searching for new hyper-sounds for their dancing parties! Features carefully remastered sound and includes a superb booklet in English with detailed liner notes on each band and rare pictures. 500 copies.”
|CROSSTOWN REBELS (UK)|
| || GLIMPSE: Runner Remix EP 12″ (CRM 063EP) 12.00|
Crosstown Rebels have commissioned some cutting edge producers to remix and reinterpret some of their favorite tracks from Glimpse’s Runner (CRM 010CD). Maceo Plex is Eric Estornel aka Maetrik, and he drops the jazz and heads straight for the dancefloor with this no-holds-barred monster of a remix. The flip features Marcel Dettmann, who delivers a heavy, heavy slice of sonic skullduggery, and Guti, who loops stunning keys and Hammond to create a truly groovy affair.
| || DRUMM, KEVIN: Impish Tyrant CD (DAGDA 001CD) 12.00|
“CD re-issue of an out of print cassette originally released on the Spite label in 2004. The CD consists of 3 tracks of blown out guitar cut ups and harsh analog synthesizer spray. 500 were pressed.”
| || ATELECINE: …And Six Dark Hours Pass LP (DAIS 015LP) 19.00|
“‘…sometimes difficult and sometimes confrontational but always true to who we are , if even in a fantasy…’ Easily the most asked about and anticipated release on Dais this summer (2010), aTelecine is famed performance artist and porn actress Sasha Grey along with Pablo St. Francis and Anthony D’juan. After causing a stir with their first release on Pendu Arts in 2009, aTelecine return with an LP on Dais continuing their course through brooding intimate soundscapes.” Includes insert.
|DEEP VIBES (GERMANY)|
| || DIVE, SASCHA: Restless Nights CD (DVR 014CD) 17.00|
Almost 4 years and innumerable releases later, a new genre of house music has developed from and around the sound of highly inspired Frankfurt-based artist Sascha Dive. This sound is characterized by dark, driving rhythms with clear references to the U.S. American house music of the 1990s. The German Groove magazine called it “Rhein-Main-House”– a very accurate term to describe this movement. Sascha Dive has been successful both as a producer, and as a DJ. When you talk with him about club music, and in particular house music, you almost get the impression of talking to a human encyclopedia. His expert knowledge combined with his definition of contemporary club tunes makes his sets a unique experience. He takes the audience on a trip towards the future and the past, and at the end of the night, gently back into the here and now again. A couple of years ago, in spite of his busy schedule and the time he would spend in his studio, Sascha Dive decided to found his own label Deep Vibes Recordings, and to do his own research in the aesthetics of contemporary house sounds. He released tracks by cohorts such as Johnny D, Christian Burkhardt, Ray Okpara and Robert Dietz, as well as of his own favorites such as Rick Wade, Scott Furgeson, Brothers Vibe, DJ Qu, Sean Dimitrie & Tim Fuller, and Norm Talley. After more than a year of working in his studio, he now comes up with his debut album Restless Nights, that spans a bridge between clear and driving club tracks such as “Jus Groove” or “The Jam,” and calmer sounds; for example, the opener “Tribute To The Night” or the cozy, almost playful track “Summer Madnesss” and “Hey Joe.” This is the perfect album for almost any occasion: from dusk till dawn, for a nice open-air party, or a gorgeous after-hour event in Ibiza.
|DUB POLICE (UK)|
| || DOCTOR P/TROLLEY SNATCHA: Badman Sound/SlowDown 12″ (DP 038EP) 11.50|
“Dub Police continue to release some of the scene’s most in demand tunes and this single is no exception. The man of the minute Doctor P steps up with a serious club banger in the shape of ‘Badman Sound’, which has gained huge support from the likes of Caspa, N-Type, Skream, The Others & many more of the scene’s big hitters. Squelching bass, tonk beats and a seriously catchy lead that you will be singing for days after; all combined to make this one massive track! The flip side doesn’t take any prisoners either, but this time it’s the turn of the man who spends way too much time hanging around outside supermarkets; Trolley Snatcha. Featured on the Scion A/V & Dub Police CD, ‘SlowDown’ will already be well known by a lot of you eager dubhunters out there with its relentless basslines, stomping beats and cheeky Middle Eastern melodies. All in all this is a single you can’t afford to pass on – an essential slab of plastic from Dub Police once again.”
| || CASPA/EMALKAY: Limited Edition Pt. 1 12″ (DP 040EP) 11.50|
“The first part of 3 12″ releases featuring tracks originally released on the Scion/Dub Police compilation not too long ago. 2 heavyweight tunes from arguably the biggest names in the aggro-step world, Caspa and Emalkay! Don’t sleep on this one.” Tracklist: A1. Caspa – Ready Eddy; B1. Emalkay – Critical Hit
| || GEMMY: Maroon Chant/Last 3 Digits 12″ (EAR 014EP) 11.00|
“BIG BIG BIG BIG ! ! ! ! Earwax is very proud to present this huge 12″ from ‘Purple Trinity’ producer Gemmy, guaranteed to cause serious sonic pressure on a dancefloor near you! ‘Maroon Chant’ is possibly one of Gemmy’s biggest tunes yet, a carefully crafted dancefloor monster brim with catchy purple melodic synths and heavy weight bass. The intro leads in with a looped tribal chant as the pattern is sucked into rolling snapping percussion before the squelching, ever-evolving bassline drops. The track builds and flows effortlessly maintaining high energy levels throughout. Big tune. Flip then for ‘Last 3 Digits’ — the title being a reference to pirate radio shows where the host refers to callers by the last 3 digits of their phone number. ‘Let me have 1 caller for the rewind’. Heavy hitting rave stabs punch out the catchy melody here before the track switches up into a grimey beat and even grimier bassline. Quality rave music. DJ Support From: Joker, Roska, Pinch, Mary Anne Hobbs, Guido, Ginz, Reso, Baobinga, Appleblim, Peverelist, RSD, Plastician Dusk & Blackdown, and many more.”
|ENDLESS FLIGHT (JAPAN)|
| || VA: I’m Starting To Feel Okay Vol. 4 12″ (EF 026EP) 12.00|
This 12″ sampler is a single cut of exclusive tracks from the I’m Starting To Feel Okay Vol. 4 (EF 005CD) compilation. Marcos Cabral is one-half of hot New York nu disco-house producer team, Runaway. This track is his first original solo production. Sect is a new project by Soul Clap, with some unique, dubby disco house. Mugwump present some pumping, acidic house.
| || DATSIK: Mechano/Brock Out 12″ (EX7 004EP) 11.00|
“Only in the dubstep scene a short time, 21 year old Datsik (Troy B.) has wasted no time by making his presence be known internationally, introducing his own unique style of industrial sounding futuristic beats and heavy dance floor stomping rhythms. He has also earned the attention of some of the most notable and influential acts in the scene to date such as Bassnectar, Skream, Rusko, & DJ Craze, to name a few. With the Rottun Recordings label behind him, he has been hard at work, working on many tunes, collaborations, and remixes for some of the biggest names in the world. ‘Mechano’: This tune is pure insanity, every aspect of it blows my mind. It’s the Gnar Gnar track! On the flip ‘Brock Out’: TWO of the filthiest dubstep producers in the business combining their MUCKY sounds to make this.”
| || AXELROD, DAVID: Heavy Axe LP (F 9456LP) 11.50|
Exact repro reissue of David Axelrod’s 1974 album for Fantasy. The first “non-concept” album from this studio master, featuring some lush, over-the-top covers (Stevie Wonder’s “Don’t You Worry ‘Bout A Thing,” Carly Simon’s “You’re So Vain”) and about a couple dozen guest musicians, including Julian “Cannonball Adderley (alto sax), George Duke (ARP synth) and Gene Ammons (tenor sax).
| || 3 PIECES, THE: Vibes Of Truth LP (F 9476LP) 11.50|
Rare groove obscurity produced by Donald Byrd. Tracks include “Backed Up Against The Wall,” “Shortnin’ Bread,” “Concrete Jungle” and “Cool It.” Gatefold exact repro reissue, originally released in 1975.
| || GREAT DEPRESSION, THE: Unconscious Pilot CD (FIRE 083CD) 14.50|
2003 release. The second album from the U.S. duo The Great Depression (Todd Casper and Thomas Cranley) depicts a daring escape from a brainwashed America during the outbreak of an unspecified war. The band takes a collective approach to songwriting, but with a singular vision; hypnotic rhythms coupled with soundscapes awash in layers of melodic color. Unconscious Pilot earned the band a record deal with Fire Records and is a fitfully gorgeous and understated masterpiece of sweeping chamber pop, moody indie rock and beautiful, fragile psych.
