|FORCED EXPOSURE MAILORDER UPDATE|
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|BLACKEST RAINBOW RECORDS (UK)|
| || HUNTER GRACCHUS/KOMMISSAR HJULER UND FRAU, THE: Split LP (BRR 184LP) 19.00|
“Meeting of melted minds on this split LP featuring Sheffield based long time local buddies Hunter Gracchus and Germany based performance and musical duo of Kommissar Hjuler Und Frau (aka Mama Baer). The Hunter Gracchus have released an ever growing catalogue of super well received releases for the likes of Chironex, Golden Lab, Recollections of Knulp and Chocolate Monk. They also collaborated with Part Wild Horses Mane On Both Sides and Chora as Le Drapeau Noir, as well as performing solo and in other fantastic far out acts such as Vampire Blues, Harappian Night Recordings and Blue Yodel, as well as two thirds of the trio running the excellent Singing Knives label and all working full time. I have to admit, I have no idea how they can manage to do all this, pretty damn impressive. Their side is an amazing live recording from La Planta, Argentina entitled ‘Mujeres De La Boca’, and if you’ve ever been to their Furniture Makers practice space, it sounds like Hunter Gracchus somehow managed to transport its entire contents of obscure musical objects over there with their peculiar brains to record some of the best live shit they’ve produced so far… a really great side long free playing improvised weird out with screwed up voices, skronky blurts and freestyle tribal percussion. Kommissar Hjuler Und Frau have been releasing material for quite some time on their own Der Schöne Hjuler-Memorial-Fond label, including a host of obscenely limited CDRs, cassettes and records. On top of that they’ve found the time to release some truly astounding genre blending avant craziness on Ultra Eczema, Scumbag and Blossoming Noise. For this split LP, KHJ & F’s ‘Zwei Einenperson (Pt. 2)’, is a manic 22 minute side of avant garde experi-mentalism, with Kommissar Hjuler shredding electric guitar strings and destroying tapes while Mama Baer’s insane vocal fluctuates between the erotic and pure demonic screaming. This recording of Kommissar Hjuler und Frau was made in March 2009 when working on the set for the performance of Zwei Eineperson. This was presented live at the vernissage of Mama Baer’s and Kommissar Hjuler’s exhibition Geteilter Raum at Kunstraum Winterthur, Switzerland on 2nd April 2009. A CD-R with several parts from their work on this set was previously released on their SHMF label in a very small edition. This is the re-issue of part 2 from their recordings, live in their living room. Edition of 500 on heavyweight vinyl with pro printed jackets, and insert.”
| || VA: Menagerie #2 LP+MAG (BRR 190LP) 23.00|
“The second compilation compiled and conceived by London-based illustrator Jake Blanchard continues on its strength of eclectic audio vibes paired with visual glory by an array of excellent artists. Eight artists were given a track and their finished artwork is based around their assigned track. With the previous CD release of Menagerie #1, there was only 100 copies available with the zine. But with this new issue, every single copy comes with a super-slick, pro-printed, full-colour zine of artwork from: Jake Blanchard, Pete Fowler, Will Sweeney, Andrew Rae, Sarah King, Solange Gularte, James Trimmer/Mirt, and Mat Pringle. This time the audio is appearing on vinyl only, with exclusive tracks from: Moon Duo, Natural Snow Buildings, Wand (aka Wooden Wand), The See See, Seadog, Joanne Robertson & Matthew Ashworth, Married In Berdichev, and Akron/Family. The pro-printed sleeve features artwork by Jake Blanchard. Heavyweight vinyl, with full colour labels. Edition of 500. Joint release between Blackest Rainbow, and Jake’s new Tor Press label for zines and music.”
|BORDER COMMUNITY (UK)|
| || ABBOTT, LUKE: Holkham Drones 2LP (BCR 030LP) 20.00|
2LP version. This is the debut album from Norfolk’s Luke Abbott, channeling Britain’s pagan heritage through an overwhelmingly satisfying electronic union of joyously Kraut-y arpeggios and rolling, primal rhythms. Abbott’s Holkham Drones is a modern and decidedly British take on the Krautrock meme. Quirky, versatile, cerebral electronica that sits alongside Four Tet and Caribou in that middle ground between the dancefloor and home stereo, adaptable to both. “One of the finest left-field techno-electronica debuts of the year.” –IDJ
| || VAN ZANDT, TOWNES: Texas Troubadour 4CD BOX (SNAJ 729CD) 30.00|
“Since his death at the age of 52 in 1997, the reputation and popularity of Townes Van Zandt has grown greater by the day. He left behind a musical legacy of beautifully crafted songs and a legion of ever growing grateful admirers. This deluxe 4CD compact box set features all Van Zandt’s studio recordings released by the Poppy and Tomato labels during his most creative period, including the classic tracks ‘Pancho and Lefty’, ‘If I Needed You’ and the 1973 live set ‘Live At The Old Quarter’. This clam-box edition of the set also contains a 36-page booklet which includes a detailed biography.”