| || BARK PSYCHOSIS: Codename: Dustsucker CD (FIRE 090CD) 14.50|
Originally released in 2004, the release of Codename: Dustsucker marked the return of Bark Psychosis after a 10-year retreat into virtual obscurity. The previously-released LP, Hex has spent that time sustaining the sense of enigma that has become synonymous with the name and garnering the warm reverence of critics and fans alike. In their early existence, Bark Psychosis stumbled their way naively to a place in music of far greater influence than could have been anticipated. The expression “post-rock” was invented specifically to describe their sound. “Close to miraculous.” –Stylus Magazine
| || GREAT DEPRESSION, THE: Preaching To The Fire CD (FIRE 094CD) 14.50|
2006 release. The third album from the U.S. duo The Great Depression (Todd Casper and Thomas Cranley), and the follow-up to their acclaimed Unconscious Pilot. Produced by Jim Version of Tells (Bonnie “Prince” Billy, Alasdair Roberts, Hookers Green No.1) in Aberdeen, Scotland. Soaring and emotional indie-rock odes, with piano. “Beautifully tasteful fragile psych smokiness.” –Fake Jazz
| || TENEBROUS LIAR: Tenebrous Liar CD (FIRE 106CD) 14.50|
Originally released in 2007, this is the self-titled debut by London’s sombre super-group Tenebrous Liar, based around acclaimed cult photographer Steve Gullick, enigmatic solo artist Ed Harcourt and South London bluesman Duke Garwood. Tenebrous Liar also features Tony Ash, James Maiden and Pete Spiby. “Ultimately, this debut occupies a murky place in a collective musical psyche that may make your stereo frown. It’s not pretty, it’s largely devoid of hope and direction, yet — crucially — it still has the power to uplift. It’s really good.” –Mojo
| || BLUE AEROPLANES: Tolerance/Bop Art 2CD (SFIRE 005CD) 21.00|
2003 release. Fire reissues the first two albums by UK avant/art rock/post-punk group Blue Aeroplanes — Tolerance (Emergo, 1986) and Bop Art (Regeneration Records, 1983). When punk’s implosion offered British musicians a chance to once again draw on earlier eras for inspiration, one of those who took full advantage was Gerard Langley, the frontman of Bristol’s free-floating collective Blue Aeroplanes. The sustenance Langley drew from Bob Dylan’s nasal monologues (as well as Lou Reed’s) is evident on the band’s second album, which offers wordy musings on subjects as diverse as Andy Warhol, “Soul,” and W.H. Auden’s “Journal Of An Airman” (recited here to somewhat less than dramatic effect). Luckily, the talented half-dozen band members back him with a tight and coherent sound, full of post-punk’s scratchy rhythm guitars and rubber band bass lines, as well as the occasional effective embellishment on instruments like French horn and banjo. Using reference points that include prime Gang Of Four (“Rare Flowers”) and early R.E.M. (“Arrival”), the players take the pressure off Langley’s poetry; he even sings on “When The Wave Comes,” a pop-leaning treat. Though not as fully-realized as later Aeroplanes outings, the ambitious Tolerance isn’t overwhelmed by its own artyness, either — no small feat.
| || KEMIALLISET YSTAVAT: Ullakkopalo CD (FR 069CD) 17.00|
This is the first release from Finland’s Kemialliset Ystävät since 2007. Kemialliset Ystävät equals Jan Anderzén. He is one of the few Finnish musicians to have achieved renown in the international experimental circuit. In the case of Anderzén — who also plies a trade as a visual artist — this is not a matter of juxtaposition between experimental and mainstream, or a calculated career choice. Using music and images, he is busy creating a world that is a law unto itself, a world of exceptional freedom and beauty. Earlier KY albums have been peppered with contributions by individuals such as Islaja, the members of Avarus and Sami Sänpäkkilä. It is not easy to distinguish who plays what on Kemialliset Ystävät recordings. Rather than a side project consisting of solo parts, the band is an ecosystem within Anderzén’s reality. One of the essential techniques applied by Anderzén is collage, in sound as well as image. He is no conventional instrumental virtuoso; his music is created with a fluctuating array of instruments and equipment. The focus is less on instrumental prowess and more on the overall sound and impression as well as the tension between the various materials. As a manipulator of these elements, Anderzén is in a league of his own. His sampler-based solo performances as Tomutonttu have left no doubt about that. A close listening of Anderzén’s music reveals its near-architectonic precision. He is known for an exceptionally painstaking approach to creating his music. All this hard work is readily evident in the finished product, not as an accentuated complexity but rather as a clear, independent vision. Kemialliset Ystävät is like a natural phenomenon. It is difficult to imagine anyone having consciously constructed it, such is the ease with which it presents itself to us. To be in the presence of Anderzén’s work is captivating in the same way, simple yet inexplicable, as it is to stare into fire. It truly takes a master to create such an experience, but listening to this Kemialliset Ystävät album evokes just that: a feeling of lightness.
| || KEMIALLISET YSTAVAT: Ullakkopalo LP (FR 069LP) 17.00|
LP version with full-color printed innersleeve and 24-page CD booklet. Includes MP3 download coupon.
|FREMEAUX & ASSOCIES (FRANCE)|
| || DIBANGO, MANU: Choc ‘N Soul CD (FA 523CD) 19.00|
“The music Manu Dibango is known for its alchemy of jazz, African and Jamaican music, gospel and R&B. His unique style was the forerunner of what we now call ‘world music.’ Dibango is perhaps best remembered for his 1972 Afrobeat single ‘Soul Makossa,’ often considered the first disco record. This new best-of collection from Frémeaux features twelve tracks released between 1978 and 1989, including the 1978 Kingston remix of ‘Reggae Makossa.’ Guest artists include Michael and Randy Brecker, Sly Dunbar and Robbie Shakespeare.”
|GUERSSEN RECORDS (SPAIN)|
| || SOURDELINE: La Reine Blanche LP (GUESS 068LP) 27.50|
Gatefold LP version. Formed in 1972 in Northern France, Sourdeline has remained a hidden treasure for decades. With a strong Pentangle influence in their works, they released a couple of astounding albums during the next few years, acquiring a wonderful baroque folk sound based on some traditional French folk songs in addition to many originals, with the use of a large number of traditional instruments. Their first disc La Reine Blanche is from 1976 and is considered a classic of continental European ’70s folk — certainly an album that will please anyone into folk-prog. This is the first-ever, deluxe reissue of this record and it has been completely remastered. Includes a fantastic 4-page insert with unseen photos and liners by Sourdeline fan Margaret Ayre of Fern Knight, as well as Sourdeline’s story written by the band’s leader Jean-Pierre Danielsen.
| || SOURDELINE: Jeanne d’Aymé LP (GUESS 069LP) 27.50|
Gatefold LP version. This is the second and last album by French folk-prog band Sourdeline from 1977. And, though Jeanne d’Aymé is the lesser-known of both of their albums, it is for those at Guerssen their definitive work, a truly major discovery waiting for you who are not yet in the know. This is the first-ever deluxe reissue of this record with remastered sound. Includes a fantastic insert with unseen photos and liner notes by Gerald Van Waes, as well as Sourdeline’s story written by the band’s leader Jean-Pierre Danielsen. Far-out French psych/prog/trad folk heavily in the Pentangle vein, with male/female vocals, electric and acoustic guitars, sitar, tabla, flute, mandolin, violin, etc.
| || TREE PEOPLE, THE: It’s My Story LP (GUESS 070LP) 23.50|
LP version. Oregon’s fathers of freak-folk/folk psych pioneers The Tree People have, incredibly, made another album once again. Responsible for two awesome works in the late ’70s and early ’80s, here they are now with a new album and they sound exactly as they did 30 years ago. This could be their best work ever. Mellow, tender freak-folk with acoustic guitar, double bass, recorder, flute and percussion. Eleven new tracks, plus a new version of “Space Heater” from their 1979 debut. Includes an insert with photos and lyrics, as well as liner notes by folk-psych connoisseur Gerald Van Waes.