| || GOLDEN DAWN, THE: Power Plant CD (SNAM 950CD) 15.00|
New super jewel case version [replaces the 2009 limited digibook edition (SNAX 602].”International Artists Records produced some of the most innovative records to come out of Texas’s thriving rock scene of the late sixties. One of the most influential independent record companies of its day, it has gained cult status over the years amongst fans of prime American psychedelic and garage rock. One of the label’s groundbreaking acts were The Golden Dawn, who only released this one album (and no singles) during their short recording career — they broke up soon after the album’s release. An acknowledged psych classic, Power Plant features inspired acid-spiked folk rock guitars and intelligent psychedelic-inspired lyrics. The emotional range is remarkable for a debut album — from the searing acid punk of ‘Evolution,’ through the classic pop-inflected psych of ‘My Time’ into the brooding introspection of ‘Reaching Out To You.’ The accompanying 16-page illustrated booklet includes an insightful interview with the group’s leader and driving force, George Kinney, in which he gives an unique track-by-track run-down of the album’s songs.”
| || HUMAN EXPRESSION, THE: Love At Psychedelic Velocity CD (CIC 9667CD) 15.00|
“In 1966, four high school students from the Los Angeles suburbs formed The Human Expression, and by January 1967, their first single, ‘Love At Psychedelic Velocity’ b/w ‘Every Night’, was released to an unsuspecting public. It was a dazzling, driving, opus of mind-bending sounds, and a harbinger of things to come. Their second single, ‘Optical Sound’ b/w ‘Calm Me Down’, released in the ‘Summer Of Love’, was a two-sided tour de force, with brooding introspective lyrics by lead singer, Jim Quarles. The Human Expression’s edgy bad boy image was the antithesis of the ‘flower-children’ image so prevalent for groups in 1967. The Human Expression’s third single was ‘Sweet Child Of Nothingness’, written by Mars Bonfire, who offered the band another new song, ‘Born To Be Wild.’ Quarles thought the lyrics trite, and since he was the lead singer, the band rejected the song, even before Steppenwolf recorded it. Nevertheless, the three singles The Human Expression released during their short-lived career, would burnish their reputation as one of the finest garage bands to emerge from the mid-60s Los Angeles music scene. Compiled on this CD are all the surviving demos and tapes of The Human Expression, along with rare band memorabilia, and demos by Quarles from 1965 (recorded just before The Human Expression).”
| || VA: Offstrings: Inventions For Guitar LP (CR 201001LP) 20.00|
“Featuring new work from Chicago musicians: David Daniell (San Agustin, Rhys Chatham), Mark Shippy (U.S. Maple, Miracle Condition), Travis Bird & Daniel Burke (Illusion of Safety) and Michael Vallera (Cleared). Complacency announces the first in a series of album releases focusing on new work with guitar. The first of these presents five Chicago area guitarists. Some guitar players immerse themselves in their instrument’s rich and varied traditions, while others exploit innovations of technique and technology to find new expressive possibilities. But regardless of whether they celebrate or subvert its iconic status, they’re gilding an aura that makes it ripe for use and abuse as a Duchampian found object. The five guitarists on Offstrings come to the instrument from both sides of the altar. While they can play like virtuosos, recontextualize familiar sounds, or come up with new ones, they know that these are means, not ends. They wield all of the sound-producing and conceptual qualities inherent in the guitar to play the chords of human experience. They offer you a chance to listen.” On colored vinyl.