| || STONE BREATH: The Shepherdess And The Bone-White Bird 2CD (H/E 047CD) 17.00|
“Stone Breath’s visionary creation of Eastern-influenced rural acid folk finally comes to CD. From fingerpicked acoustics; to clawhammer banjo excursions; to the 20-plus minute exaltation that is ‘The Shepherdess of the Fiery Wheels,’ Stone Breath manifest their best work to date, here in expanded form with the addition of an entire new album in collaboration with The Forest Beggars. They are clear in sight, united in purpose, and shining in the darkness.” “Cracked perfection…a layered, complex worldview and juddering locked-groove acoustics” –Jeanette Leech, Shindig Magazine
|HELLO?REPEAT RECORDS (GERMANY)|
| || SPECKE, PATRICK: The Antman EP 12″ (HELLO 015EP) 12.00|
It’s always good to grow slowly — a sagacity that Düsseldorf’s Patrick Specke has internalized. In three years, he released three mesmerizing and breathtaking EPs on labels such as Kahlwild and Desolat. Now he enters the floor with some smiling excursions of deepness on Hello?Repeat.
| || CONCERT SILENCE: 9.22.07 2LP (INFX 042LP) 32.00|
Deluxe gatefold 2LP version, with full-color innersleeves and Obi-strip. “Concert Silence is a collaboration between Charles Buckingham and Matthew Cooper, currently both residing in Portland, Oregon. An ongoing conversation between the two began in 2004 when they met over a shared interest in live sound manipulation. 09.22.07 was the first major outcome of discussions regarding symbiotic cultures and their implications to music. A live performance set up was designed, allowing each player to have equal input and manipulation control, (which can be seen in a diagram within the artwork of the album). After the completion of a live session recorded to minidisc, the two decided to release the unmastered un-edited music for free download via their website. A short while later the free recordings were taken down from the site. Infraction Records is now releasing a previously unheard professionally mastered recording of the session in its entirety.” “The sound of piano, both pure and processed, has become almost a sub-genre of its own within ambient electronica. There’s a Satie-authored lineage stretching from Budd/Eno through to Sakamoto’s collabs with Alva Noto and Fennesz, with signs to other off-beat sites. Buckingham’s background in visual art makes his contribution to Concert Silence somewhat enigmatic. He had previously co-opted Cooper for the audio of an online ambient audio-visual collaboration in the Window Exchange project; Cooper’s signature is clearly recognizable, for all that the pianism of his earlier Eluvium work are tweaked and tampered with here. Six discrete movements, an affair of edgy ambience, with lilting lulling passages ceding to digital depredations. Some parts subtly infiltrated, others strewn with the detritus of error-smithery. ‘Part Two,’ for example, sounds as if it’s slowly spontaneously combusting in the player, gradually growing into a larger conflagration, culminating in a veritable firework display of pops, crackles and wayward woozy pitch shifts, eating itself in echo and fuzz, before returning to the opening lull of barely audible soft-pedaled piano purism. Overall the Cooper-Buckingham pairing puts a distinctive slant on the compositional tradition mentioned above, finding a beguiling blend of the worlds of piano concerto and that of digital signal processing, with its random reversals, glitch flurries, and drone. Yet, for all its peculiarities of pitch and microsonic mist, strong melodic lines serve as binding, stiched together, lending poise to noise. ” — Alan Lockett
| || CONCERT SILENCE: Rain Furniture CD (INFX 047CD) 11.00|
“With Rain Furniture, Charles Buckingham and Matthew Cooper wanted to explore a new and different musical territory than previously traveled, while still using the audio set up from 09.22.07. As a companion piece to the full length, Rain Furniture engages a more raw energy. The CD is issued in a matte finish 20 pt cardsleeve.”
| || CONCERT SILENCE: Rain Furniture LP (INFX 047LP) 15.00|
180 gram LP version, with an etching on the B-side. Housed in a heavy cardstock sleeve with an Obi strip and spot varnish lettering on the cover.
| || VA: Secret Weapons Part 4 12″ (IV 027EP) 14.00|
This is the fourth volume in Innervisions’ Secret Weapons series. Paul Virilio once wrote that Indians refused to take a train. They said they would lose their soul, because the soul can’t keep up with the speed of the train. Secret Weapons Vol. 4 should be your opportunity to let the train pass by and rather listen to its contributions by Larry Heard, Âme, Boddhi Satva, Boomclap Bachelors, Musaria, Tuff City Kids and Dixon.
| || FAILING LIGHTS: Failing Lights CD (INT 036CD) 13.50|
“An evocative work of bleak electronic atmosphere and suffocating dread, Failing Lights is the intensely personal vision of Michigan (via Lexington, KY) artist Mike Connelly. While he has toured the world as 1/3 of legendary industrial/noise units Hair Police and Wolf Eyes, Connelly spends his days crafting a much different sound on his own. Under the Failing Lights flag, he has self-published a nearly uncountable number of cassettes and CD-Rs of rough drones, detuned improvised grit and unstable acoustics in tiny editions that quickly vanish into collector-land. Intransitive is proud to present the defining — and first widely available — Failing Lights statement, an album of sinewy horror with a fine-tuned beauty within its darkness. A single piece in five sections, failing lights begins with disquietingly barren negative space. As the album creeps forward, it steadily dispenses sheets of diffuse throat-scratch and skittering strings, culminating in a blast of molten organ. Not noise, ambient, improv, black metal, or anything else: this is Failing Lights.”
| || VA: Kompakt Total 11 3LP (KOM 220LP) 22.00|
3LP version, Kompakt’s annual flagship release reaches number 11 and is a must-have for new and old fans of the label, featuring 95% exclusive new music. The plot thickens with Total 11, on which newcomers and familiar faces converge on a yellow dotted road and, in many cases, collaborate. A1. DJ Koze – Der Wallach A2. Superpitcher – Lapdance B1. Gui Boratto feat. Iggor Cavalera – Plié B2. Sog – Silbereisen B3. Coma – Bruxelles C1. Ada & Heiko Voss – Walk Over C2. Jürgen Paape – Mensch und Maschine C3. Jörg Burger – Sparwasser D1. Michael Mayer – Picanha Frenesi D2. Justus Köhncke – I Wouldn´t Wanna Be Like You D3. The Three Lions – You´ll Win Again E1. It’s A Fine Line – Eins Fine Grind E2. Mugwump – Losing Game E3. The Field – Caroline F1. Jonas Bering – For Yves F2. Thomas Fehlmann – Krasnodar
|LIVE AT ROBERT JOHNSON (GERMANY)|
| || ARTO MWAMBE: Live At Robert Johnson Vol. 6 CD (PLAYRJC 006CD) 15.50|
Live At Robert Johnson Vol. 6 comes straight from Arto Mwambé’s mind and out of their mixing desk guts. Instead of grabbing a bunch of records and gluing them together (i.e. the classic DJ mix CD), the dynamic duo that is melody boy Phillip Lauer and rhythm doctor Christian Beißwenger decided to do exactly that which sets them apart from most of their peers: to play live (as in “live” and not as in pressing the space bar on a laptop). They simulated an hour in front of the club’s audience and went with it. The classic Roland drum machine sound aesthetic walks hand-in-hand with prominent bass lines, playful synthesizer sounds, sweet melodies, joyful piano finger exercises and even a hidden stripe of acid here and there. All these uplifting elements take turns like good players in tennis doubles and are graced with that much-needed and often dearly-missed element of surprise, spontaneity and wit. In the same way as tracks like “Love Lifted” or “Greatest Love” flirted with the past, present and future of house, disco and leftfield sounds in their original form on Arto Mwambe’s usual home base — the revered and passionate vinyl-only label Brontosaurus — the cleverly altered live versions bewitch their old and new audience once again. Plus, you will meet some new next best friends as well. Arto Mwambé prove that it is their own very special sound signature that makes you fall in love with them.
|MDG SCENE (GERMANY)|
| || GLASS, PHILIP: How Now CD (MDG 6131600CD) 19.00|
“Always the same melody, forever the same rhythm… Philip Glass immediately sends his audiences into a trance, and Steffen Schleiermacher is the perfect interpreter of this composer’s captivating will. The music of Philip Glass appears to be completely predictable. Already after a few minutes it becomes clear that the note flow will continue undisturbed, that no additional element will produce modifications. The clever alternation between duple and triple time simultaneously creates the impression of variability in the metrical pulse of the music without adherence to an identifiable plan. Glass seems to compose out of a box of building blocks, with prefabricated parts — but always makes for surprises. Philip Glass composed these work for his own ensemble. He wanted to perform them with various keyboards, saxophones, clarinets, and flutes and without having to rely on the services of specific musicians. He did not supply any further instructions, and Steffen Schleiermacher fully avails himself of this freedom. For this recording he played How Now on the piano. He presents the two other pieces — Music In Fifths and Music In Similar Motion — in a version for several electric keyboards recorded in succession and then mixed. In compliance with ‘historical performance practice’ he chose only those sound registers coming close to the Farfisa organs typifying the 1960s.”
| || SOUNDCARRIERS, THE: Celeste CD (MELO 070CD) 15.50|
This is the second album by Nottingham’s The Soundcarriers. 2009’s Harmonium (MELO 059CD/LP) found a lush and spiked musical template; music so inspired and languid, one’s thoughts were drawn to Broadcast and Stereolab and like-minded cosmic travellers. Exactly where The Soundcarriers were really “coming from” was long in debate: Nottingham? The West Coast? Saturn? The sound moves between all three locales. It doesn’t really matter where you land, the atmosphere is always perfect. In Celeste, we find a tighter, more focused group. The same authentic analog warmth pervades, but with the addition of new sounds, playful blips and bleeps suggesting an extended musical canvas. The influence of jazz and Kosmiche music becomes apparent, as the muscular “Last Broadcast” floats from the turntable. What a groove! The bass work of Can’s Holger Czukay is instantly brought to mind, but soon we find ourselves in unexplored space-rock terrain. A denser sound pervades, that feels far removed from the lysergic whoosh of Harmonium. Any thoughts of a tighter sound are mischievously dashed with the arrival of “Rolling On” — a spirited, bouncy shuffle so infectious, one is moved to remove all footwear and dance vigorously. The song provides familiar Soundcarriers’ warmth, blessed with vocal harmonies that echo the magic of Trish Keenan or even Karen Carpenter. Was it not the popular music press who once invented the thorny term “retro-futurism?” The Soundcarriers aren’t retro or futurist. Where they succeed is in tight ensemble playing that really swings. A spirited quartet for the future certainly, but one that holds true to tried-and-trusted lessons from the best phases of music history.
|MULE MUSIQ (GERMANY)|
| || MR RAOUL K: The African Government 12″ (MUSIQ 050EP) 12.00|
“Our favorite African producer Mr Raoul K is back on Mule Musiq. This new single is the first cut from his new album. Raoul K recorded all the instruments — including the African traditional guitar ‘cora’ — in Africa and added his unique psychedelic touch. The result is playful African deep house.”
| || ROMAO, DOM UM: Dom Um Romão LP (MUSE 5013LP) 11.50|
Exact repro reissue of the 1972 album by this Brazilian drummer. Features Joe Beck (electric guitar), Richard Kimball (synthesizer), Sivuca (organ, piano, guitar) and Stanley Clarke (bass), among others. Romão played on Antonio Carlos Jobim’s The Wonderful World album and collaborated with the likes of Frank Sinatra, Astrud Gilberto, Jorge Ben & Airto. Pulsating exotic drumming, bossa rhythms and everything good that could possibly come from the word “fusion.”
|MUSIK KRAUSE (GERMANY)|
| || FEINDREHSTAR: Vulgarian Knights CD (MKR 004CD) 15.50|
Musik Krause presents the debut album by Feindrehstar. The Jena natives have made a life on the stage as a collective over the last 10 years. Their music so far, spread out over a couple of 7″s and CDs, makes an exhilarating connection between the functional and the ornamental. Their hard-working dance music translates perfectly live on stage with a house essence, a dose of hip-hop, and a funk and jazz base. The sextet is composed of trumpet, saxophone, scratches and samples, bass, percussion, drums, Rhodes and keys, all assembled into an interesting sonic garden. As a unit of virtuoso composers with serious sonic tools, Feindrehstar presents The Vulgarian Knights. The recording took place together with Axel Reinemer and Immo Wischhusen (Flowin’ Immo) in Jazzanova Studio in Berlin. The energetic, urban rhythm architecture is credited to brilliant co-production work by Michael Baumann (Soulphiction/Jackmate). From a pure, jammed-out playfulness there grows a sparkling conversation between the winds and the keys; some listeners will also sense a rugged funk, and others finely-honed jazz within an improvised setting. It is the pact between stage excesses and club integrity that Feindrehstar does so well.
| || FEINDREHSTAR: Vulgarian Knights 2LP (MKR 004LP) 18.00|
Gatefold 2LP version.
| || FEINDREHSTAR: Knochenbrechers Ball 12″ (MKR 033EP) 12.00|
Feindrehstar is comprised of seven gentlemen from Jena, Germany and their music is situated somewhere between the stage and the club. To convert their work into a portable medium so that DJs and patrons are happy, the band went to Axel Reineimer and Immo Wischhusen (Flowin Immo) in the Jazzanova Studio in Berlin. Produced by Michael Baumann (Soulphiction/Jackmate), the group presents a full, super-sound 12″ that is a teaser to their first album.
|MY BEST FRIEND (GERMANY)|
| || TREMSCH & METZLER: 20 Toes 12″ (MBF 12070EP) 12.00|
Tremsch & Metzler aka Martin Maier & Daniel Fuchs have created their own style of music which is based on new school techno house. They may have never heard of WARP legends such as Sweet Exorcist, still their 3 tracks carry that Northern industrial flavor and combine it with funk. “20 Toes” as well as “Head Games” perfectly transport this spirit, whereas “Development” feels housier with samples of children’s vocals and cut up reverse sounds that create a semi-acoustic feeling.
|NAKED LUNCH (UK)|
| || STINGRAY313: Sphere Of Influence/Sentiment 10″ (NL 006EP) 11.50|
“Throughout a recording career spanning almost two decades, DJ Stingray aka. Sherard Ingram a.k.a. Urban Tribe has consistently avoided the mainstream to create a musical world of his own. Responsible for the early techno classic ‘Covert Action’ on Retroactive (reissued on Planet E), Ingram was joined by Carl Craig, Anthony Shakir and Kenny Dixon Jr. (Moodymann) for Urban Tribe’s debut album The Collapse Of Modern Culture on Mo Wax and their latest project ‘Program 1-12’ released on Kenny Dixon Jr.’s label Mahogani Music and The Loyal Opposition releases on Planet E. Touring as Drexciya’s official assault DJ, Stingray collaborated with James Stinson for the ‘Other People Place ft. Mystic Tribe a.i.’ project on Clone in 2002. His two albums (Authorized Clinical Trials and Acceptable Side Effects) and singles for Rephlex have remained true to their Drexciyan descent, not through imitation but through remorseless innovation in electro aesthetics.”
| || BLACK SABBATH: Sabbath Bloody Sabbath LP (NEL 6017HLP) 14.00|
Black Sabbath’s 5th album, originally released in 1973. This is a 180 gram vinyl exact repro reissue of the Nems 1980 UK issue, housed in a gatefold sleeve. Who would’ve thought Rick Wakeman from Yes would show up on keys? True to their roots, yet edging closer to the laser lightshow soundtrack at the planetarium. Includes the title track, “Killing Yourself To Live,” “Looking For Today” and “Sabbra Cadabra.”
|NOT NOT FUN|
| || DUCKTAILS: Ducktails LP (NNF 152LP) 14.00|
2010 repress. LP version. “Matt Mondanile’s self-titled debut full length has been hotly anticipated in the wake of his killer cassettes and single 7″ appearance. Here he finally has the room to spread his imaginary surf-psych-pop across a full 2 sides of wax, and the wait was worth it. Mastered by Graham Lambkin (of The Shadow Ring), with cover art by Jan Anderzen (of Finnish folk-psych visionaries Kemialliset Ystavat).”
|OSTGUT TON (GERMANY)|
| || CASSY: Panorama Bar 01 CD (OSTGUT 002CD) 15.50|
2010 repress. This is the deepest electronic music mix CD of 2006. The first mix CD commemorating Berlin’s Panorama Bar — a special club that has reached legendary and international status as being a beacon for dance music. It is only logical that Cassy, the club’s resident DJ illustrates what a night is like at the Panorama. Anyone who has spent some time on Panorama Bar’s dancefloor during one of Cassy’s sets has witnessed the special kind of atmosphere and energy she manages to create with her special house sound. When Cassy is behind the decks, it is rather probable that everyone will dance. Her very own way of fusing deep, minimal and sexy records is highly exceptional and it creates a very intoxicating, special groove. As one of Panorama Bar’s residents, Cassy has managed to coin a sound which really stands for this location. Thus, it’s appropriate that she delivers the second installment in Ostgut’s series of mix CDs. She has picked 24 tracks ranging from DBX’s classic “Bleep,” to more recent tracks like Redshape’s “Dust,” adding up to an emotionally dense, varied and deep mix. With the right choice of tracks, Cassy shows that introverted minimalism is only one crossfade away from something a lot more ecstatic. Her way of mixing lets the music by artists like Rick Wade, Baby Ford, Auto-Repeat or Shed merge into one big picture. Cassy is not interested in trends. She is relying on her personal taste, always searching for a timeless quality in music. Where most of the commercial mix CDs are put together on a computer these days, this CD was created with two turntables, a mixer and a pair of hands. Other artists on this mix include: Shackleton, Dwayne Jensen feat. Miyon, Norm Talley, D5, Melchior Productions, Tobias, Ricardo Villalobos, nsi., Mono Junk, Baby Ford & The Ifach Collective, Yassin & Arne, Ø, Mathias Kaden, Liebe ist Cool and DJ Abstract.