| || BROTHER RAVEN: VSS-30 LP (DIGI 025LP) 15.00|
“In 2010, the ride never seems to stop so if you want to get off you’ve just got to jump head first. Brother Raven, the Seattle-based duo of Jason Anderson (Spare Death Icon, Gift Tapes, etc) and Jamie Potter (ex-Bonus, Million Mists, etc) are taking synthesizer-based music into new and unexpected realms. Anderson and Potter are total time travellers, searching out old, forgotten methods and sounds and taking them into a square-wave future. VSS-30 is rooted in its namesake’s primitive synthesis but is forward-thinking enough to take the listener on a tripped-out cosmic space walk. As with all their music, Brother Raven’s sound is 100% improvised and always recorded to tape. That added warmth keeps their space-age intonations from getting distant or cold. The flip-side of the record dials things in and shows just how much focus and restraint the duo possess. More blitzed beats push things along at a reliable pace, underscored by repetitive tones leading into candy-striped, totally sweet synthesizer loops. VSS-30 seems, on the surface, to be all over the map but it’s absolutely cohesive and flows like a perfect pink stream. There’s no doubt that there’s been dozens upon dozens of new synth-based bands and artists coming out of the woodwork over the last couple of years, but Brother Raven have shown over and over that they’ve got a head above most. VSS-30 is an impressive, fully-realized piece of work that cements their place on the astral plane. Edition of 300 in silkscreened jackets.” With full-color insert.
| || AWESOME COLOR: Massa Hypnos LP (E#104E-LP) 16.00|
Gatefold LP version, limited to 500 copies. Includes 11×17 poster. “Psych-garage-noise purveyors Awesome Color coalesced after Michigan skater/musos Michael Troutman and Allison Busch hooked up with fellow Great Lake State expat Derek Stanton in Brooklyn, NY, in 2004. Tired of the same old, same old that was passing for NYC underground punk at the time, the trio set out to inject a little Detroit rock know-how into the scene. Succeeding marvelously at channeling the grit and free abandon of the Stooges and MC5 into a propulsive, riff-based, Black Sabbath-informed mule-kick of a live show, the group soon caught the ear of Sonic Youth’s Thurston Moore who wasted no time in snatching up the band for his Ecstatic Peace! label. Their self-titled debut hit the racks in 2006 and was followed up by Electric Aborigines in 2008. The wake of that second release found the group touring the world in support of Sonic Youth and Dinosaur Jr.”
| || MACEO & ALL THE KING’S MEN: Funky Music Machine LP (EX 8022LP) 11.00|
Exact repro reissue of Maceo’s 1972 “tell it like it is” southern production classic, featuring the lost funk gem “I Want To Sing,” an anthem supported by a background chant credited to the Pearl High School Cheering Squad. Also includes “Dreams,” “Born To Wander,” and “A Funky Tale To Tell.”
| || PUERTO MUERTO: Songs Of Muerto County Revisited 2CD (FIRE 101CD) 21.00|
2008 release. 2CD version of their “lost” soundtrack to the classic cult horror flick The Texas Chainsaw Massacre, originally a limited edition release to coincide with their tour of U.S. colleges and theaters with the original “Leatherface.” The Introduction To Puerto Muerto bonus disc includes tracks from their first three albums — See You In Hell (2004), Elena (2003) and Your Bloated Corpse Has Washed Ashore (2003) — as well as B-sides from the singles Stars and Crimson Beauty, and outtakes, including their acclaimed cover of The Kinks’ “Alcohol.” They don’t make movies like The Texas Chain Saw Massacre anymore. For all its chain-saw wounds and people hanging on meat hooks, the movie is mostly a triumph of atmosphere. But something was missing from that atmosphere: music. Now that’s changed, sort of — thanks to Puerto Muerto. The band, whose anachronistic sound and anarchic tales have inspired the label “punk folk,” have recorded Songs Of Muerto County, a “lost” soundtrack to the classic film. The result doesn’t sound like one might expect: no screeching strings or ominous rumbles. The songs are gorgeous and spare, including one beautiful waltz-time ballad — perhaps some of the unlikeliest words to be attached to The Texas Chainsaw Massacre.
| || MITCHELL & LITTLE SPARTA, GERRY: The Ragged Garden CD (FIRE 105CD) 14.50|
Originally released in 2008, this is the second Fire Records release of the intensely emotive collaboration between Glaswegian poet Gerry Mitchell and London-based international experimentalists Little Sparta. Gerry Mitchell is a Resonance FM veteran and is fast becoming a cult London icon. Little Sparta is a band named after the garden of Scottish artist Ian Hamilton Finlay. Started in 1999 by Alan Boyd, John Robertson soon joined as guitarist, and was completed as a 4-piece with Ben Bruce on bass and Scott Skinner on drums. Augmented by Susie Honeyman of the Mekons on violin and Elsa Rodeck, Little Sparta is now 6 strong. The band conjures up a musical backdrop for Mitchell’s prose, creating mini-symphonies for Mitchell’s tales. While Little Sparta’s music can be lilting, it can also be bombastic — while Mitchell’s words can be dour, they can also be mesmeric. Gerry Mitchell and Little Sparta are renowned for stimulating live performances that manage to combine confrontation with contemplation — often within the same song. “William Burroughs meets Dirty Three.” –The Wire
| || GREAT DEPRESSION, THE: Forever Altered CD (FIRE 113CD) 14.50|
2008 release. The Great Depression presents a typically lush and well-produced, psychedelic-tinged, intricate beauty. Layered, rich structures support well-crafted melodies and a warm and embracing sound. Following Unconscious Pilot (FIRE 083CD) (“album of the year – 10/10,” Atomic Duster) and Preaching To The Fire (“A bold and endearing masterpiece of melancholic sermon,” Delusions Of Adequacy), the tone is still generally blissful and somber, though there is a definite injection of melodic pop energy, particularly on the charging title track. Their chamber-pop and shoegaze influences lend them comparisons to early Spiritualized, My Bloody Valentine and Radiohead, though pop sensibilities and Todd Casper’s own impressive production talents make their varied approach entirely cohesive.
| || PULP: It CD (SFIRE 004CD) 14.50|
Originally released in 1983, this is Fire Records’ 2002 release of Pulp’s debut and one of their most honest recordings — capturing a band at the beginning of their startling career. It is a gentle, mainly acoustic album that hints at the musical directions Pulp would later pursue. The album touches on the majestic, theatrical ballads of Scott Walker, as well as the stark, folky song poems of Leonard Cohen. Singer/auteur Jarvis Cocker gets his start as Brit-pop’s acerbic storyteller over eight tracks of sparse indie folk-rock. It is where it all started.
| || RELAY FOR DEATH: Birth Of An Older, Much More Ugly Christ LP (HN 203LP) 19.00|
“This shit is DARK…and I’m not talking about some fucking ‘I sleep during the day’ dark. I’m not talking some ‘Cannibal Corpse shit — I’m a fucking mutilator’ dark. And I’m not talking ‘I’m a noise dude into black metal’ dark. I’m talking total fucking end of the world shit. Like everyone is going to die and it’s gonna be fucking terrible. Recorded in 2009 by sisters Roxann and Rachal Spikula while in a hospital doing some fucked up health study where all they could drink was Shasta for like 2 weeks. No joke! Master tape arrived wrapped in a duct-taped hospital gown with my address written on it in sharpie. Side A: The tape becomes un-paused and kicks in with a menacing organ drone that mutates into the lo-fi skree of an empty room, eventually becoming a swirling abyss of tape hiss and the sound of nothing happening in a hospital; distant creaks, buzz, and hums littered with hiss and garbage-sound layered into a very unsettling frenzied drone. Side B: A crunchy noise inferno that eventually leads us to what sounds to me like being in outer space watching the earth exploding. As you watch everything we know of destroyed, a saddening, descending synth wave appears, buried by blasts of destroyed earth. It ends…and you are disturbed. Limited to 300 copies. Pitch black vinyl with pitch black labels. Heavy duty black and silver silkscreened covers with the ‘Hanson Droll Flaps.’ Take a break from yer most recent mediocre synth bliss-out tape and take a trip back to the real fucking world — where everything fucking SUCKS.”
| || DARKSMITH: Total Vacuum CD (HN 208CD) 12.00|
“CD reissue of debut vinyl from California sound artist Tom Darksmith. Crude musique concrète made using tapes, voice, records, radio, guitar, drums, objects, domestic and field recordings. Assembled on cassette four track 2008-2009. A disturbing collection of sounds…lots of sounds…unknown sounds…I have no clue what is going on on this record….Tom says there is guitar, drums, etc on this…but I don’t hear them…what I hear is: The sound of my neighbor weedwacking, the sound of being zipped into a suitcase then shipped via train, ghost voices roaming in sewers, the sound of riding in a helicopter with mid-grade noise reduction earmuffs on, a shitty metal door being locked on a crew of mumbling idiots…and every now and again…a garbage disposal….this is what I hear….no clue what you will hear. A total mystery of perfectly paced organization of dirt sound…not harsh…not mellow…just dirty, weird, and confusing…and to quote the sleevenotes of the first few Queen LPs….’No Synthesizers!’. Recommended for fans of Yeast Culture, Agog, Joe Colley, Graham Lambkin, Jason Lescalleet, Hands To, etc.”