|PAST & PRESENT (UK)|
| || VA: High All The Time Vol. 1 LP (PAPR 1002LP) 22.00|
180 gram LP version, digitally remastered and with the original artwork. Originally released in 1993, volume 1 of the classic compilation High All The Time gathers together 14 of the best 1960s psychedelic obscurities you’ve never heard from America and further afield. There’s the face-painted and substantially trippy Danes Dragonfly with their classic 1968 single, “Celestial Dream,” the acid-burned “City Jungle,” parts 1 & 2 from L.A.’s The Beautiful Daze, and “Quasar 45” from Indiana’s snarly garage-punkers The Sun Lightning Incorporated. Drenched in fuzz, echo, feedback and any other effect you care to mention, they’re furious and exciting testament to the musical benefits of being High All The Time. Hand numbered limited edition of 500 copies only. Insert contains the original CD liner notes and rare photos. Other artists include: Mammoth, The Hobbit, The Thingies, The Darelycks, The Shakers, The Tower, The Chaen Reaction, The Buzzards, and Pendragon.
| || VA: Chocolate Soup For Diabetics Volumes 1-5 5CD BOX (PAPRBOX 008CD) 57.00|
Subtitled: 82 UK Psych Classics. Finally gathered in one place, here are all five volumes of this groundbreaking series of British psych and freakbeat compilations, in a numbered, limited edition. Boasting no fewer than 82 classic tracks, the set spans established classics by Tintern Abbey, Apple, The Tickle, The Smoke, Fleur De Lys and others, and gems by lesser-known artists such as Boo & The Boo-Boos, The Perishers, Graded Grains, The Australian Playboys, and many more. Also included is a lavish full-color booklet, offering discographies and histories of every act, as well as many rare photographs. This is one boxed set that no fan of classic British underground music can be without! Other artists include: The Voice, Nuchez’s, One In A Million, The Misunderstood, Dantalian’s Chariot, The Flies, The Fire, The Fresh Windows, The Unexplained, Mike Stuart Span, Wimple Winch, Craig, The Score, Winston’s Fumbs, Him & The Others, Big Boy Pete, The Hush, The Syn, State Of Mickey & Tommy, Paper Blitz Tissue, The Factory, Felius Andromeda, The Accent, Chapter Four, The Poets, The Game, Chords Five, The Anteeeks, The Exceptions, The Rebel Rousers, Alan Avon & The Toy Shop, The Dodos, Roger Young, The Answers, Force Five, The Darwins Theory, The Transatlantics, The Longboatmen, Linda Van Dyck, Gary Walker, Caleb, The Trend, Family, Steve Aldo, The Peasants, The Original Roadrunners, The Quotations, The Ways And Means, The Moving Finger, The Authentics, The Mickey Finn, St. Louis Union, The Magic Lanterns, The Bad Boys, The Sons Of Fred, Mike Rabin, Wayne Gibson, The Petards, The J&B, King Size Taylor, and The Four Squares.
|PERMANENT VACATION (GERMANY)|
| || ANTENA: Versions Spéciales #1 12″ (PERMVAC 006EP) 12.00|
2007 release. Permanent Vacation presents a selection of remixes of Antena’s classic 1983 electro samba/pop album Camino Del Sol. “On The Boat” is transformed into a dancefloor bomb by Belgium’s Disco Devil. Nouvelle Vague transports “Frantz” into a deep and moody cinematic soundscape, slightly reminiscent of Ennio Morricone. Then Italy’s Phreek Plus One offers a deep, cosmic remix of “Achilles” and Lexx morphs “Bye Bye Papaye” into an elegant Afro-bossa dub, keeping the relaxed atmosphere of the original version.
|PHOENIX RECORDS (UK)|
| || SPEED, GLUE & SHINKI: Speed, Glue & Shinki 2LP (ASH 3022LP) 31.00|
Gatefold 2LP version. Following on from the gutsy blues-rock groove of the band’s first and probably only genuine studio release, 1971’s Eve, Speed, Glue & Shinki’s second release, originally released in 1972 on Atlantic and often referred to as Tiger, brought together a number of tracks not included on Eve, as well as some new recordings that took a very different musical slant. Joey Smith decided that since he could he handle himself admirably on drums, it was time to challenge a new instrument, so he bought a synthesizer. Drafting in friend Mike Hanopol to take over the bass-playing duties from the departed Masayoshi “Glue” Kabe, Smith managed to produce an album of two halves, the first being some of the strongest SGS-esque material ever, the second being some fine electronic instrumentals in the Tangerine Dream mode. Following the release of the album, Smith and Hanopol flew back to Manila to become Filipino superstars, while Shinki Chen eschewed the recording of his music in preference to live recordings and Kabe found alternative employment in the highly popular band, Pink Cloud. However, the band’s legacy lives on in Tiger, a compendium of the sound of Eve and a taste of where the band might have gone had time, personalities and huge amounts of illicit drugs not exerted their influences.
| || EXILE: AM/FM LP (PLG 101LP) 17.00|
“Los Angeles-based artist Aleksander ‘Exile’ Manfredi is not the first in his family to create music. His father, Albert Trent Manfredi (R.I.P.) and grandfather Alberico Manfredi were both musicians. His father released some 45s in the 1960s that are now highly sought after. His grandfather not only taught music, but also played in a diverse mix of bands ranging from Mariachi to traditional Italian music. At an early age, Exile was exposed to a wide variety of music. Living in his grandfather’s garage, he learned to play the accordion. His father was experimenting with drugs at the time and was not around much. Exile moved with his mother and sister to a two bedroom, Section 8 apartment. With no money or car and barely enough food — paid for with welfare checks and food stamps — he sought refuge in music. Exile’s early exposure to hip-hop grew into the desire to create the music he loved himself. At the age of 18, Exile met up with rapper, Aloe Blacc, 16-years-old at the time. With a one-button sampler and a four-track, they formed Emanon and started making their own albums. Exile, then met 19-year-old rapper Blu and together started work on his solo effort Dirty Science, featuring Slum Village, MED and Ghostface Killah. Together they also made the critically acclaimed classic, Blu and Exile: Below The Heavens. After producing tracks for artists such as Mobb Deep, Jurassic 5, Akon and Snoop Dogg, he continued to excel in the art of creating music with his first instrumental album entitled Radio. The album immediately made an impact, and now we bring you the follow up, AM/FM. The AM/FM vinyl release is a collection of reworked/remixed/new compositions and interpretations of Radio tracks. Features include Alchemist, Evidence, Shafiq Husayn, Samiyam, Blu, DJ Day, Free The Robots, and more. Nine amazing Exile tracks that feature friends and inspirational peers, whom Exile himself has compiled. If you liked Radio, AM/FM will definitely take you through another musical journey.”
| || VOIGT, WOLFGANG: Verwandlung 12″ (PROFAN 033EP) 12.00|
Profan presents the original version of Wolfgang Voigt’s hypnotic minimal track “Verwandlung” as well as “Geduld” from the album Freiland Klaviermusik (PROFAN 009CD). DJ Koze has created an incomparable remix that has the potential to make this track a massive floor-filler, and in doing so, he has effectively integrated all of the relevant and original piano parts of the track.
| || JANINA ANGEL BATH: Gypsy Woman LP + 10″ (PM 9992LP) 34.00|
Vinyl version, limited to 500 copies. Contains a purple and silver LP and a hidden black and silver 10″ in a lush gatefold sleeve.”This is the music of Now…potent magic of unspecific era and dimension…the Love child of Eastern-tinged folk Raga roots meeting the lysergic depth of psychedelic free jazz only to arrive at its own unique voice…as iconoclastic as it is immersed in tradition, spontaneous as it is rehearsed, ephemeral as it is eternal. And that voice belongs to Janina Angel Bath, who is that rare breed of magician — a sonic high priestess who resonates with her place in the spotlight as if it were her own personal ziggurat. Time bends under the trance of her musical spell; from the swell of nomadic chants to flights of fantasy lore to ancient cries of goddess invocation — she effortlessly radiates…with unequivocal grace, passion and mysticism; illuminating scenic tours not only thru the effervescent haze of the subconscious mind, but also spiraling aural trips upon whirling astral spheres.” –Joe Niem
| || SBTRKT & SAMPHA: Break Off 12″ (RAMP 033EP) 13.00|
“After releases on BRAiNMATH & The XXs home Young Turks, SBTRKT ambles over to RAMP with his buddy Sampha in tow for the huge ‘Break Off’/’Evening Glow’ 12?. Support From Mark Ronson,Annie Mac, Mary Anne Hobbs, Sinden, Rob Da Bank, Toddla T, Gilles Peterson, Mistajam, Benji B, Modeselektor.”