| || GIANT: Herbert/Collins Booster 12″ (HENCH 019EP) 11.00|
“Giant – composed of Enei, Ekta and Nersa – have been transmitting soundwaves of pure badness from the heart of St Petersburg for the last couple of years now. Providing their dark Russian vibes for the HENCH imprint, this trio should be considered one of the dubstep scene’s quickest rising stars. Their debut 12″ on the label, ‘Drumstick’ and ‘Swoosh’, was one of 2009’s biggest selling releases and instantly framed their reputation as bringing club-led, off the wall, energetic music to all who listen. Here they bring us two fresh yet familiar tracks to give us yet more reason to be keeping an eye out for Giant in 2010. Sit back and enjoy. We dare you to sit still to these!!! A. ‘Herbert’- Drawing for a fat and crunchy intro, it’s not long before Giant get the subbass shaking the ground beneath your very feet. ‘Herbert’ brings a jaw-breaking bassline, yet remains funky and progressive throughout. Squeaky synth stabs blend between the forward-rolling arpeggio riffs to create a devastatingly fluid destroyer. Much like their notorious debut Hench track, ‘Drumstick’, ‘Herbert’ manages perfectly to pull off the balance between a thumping, yet dancefloor-friendly, release. AA. ‘Collins Booster’- Multi-layered rave vocals, fantasy-style looped riff and squelchy bassline accelerate ‘Collins Booster’ from 0-100 mph within moments. Maintaining their light sound, Giant provide a dubby and fast-paced killer that takes all who listen up to the very heights before dropping them into some serious dutty-damage. Don’t underestimate what this will do in the rave — this drop is golden!”
|HOUSE OF THE FOX|
| || MACEO & ALL THE KING’S MEN: Doing Their Own Thing LP (HOF 001LP) 11.00|
Exact repro reissue, originally released in 1970. James Brown’s backing band rebelliously ‘doing their own thing’ and the results, though perhaps notoriously overlooked (if the story about Brown paying radio stations not to play these songs is true), are essential. “Fittingly, the album begins with ‘Maceo,’ a slow, churning piece of hard funk. It’s basically an excuse to have this band’s leader blow a few choruses of his patented razor-sharp vamp-jazz. He sticks to tenor here (Maceo didn’t switch to alto until 1973), but there’s no mistaking his tone and style for anyone else’s. The tune features only the barest of melodies, and in fact, was probably the kind of thing that would’ve been stretched out to lather up a crowd in concert. ‘Got to Get ‘Cha’ is more classic groove, and is actually still in the touring book of Maceo’s band today. This one actually features the sax man’s distinctive vocals, owing much to Brown’s guttural pounce. Brother Melvin lays down a tight, mid-tempo beat, and the horns (including L.D. Williams on tenor and trumpeters Richard Griffith and Joseph Davis) nail the punches harder than Kool’s Gang or a Tower of Power ever dreamed possible.” — Pitchfork (8.0)
| || VAN WISSEM, JOZEF: Ex Patris CD (IMPREC 267CD) 14.00|
“The title Ex Patris (‘from the fathers’) plays on the idiomatic baroque lute compositions presented here which emulate the classical repertoire. It also refers to this almost forgotten instrument, which was passed on by the fathers. The aim is to bring back and liberate the lute. Composer-lute player Jozef Van Wissem is renowned for his unusual approach of the Renaissance and Baroque lute. He cuts and pastes classical pieces, reverses melodies, adds electronics and processed field recordings made at airport lounges and train stations. The unusual wedlock of composition and improvisation creates an unheard amalgam of contemporary folk and late Renaissance music. He has accomplished the strange feat of bridging the idiom of seventeenth century lute literature and twenty-first century composition. Although Van Wissem uses subtle electronic sound manipulation, he has largely stayed faithful to the particular timbre, resonance and playing technique of the lute. Van Wissem first came to be noticed a few years ago because of his radical conceptual approach to Renaissance lute music: he deconstructed existing compositions, for instance, by playing them backwards. He also composes his own pieces for lute, using palindromes and mirrored structures. His music therefore does not have a traditional linear progression, nor leads to a climax, it rather stays on the same level of intensity. His music is quiet and not so much demands concentrated listening, as it will bring the listener in a state of concentrated listening.”
| || EMMANUEL, JD: Wizards LP (IMPREC 305LP) 21.00|
“With so much being made of current practitioners of the kosmische/New Age vibe, here’s your opportunity to hear an original. Copies from the original pressing rarely surface and even the 2007 repress (which sounded quite thin) commands quite a fee on internet auction sites. This straight analog pressing sounds as close to the original master tapes as you can get. 500 made. Pressed at RTI.” “Wizards was my first deep trance electronic music album. This album was inspired by Terry Riley , one of the earliest people ever to compose and perform long, extended, cyclic pieces in the electronic format. This music was composed and performed in ’81 and ’82. I consider this album my best work. The instrumentation is three Sequencial Circuits PRO-1s, Crumar Traveler One and a Yamaha SK-20, all real time recording to a Teac 4-track reel-to-reel. I mixed the four tracks to a Teac A-7300 Master 2-Track tape recorder using a DeltaLab DL-2 to create the delay track. In 2006, I used a Tascam 34B 4-track to remaster all my master tapes to digital master of 196 KHz/24 bit .WAV files using Soundforge 8 software. The original Wizards LP was published in the Summer of 1982 with the black and white cover. The initial tracks had no names and were called ‘Movements I-V.’ Several years later sales had slowed down. In an effort to improve sales we tried the color cover and I created names for each track…” — J.D. Emmanuel
| || BITCHIN BAJAS: Tones/Zones LP (IMPREC 306LP) 19.00|
“Bitchin Bajas is the solo project of Cave’s Cooper Crane. Cooper’s skillful use of melody within his elastic electronic tones is matched by his ability to mix it all (much like he does with Cave) so that there’s a lot of sound but even more space and separation between the sounds. Tones/Zones was pressed in an edition of 500 copies. Through some sort of cosmic serendipity, Important is releasing Tones/Zones at the same time as J.D. Emmanuel’s classic Wizards LP from 1981. There are some interesting parallels between Tones/Zones and Wizards. Both artists have a firm grasp of sound without wading too deeply into the blissful waters of new age melody. Both used an organ and a similar assortment of analog synths and both used the same Tascam reel-to-reel tape machine for their recordings. Though nearly 30 years separate, they’re both generously offering you the opportunity to dive deeply into their own private tones & zones. Enjoy.” On white vinyl.
| || DAPAYK SOLO: Berlin Bedlam 12″ (LEENA 017EP) 12.00|
Leena witnesses Dapayk Solo in full bloom and with space to breathe. “Berlin Bedlam” builds up layers upon layers of synths, paving the way for a break out of melodic charms. It’s a cinematic soundscape that could be played at any number of stages over the course of the night. “Fawlty” is equally as melodic, but certainly fulfills the role of the calm after the storm. Minimal, but with musical flare, it’s the perfect companion.
|LIGHT IN THE ATTIC|
| || BIRKIN & SERGE GAINSBOURG, JANE: Jane Birkin/Serge Gainsbourg (Je T’Aime… Moi Non Plus) CD (LITA 048CD) 14.00|
“Without a doubt, Serge Gainsbourg is agent provocateur and Gallic soul brother #1. His sensual work is championed by all in the know and still resonates quite frankly in these sexually exaggerated times. Building on the North American re-introduction to the maestro’s work with 1971’s masterpiece concept album Histoire de Melody Nelson, Light In The Attic Records is thrilled to announce their follow-up Gainsbourg reissue, 1969’s Jane Birkin/Serge Gainsbourg (often referred to as Je T’Aime… Moi Non Plus). Recorded as a series of duets and solo performances with lover, actress, and model Birkin, the pair’s chemistry-enhanced collaboration was thrust upon the record buying public to much shock and horror, but indeed found global success. The disc quickly shot its cigarette brandishing author and fresh-faced vocalist into the international spotlight; and although lead-off single ‘Je T’aime’ and its seductive purrs reached top slot in the UK charts, none other than the Pope branded the tune offensive and blasphemous. Ever the conversationalist, Gainsbourg wittly replied, ‘we couldn’t have gotten a better PR man!’ Indeed Serge, indeed. Adding the period bonus track ‘Chanson de Slogan,’ (1969, arranged by Gainsbourg conspirator Jean-Claude Vannier, of ‘L’Enfant Assassin des Mouches notoriety) the 11-song Jane Birkin/Serge Gainsbourg is finally seeing the light of day on CD for the first time in North America. The release is replete with a 32-page full color booklet, original art, English/French lyrics, audio re-mastering by Dave Cooley (the genius engineer behind LITA’s reissue of Histoire de Melody Nelson), and extensive liner notes, featuring an exclusive interview with the lovely and graceful Birkin who helps to provide new insight on this landmark album.”