| || FAST MOTION: Becoming Real 12″ (RAMP 034EP) 13.00|
“Becoming Real is a young producer residing in a forgotten suburbia, busy channeling his very own post-apocalyptic vision of London. A spectre-like entity flitting between a range of electronic frequencies, his self-termed ‘Ghost-Step’ sound is as much influenced by a conceptual future dystopia as by luminaries Zomby &Mount Eerie. Re-imagining the iciest of grime synths through a warped K Records aesthetic, Becoming Real has forged a frozen universe that still retains an unequivocally human feel. Charged with future-dread, this is music for seas drowned in oil, tar-coated forest landscapes, and a prophesized world of underwater clubs and haunted dancefloors. After a sold-out debut white label release last year, Becoming Real emerges with the release of ‘Fast Motion’/’Jen’s Clock’, backed with a Scratcha DVA remix of ‘Fast Motion’.”
| || SHORTSTUFF: The Summer Of Shortstuff EP Part 1 10″ (RAMP 036EP) 13.00|
“Shortstuff dribbled this EP out of his arse. It took him 12 months – he worried about everything, accomplished nothing, and then called it something stupid. By the end of the process, everybody at RAMP wanted to die. The end result is a 6 track EP, released on 3 separate 10″s. DJ support from Scuba, Roska, Loefah, Jackmaster, Ben UFO, Ramadanman, Pangea, Scratcha, Lvis 1990, Brackles, Toddla T.” Tracklist: A1. See Ya; B1: Herb Face
| || SCHULZE, KLAUS: La Vie Electronique 4 3CD (SPV 306832CD) 20.00|
“2009 three CD set, the fourth in a series of releases that feature classic Schulze recordings. Already, the glut of this singular musician’s back catalog has been revived in full, beautifully reissued and repackaged; all of his original, notoriously hard-to-find recordings, most containing additional tracks, are now easily obtainable, and instantly collectable. The ear can become reacquainted with the vast expanse of Schulze music from its earliest beginnings right up and into its modern incarnations, robust with the now-patented lengthy irises, numerous kaleidoscopic events, and still-innovative breadth of tonalities that have become the artist’s stock-in-trade. 25 tracks.” CD1: Just an Old-Fashioned Schulze Track CD2: Shadow Piece; I Sing the Body Electric; Das Herz von Grönland CD3: The Andromeda Strain; Make Room, Make Room!; Darkest Steglitz
| || NOAH D: My Vitamin Pillbox Nikes/The Love 12″ (RWINA 008EP) 11.50|
“The eighth release of the infamous Rwina Records is brought to you by Noah Dickinson, better known as Noah D, or perhaps Noah Deezy if he happened to have a Paul Wall grill in his mouth. His 2009 megahit ‘Seeeriousss’ slammed almost every imaginable chart all over the world and established him as an all-around talented and respected producer, covering the whole spectrum of sounds from food for thought to dancefloor smashers. This time, the bass music legend from Portland (USA) delivers two deeper edged cuts spilling over with street-smart bass swagger, a bit-for-bit perfect match with the type of music that Rwina has been pushing lately. On the A-side, ‘My Vitamin Pillbox Nikes’ is an arresting combination of gully sounds from the block and forward-thinking programming that’ll tickle your brain each and every time you put this one on. The subs are one of a kind and the g-funk synthline expertly recalls the West-Side Connection glory days: bow down! On the flip, ‘The Love’ dispatches a tender message straight from the heart, contrasted with a rough melody and harsh drums that’ll make you question what sort of undertones lie beneath this tune. All things said and done, Noah D delivers a unique and fresh release that’s a must for the deeper heads out there or the party-hardy jocks that want to spice up their sets without losing the impact.”
| || AMEN DUNES: Murder Dull Mind EP 12″ (SBR 035EP) 14.00|
“Recorded while Damon McMahon was living as an expatriate in China, Amen Dunes presents seven new stunning works of sunlit haziness. During the two years he lived abroad, he lived most of the time in an apartment on the north end of Beijing. He tracked these songs one summer in that apartment. With the exception of ‘Diane’ and ‘Murder Dull Mind,’ all of these songs were recorded in one take and are completely improvisational; on repeated listens though, there is a pop-ness to these songs amidst the improvisation. The title track in particular, a melodic mantra-like work could certainly function on its own as a single. Although the songs have a bit less pre-written structure than Amen Dunes’ previous work on the Locust label, they are still every bit as miraculous. The geographical influence on his work central to both writing and recording conditions is evident here as these songs are way more open, and generally more free than his debut Dia (recorded in 2006 in a Catskills cabin) was. A bit less psych freak out and a bit more dark folk vibe throughout.”
| || BITTERS, THE: Have A Nap Hotel EP 12″ (SBR 036EP) 14.00|
“Hot on the heels of their debut Mexican Summer long-player, The Bitters, consisting of Aerin Fogel and the ever-prolific Ben Cook (Roommates, Young Governor, Fucked Up), bring us their Have a Nap Hotel EP. This Toronto-based duo have built a name for themselves forging their self-coined ‘cave pop’ genre, which merges elements of 50s melodies and dark post-punk instrumentals with just a hint of flannel. Their debut 12″ EP Wooden Glove, was released last spring on Captured Tracks and sold out shortly after, having been instantly well-received among tough critics and keen listeners alike. Cook’s jangly guitars stay back in the cut and let Fogel’s vocals (and the occasional fuzzy lead, saxophone, synth line, and handclap) wash over the tunes. Their collaborative work appears live with the help of drummer Jonah Falco (Fucked Up, Career Suicide) and a rotation of starry guest bassists. Though live shows have been scarce, owing to the members’ involvement with a number of other disparate projects, the band made their live debut a short time ago and found time to play the Sacred Bones label showcase at SXSW.”
| || ELECTRIC BUNNIES, THE: Pretty Joanna 7″ (SBR 037EP) 5.00|
“The Electric Bunnies have already come into their own releasing a string of singles and touring regularly. Late last year, Florida’s Dying dropped Through The Magical Door–a debut album hailed as the S.F. Sorrow of fuzzy sludge pop that topped just about everyone’s ‘best of’ lists. Though it may be a little while longer before we get another full length, this single captures both the noisy and saccharine sweet sides of the band and should keep fans sated for now. ‘I Swear I’ll Never Let You Go’ is a two and a half minute downer-pop gem, four harmonies and all. The a-side, ‘Pretty Joanna’, is virtually the opposite with a melody buried under layers of warm cascading fuzz and feedback.”
| || BLACKOUT, MAC: Don’t Let Your Love Die 7″ (SBR 038EP) 5.00|
“Sacred Bones presents a new solo single from ex-Functional Blackouts and current Daily Void man Mac Blackout that sounds like it could have been made either in the year 1980 or 2980. ‘Don’t Let Your Love Die,’ a driving synth driven tune that almost goes pop — albeit in a very Alexander Robotnik kind of way — sounds like it might as well have been recorded on an NES console. On the B-side, ‘Sometimes’ is a dirge like midtempo song that goes beyond the obvious comparisons to the Helios Creed/Damon Edge orbit and at times recalls Sacred Bones labelmate Gary War and even Mac’s other project, Daily Void.”
| || NOVELLER: Desert Fires CD (SAFF 001CD) 11.00|
“Desert Fires is Noveller’s full-length follow-up to last year’s No Fun debut Red Rainbows. The sounds on Desert Fires express a compositional evolution from layered loop-based drone work to more expansive formal arrangements of swells, throbs, tones and shimmer. Where Red Rainbows presented an anthology of studies in technique — from early bedroom recordings to Noveller’s first exploits in the studio — Desert Fires illustrates a refined, deliberate meditation on the physical relationship between Sarah Lipstate and her electric guitar. Handling the instrument as her muse, Lipstate summons a sonic palette so rich as to challenge the listener to conceive of how it’s housed in a single instrument manipulated by a solitary performer. Opening track, ‘Almost Alright,’ stakes claim to territory charted by Fripp & Eno or synth-heavy contemporaries Emeralds, and leads the listener into the spacious, sprawling landscape of Desert Fires. ‘Kites Calm Desert Fires’ is a sandstorm of rich, percussive guitar, warm humming bass and swirling rhapsodic chimes. ‘Toothnest (for Chris Habib)’ arrives at an idyllic sonic plateau of windswept fuzz and tremolo, then charges blindly with a soaring guitar solo evocative of bagpipes triumphantly marking a return from battle. Closing track ‘Fades’ is the precipitate of a fragile complexity of deeply sensual sonic reactions. Physically pairing texture, air and chance with the strings of Lipstate’s guitar, it exposes the emulsion of one’s ears to the light of Noveller’s sounds.”