| || SPERA, PIPPO: A Buen Puerto CD (LION 635CD) 15.00|
“A summertime record, if ever there was one! Lilting melodies, including a shimmering cover of Eduardo Mateo’s ‘Mejor me voy,’ infused with an undercurrent of bossa nova and the drowsy, faded memory of sun-drenched islands. All of this melodic loveliness is made ever-so-groovy in an Afro-Cuban sort of way thanks to a mighty contribution from world famous percussionist Jorge Trasante, Totem drummer Roberto Galletti, and Limonada drummer José Luis Sosa. Pippo Spera had come into the orbit of Uruguayan master Eduardo Mateo back during the days of El Kinto (one of that band’s finest songs is about a visit by Mateo to Pippo’s house). From 1967 to 1970, Pippo concentrated on studying classical guitar at the Conservatorio Nacional of Uruguay, until the military dictatorship closed the school. So, Pippo started his songwriter career, which culminated in 1975/1976 with the recording of A Buen Puerto. As Pippo says, ‘It was a beautiful experience to me. I had the help of the best musicians in town, they were like brothers. At that time in Uruguay, nobody used to get money to perform in a recording studio; for the musicians it was a pleasure, it was just love of art…’ After the release of this LP, Pippo decided to leave a Uruguay oppressed by a brutal dictatorship. He sailed to Brazil in a ship much like the one hovering behind him on the A Buen Puerto album. Brazil was indeed ‘a good port’ for Pippo — he became friends with many of the best Brazilian musicians of those years: Milton Nascimento, Geraldo Azevedo, Renato Rocha, and Alceu Valença, and ended up writing for and playing on Nascimento’s Clube da Esquina 2 album.” Includes a 12-page booklet with archival photos and liner notes, plus 2 bonus tracks.
| || SWORD HEAVEN: Gone LP (LOAD 129LP) 14.00|
LP version. “Columbus, OH two-piece horror sound unit, Sword Heaven clock in with a sweaty waterboarded masterpice of clausterphobic proportions. Fun house mirrors and stretched out faces yell from behind flaming curtains while a neanderthal cave bat clubs your dome over and over and over. These are the sounds – the kids are not all right and that is all right.”
| || SUNBURNED WITH PAUL FLAHERTY: Unmuzzled Ox LP (MH 110LP) 21.00|
“Full length, fully-realized LP recorded in 2007. Originally released by Ecstatic Peace on a long-gone cassette. Ultrazonked megafunk heavy. Big band. The eagle’s nest. Front cover art by a tall guitar player. Assembled at home one-at-a-time style, recycled jackets, insert. Bagged.” Limited, numbered edition of 200; paste-on covers; motivational insert written by Matt Krefting.
| || VA: Wave The Ocean, Wave The Sea LP (MR 057LP) 15.00|
“People were saying that Southern folk song was dead, that the land that had produced American jazz, the blues, the spirituals, the mountain ballads and the work songs had gone sterile.” — Alan Lomax, 1960. “In 1959 and 1960, at the height of the Folk Revival, Alan Lomax undertook the first-ever stereo field recording trip through the American South to document its still thriving vernacular musical culture. He traveled through Virginia, Kentucky, Tennessee, Alabama, Mississippi, Arkansas, Georgia, and North Carolina, making over 70 hours of recordings. The trip came to be known as Lomax’s ‘Southern Journey,’ and its recordings were first issued for the Atlantic and Prestige labels in the early ’60s. Those, however, as well as subsequent releases on New World and Rounder Records, are now all out of print. To remedy this, and to celebrate the Southern Journey’s 50th anniversary, Mississippi Records and the Alan Lomax Collection have collaborated on five commemorative LPs, spanning the breadth of Lomax’s ’59-60 Southern recordings, drawing on new transfers of the original 1/4″ tapes, and featuring a considerable amount of previously unreleased material. The five LP volumes feature singing siblings Hobart Smith and Texas Gladden from Saltville, Virginia; menhaden fishermen’s chorus the Bright Light Quartet; the Young Brothers’ Mississippi Hill Country fife and drum band; Blue Ridge instrumentalists Wade Ward and Charlie Higgins; Bessie Jones and the Georgia Sea Island Singers; work songs and hollers from Parchman Farm; congregational hymns from African American and white Appalachian meeting-houses; Alabama’s singing washerwoman Vera Ward Hall; the 1959 United Sacred Harp Convention; and the debut recordings of bluesman Fred McDowell, among much else. Each volume is being sold separately with its own distinctive packaging. All come with a 12-page booklet featuring many never before published photos. Old school tip on sleeves & beautiful sound. Not to be missed!”