|SMALLTOWN SUPERSOUND (NORWAY)|
| || DRIVAN: Disko CD (STS 185CD) 17.00|
“Drivan is a new band consisting of Kim Hiorthoy, Lisa Ostberg, Louise Peterhoff and Kristiina Viilala. Meeting in Stockholm in fall 2007, the band worked on a multi-faceted dance piece by choreographer and performance artist Gunilla Heilborn entitled The Potato Country. The moving yet humorous performance piece incorporated dance, spoken word and songs. Upon completion of its run in Stockholm, Hiorthoy asked Lisa, Louise, and Kristiina if they would be interested in collaborating further. In 2008-2009, the group met at the remote house/studio of Bebbe Risenfors. Most of the songs on Disko began their evolution as one of Hiorthoy’s loops during this time, eventually being built upon by the collaborators. Drivan is a group first and foremost, with everyone cooperating on lyrics and melodies, and although there are flourishes of Hiorthoy’s signature sound, the recordings’ folk-oriented and organic feel has the band drawing more from Swedish folk and prog of the ’70s, as well as Stina Nordenstam’s People Are Strange album.”
| || VA: Nigeria Rock Special CD (SNDW 011CD) 17.00|
…Psychedelic Afro-Rock & Fuzz Funk in 1970s Nigeria. 2010 repress. Nigeria Rock Special shines a light on the flipside of the well-documented sounds of highlife and Afrobeat coming out of Nigeria in the 1970s — young bands caught up in the wave of psychedelic and progressive rock that was sweeping Europe and the States in the late ’60s and early ’70s. As time goes by, the many layers of musical output that formed around the world throughout the 1960s and ’70s continues to be peeled back to reveal many welcome surprises. The explosion of rock n’ roll that erupted out of the USA in the ’50s fanned out around the globe from its epicenter and by the mid-1960s, kids all over the world were picking up guitars and checking themselves in mirrors. Nigeria was no exception. Spurred on by Cream drummer Ginger Baker’s visits to Lagos and his band Airforce (featuring many Nigerian musicians), the sound of fuzzed-out rock reverberated around the universities and nightspots of Lagos and Ibadan. The craze that followed hit the youth and student population of Nigeria hard — mixing fuzz guitar and heavy African rhythms with elements of Led Zeppelin, Traffic and The Chambers Brothers. Fifteen of the best cuts from the scene are available here for the first time in 30 years. Artists include: Ofege, The Action 13, The Hygrades, The Wings, Ofo The Black Company, The Elcados, Mono Mono, Tabukah “X”, The Funkees, Colomach, Joe King Kologbo & His Black Sound, Question Mark, Original Wings, Tunji Oyelana and BLO.
| || VA: Document Pt. 3 12″ (SPC 097EP) 12.00|
The final installment of Spectral Sound’s Document 12″ series offers four cuts from their Ryan Elliott-curated label comp. Kassem Mosse’s remix of Lawrence’s “Divided” is a tight slow-burner, fitting its ricky-ticky hi-hats and sharp-edged snares together like cogs in a Swiss watch. Heiroglyphic Being’s “Got No Place to Go” traffics in humid ambience and smoggy gestures, Gadi Mizrahi’s “She Only Looks At You” hints at Krautrock and tech-house, and Kate Simko’s “Zhivago” plays ping-pong with a bucket of electronic toms.
| || MISIANI & SHIRATI JAZZ, D.O.: The King Of History CD (STCD 3051CD) 16.00|
Subtitled: Classic 1970s Benga Beats From Kenya. “Misiani and his band, Shirati Jazz, did not invent benga, the energetic dance music of the Luo people of Kenya and Tanzania, but they were the ones who defined its modern form, with its hypnotic electric guitars and fabulously active bass, and made it popular throughout East Africa. Their records, released internationally in the late 1980s and early ’90s, introduced benga to the world. Because of benga, D.O. Misiani, who was born in Tanzania in 1940 and died in Kenya in 2006, is probably now the second-most famous Luo in the world. (The most famous? That would be the American-born Barack Obama, whose father was a Luo from Kenya.) Misiani was a guitarist, singer and songwriter. He wrote songs on all kinds of topics, not least love and politics. Both of those topics got him into trouble. His love songs necessitated his hasty departure from his hometown when he was 20. His political songs got him jailed in Kenya and deported back to Tanzania. But he remained undaunted and unsilenced, and every controversy added to his legend and spread his fame. When Europeans and Americans ‘discovered’ contemporary African music in the ’80s, D.O. Misiani & Shirati Jazz was the East African band that attracted the most attention. Those albums have been out of print for years, but benga has never faded away and D.O. Misiani & Shirati Jazz are unforgettable.”
|SUNBEAM RECORDS (UK)|
| || HUMAN BEINZ, THE: Human Beinz In Japan CD (SBR 5076CD) 17.00|
Though their fortunes waned in America following their January 1968 top ten hit “Nobody But Me,” Youngstown, Ohio’s psych-pop garage band The Human Beinz remained big stars in Japan, where they flew for a promo visit in March 1969. Unbeknownst to their fans, they had already agreed to split following the visit — and unbeknownst to the band, an album of live performances taped on the tour was issued in Japan shortly after their return to America. Long-established as one of the rarest records in the world, it makes its CD debut here, complete with detailed liner notes and a new interview with guitarist Ting Markulin, and shows them to have been as fine a psychedelic garage band onstage as they were in the studio. Includes full liner notes and rare photos.
| || TECHNASIA: Esperance 12″ (TA 011EP) 12.00|
First single take from the forthcoming Technasia album, Central (TA 105CD), with a two-tracker in the purest Technasia style. On the A, “Esperance” is a funky number in constant motion, with huge chord progression, while on the B, the gritty street-level techno of “Innocuous Clouds” doesn’t forget that dance music rightfully belongs on the dancefloor. All in all, an EP sure to become a cherished tool for DJs across the house and techno spectrum.
| || SKREAM: Outside The Box 4×12″ BOX (TEMPA 016LP) 25.50|
Deluxe 4×12″ box version, featuring 8 of the songs from the CD.
| || SKREAM: Outside The Box 2CD BOX (TEMPA 016X-CD) 18.00|
Limited edition 2CD box set with a bonus CD of new Skreamizm tracks. Please note: the 2CD edition is very limited and only available to those worthy, once they’re gone, they are gone. Skream’s highly-anticipated second album finally arrives. Ollie “Skream” Jones is on a major roll. The Croydon DJ, producer and original dubstepper had the festival anthem of last year with his “Let’s Get Ravey” remix of La Roux’s “In For The Kill”; he’s just been featured on the cover of NME with his Magnetic Man co-stars Benga and Artwork (not to mention the covers of DJ and Mixmag) and as we speak, he is all over Radio 1 with the lead track from Outside The Box. The tune in question, “Listenin’ To The Records On My Wall,” is the perfect introduction to why Skream’s current level of success is just the beginning. It’s a joyful, ragingly energetic celebration of the last quarter decade of British street music, inspired by the hardcore and jungle records used by his older brother Hijak. It’s also a brilliant pop record that makes perfect sense to everyone who grew up surrounded by the breaks and beats of the 1990s and to those who didn’t. This, however, is not a revival record. A natural-born modernist, Skream has selected 14 tracks that cover hip-hop (with one track featuring L.A. rapper Murs from Living Legends), bass-wobbling dubstep, dreamy electronica, a dark and tribal track with La Roux, and a strong dose of euphoric jungle on “The Epic Last Song” — a track that is inadvisable to listen to while driving, unless you want another six points on your license. Outside The Box is the sound of an artist who is ready to take his considerable talents to a wider audience without compromising any of the raw, hedonistic, emotional, lose-yourself madness that has made him literally legendary to hundreds of thousands of people worldwide. Take “Where You Should Be,” a song which features singer and songwriter Sam Frank. There’s the 8-bit computer game inspiration of “CPU”; the Daft Punk-styled vocals of “How Real” featuring Freckles; the tuff-but-soothing heartbeat of “Fields Of Emotion” and the Jocelyn Brown-sampling “I Love The Way,” which sees the first lady of disco pitched right down — also heard during Skream’s massive festival sets at Pukkelpop, Glastonbury and Roskilde. Towards the end of the album, there are moments that point in a whole new direction, like “Reflections,” a tune written with talented drum ‘n’ bass-heads dBridge and Instra:mental. And then there’s “A Song For Lenny,” a sad and very personal musical dedication to a lost friend. Album aside, life is busy for Oliver Jones. He’s back to DJing, switching up his sets to include 4/4, techno, garage and grime and, most weeks, hosting his Rinse FM show — now alongside Benga. It’s going to a big summer, inside and outside the box.
|THE WIRE (UK)|
| || WIRE, THE: #319 September 2010 MAG (WIRE 319) 8.50|
“On the cover of this month’s magazine: Retro-Activity (The past into the present: A time-travelling survey of music now.) In a series of themed essays, Wire writers examine the various ways that the music of the past resonates through the music of the here and now, from analogue gear fetishism to curator-and DJ-led revisions of world-historical musical scenes and movements. Features: LA Vampires (Amanda Brown’s post-Pocahaunted project comes slathered in sleazy dub); Odd Future (The cantankerous teens are grafting a mutant third limb on LA’s hiphop scene); Cindytalk (Lisa Blanning listens to the crackling of the former 4AD singer and transgender warrior’s soul); Global Ear: Boise (Dustin Verburg unveils a testy experimental music festival blazing through Idaho’s City of Trees); Cross Platform: Aura Satz (The London based sound artist sculpts a macabre, mechanical art of memory from phonographic objects); Invisible Jukebox: Mordant Music; Graham Simpson (Exclusive interview with the original Roxy Music bassist, who fell out of history after discovering Sufism and psychedelics); Paul Burwell (Three years after his death, Julian Cowley pays tribute to the British percussionist, inventor and Bow Gamelan Ensemble founder’s liberating spirit); Epiphanies: (Tim Lawrence on Arthur Russell’s avant disco).”
|THRONE OF BLOOD|
| || MUGWUMP: The Congregation Of Discalced Clerks/Concrete Skankin’ 12″ (THRONE 006EP) 12.00|
Geoffroy & Kolombo are both part of the booming Belgian dance scene and form the Mugwump project. The Mugwump “sound” is genetically Belgian with an emphasis on the groove and the psychedelic vibe. The music they create lies between disco sophistication and modern techno, with a hint of Belgian new-beat. Their fancy “disco-techno” sound has seen DJ support from Sven Väth, Ivan Smagghe, Ewan Pearson, The Glimmers, Damian Lazarus, Kiki, Ellen Allien, Michael Mayer, DJ Hell, Dominik Eulberg, and more.
| || LOUVIN, CHARLIE: Hickory Wind: Live At The Gram Parsons Guitar Pull CD (TSQ 2363CD) 13.00|
…Waycross GA. “On February 22, 1956, The Louvin Brothers warmed up for Elvis Presley at City Auditorium in Waycross, GA. On hand was a nine year old boy named Gram Parsons. It would leave an indelible mark on the future legend, who went on to popularize several Louvin Brothers songs for the ages. On September 19, 2009, Charlie returned to Waycross to pay tribute to the granddaddy of ‘alt country’/ ‘Americana’, singing ‘Hickory Wind’ for the first time ever, as well as Louvin Brothers songs Gram either recorded or must have heard in his early years. If Gram is the granddaddy, Charlie is the great-granddaddy; a Country Music Hall of Famer, and a legend in the truest sense of the word.”
| || LEEKS: Qwerty 12″ (TRAPEZ 109EP) 12.00|
Leeks has a cool techno attitude with swing-like programming and odd sounds. “Qwerty,” for example, does not bow to the daily routine of “today’s techno,” but moves upright and proudly. “Not So Late” opens with an obscure electronic sound, but then has a big, house-y bass line drop in. “Adhesive” is a bit of a Dadaistic track… its cool rhythm production makes it the most advanced on this EP. Quirky, with a bit of a nonsense sequence running through it.
| || ITALOBOYZ: Phantasmino 12″ (TRAPEZ LTD091) 12.00|
Italoboyz present their Phantasmino EP. The title track features a wealth of analog equipment, giving it a real psychedelic profile with a kind of Eurasian melodic flavor. A real drugged-out epic hymn for party people who want to go all the way. “9/96” is a drum track that could be part of a mad marching drumming band — somehow surreal, but which absolutely takes dancefloors apart.
| || BALAM ACAB: See Birds 12″ (TRIANGLE 001EP) 12.00|
The inaugural release from emerging Brooklyn-based label Tri Angle, Balam Acab’s See Birds EP presents an optimistic yet haunting glimpse of a droning future. See Birds is the product of 19 year-old solo producer Alec Koone. Founded by Robin Carolan of 20 Jazz Funk Greats and distributed by the renowned Kompakt label, Tri Angle will continue with releases by oOoOO, Creep, Nowa Huta, Stalker, and more. “He isolates and distorts bits of source material (say, vocal loops or beat fragments) and smears them together in new arrangements. The results are remarkably seamless. Take opener ‘See Birds (Moon)’, where a scratchy drone meets heavy, blown-out beats and a chorus of layered vocals. The way he puts them together, a new natural rhythm for these sounds emerges and it becomes hard to imagine them in any other order… a heck of an impressive first step.” — Pitchfork (8.0)
|TRUTH & SOUL|
| || VA: African Music Today CD (TSCD 014CD) 16.00|
“African Music Today is the culmination of a project started seven years ago by world famous record collector Phillip Lehman, who brought his musical knowledge and expertise to help create this collection of some of the funkiest Afro grooves known to man. This compilation spotlights a diverse range of contemporary African artists, from the James Brown-inspired funk of Bama & The Family to the percussion heavy grooves of Pierre Osinibi and Ethiopian sounds of Zafari. It’s modern music that recalls the heyday of Fela Kuti, Tony Allen, Mulatu Astatke and others, painstakingly curatted by Phillip Lehman and brought to you by Truth & Soul Records on CD in a 4-panel digipak.”
| || KONER, THOMAS: Nunatak, Teimo, Permafrost 3CD (TYPE 072CD) 23.50|
Following on from three limited vinyl editions, Type now proudly presents a triple CD package including the first three, long-unavailable and newly-mastered albums from influential drone soundscapist, Thomas Köner. Since the release of these three albums in the early ’90s, Köner has gone on to enjoy something akin to a cult status among musicians of all dispositions. His CV boasts not only a series of seminal albums under his own name but also membership of acclaimed Chain Reaction duo Porter Ricks and, more recently, a number of works that have seen him occupy a respected position in the installation and sound art worlds. Through the careful and measured use of gongs (recorded in different rooms and underwater) as well as homemade wind instruments, Köner’s early work would become a cornerstone of the genre and part of a triptych of records which really have never been bettered. After far too many years in the out-of-print wilderness, it’s a source of immense satisfaction to finally be able to share this incredibly dark, immersive music with the world once again. Housed in a triple panel digifile package.
| || COOPER, ALICE: Pretties For You LP (WS 1840HLP) 14.00|
Alice Cooper’s debut album, originally released in 1969 on Straight. Tracks include “Titanic Overture,” “10 Minutes Before the Worm,” “Sing Low, Sweet Cheerio” and “Reflected.” 180 gram reissue, manufactured by Rhino.
| || NHAR: Close Up 12″ (WIR 020EP) 12.00|
Nhar’s personal recipe for dancefloor mayhem consists of driving beats, melancholic euphoria and some other ingredients meant to stay a secret. On diverse labels like Mobilee, Plak and Modelisme, the former member of the 22 Crew shines with his panoramic view, melodic depth of focus and concise footwork. Jörg Burger aka The Modernist throws in one of his rare remixes, delivering that bonus punch and enhancing the original’s charm with the razor-sharp musical scale he’s become known for.
| || RUSSELL, LUTHER: Motorbike EP 12″ (WR 012EP) 11.00|
Luther Russell has been putting out records since 1991, first as lead singer/songwriter of The Freewheelers, then as a solo artist, and later as a respected producer. This EP features selections from his album The Invisible Audience, a sprawling collection of beautiful songs which melt the sensibilities of Bob Dylan, Big Star and Elliott Smith and serve as something of a crash-course through the history of American songwriting. This EP is a collaboration between Wool and Luther’s own label Ungawa. On white vinyl.
|FORCED EXPOSURE MAILORDER EMAIL UPDATES|
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