| || VA: Worried Now, Won’t Be Worried Long LP (MR 058LP) 15.00|
Second installment in the Field Recordings From Alan Lomax’s “Southern Journey”, 1959-1960 series, featuring recordings from blues singer Sidney Carter, seventy year-old Norman Edmonds, Rosa Lee (or Rosalie) Hill performing on Fred McDowell’s porch, two Mississippi gospel groups, the United Sacred Harp Convention in 1959 Alabama, the first-ever recordings of the fife and drum music of the Mississippi Hill Country and The Bright Light Quartet, a group of fishermen recorded in Virginia in 1960.
| || VA: I’ll Meet You On That Other Shore LP (MR 059LP) 15.00|
Third installment in the Field Recordings From Alan Lomax’s “Southern Journey”, 1959-1960 series, featuring recordings from Fred McDowell, Carlos “Bookmiller” Shannon’s rendition of “The Eighth of January” (another variation of which — “The Battle Of New Orleans” — was a Billboard charting hit by Johnny Horton in 1959), a medley of classic African American spirituals by Virginia’s Union Choir of the Church of God and Saints of Christ, lined hymns from Kentucky’s George Spangler and a Baptist Church congregation, Ozark balladeer Neal Morris, work songs from Mississippi State Penitentiary, a previously unissued version of “Moses Was A Servant Of The Lord” performed by Charles Barnett (vocal and washtub) and Arkansas’ Almeda “Granny” Riddle performing “Rainbow Mid Life’s Willows,” based on a British broadsheet originally published in 1631.
| || VA: I’ll Be So Glad When The Sun Goes Down LP (MR 060LP) 15.00|
Fourth installment in the Field Recordings From Alan Lomax’s “Southern Journey”, 1959-1960 series, featuring recordings from Blue Ridge instrumentalist Wade Ward performing alongside an eighty-one year old Charlie Higgins, sought-after Mississippi church singers James Short and Viola James, more from Fred McDowell (“Woke Up This Morning”), a locally composed religious piece written from words spoken by Mountain View, Arkansas resident Joseph Looney while on his deathbed, Hillsville, Virginia’s The Mountain Ramblers, spiritual singers from the Georgia Sea Island of St. Simons and banjo master Hobart Smith’s “Banging Breakdown.”
| || VA: I’m Gonna Live Anyhow Until I Die LP (MR 065LP) 15.00|
Fifth installment in the Field Recordings From Alan Lomax’s “Southern Journey”, 1959-1960 series, featuring recordings from North Carolina’s Mountaineers, migratory labor songs from fishermen The Bright Light Quartet, a stark religious meditation on the end of days from Virginia service station owner E.C. Ball, Bessie Jones (later a touring performer) singing the spiritual “Daniel In The Lion’s Den,” an evening worship service at a Pentecostal Temple in Memphis, Emma Hammond’s dance tune “Shout Lula,” an excerpt from Alabama religious radio testimony and music performed on caned panpipes (or quills) at a country picnic in Senatobia, Mississippi.
|NOT NOT FUN|
| || SUN ARAW: Heavy Deeds LP (NNF 169LP) 14.00|
2010 repress. One of The Wire’s top albums of 2009. LP version, with full color glossy insert. “Long Beach psych-journeyman Cameron Stallones follows up last year’s Beach Head LP with a whole new universe of Sun Araw action. Heavy Deeds finds him ditching the coast and roaming inland. The grooves are hairier, heatstroked, howling. Still soaked in wah and farfisa mirage but closer in spirit to some of the wild electricity stomps of The Phynx. 5 tracks, all hits. Mastered by James Plotkin.”
| || VA: Local Customs: Lone Star Lowlands 2LP (NUMERO 034LP) 23.00|
Deluxe gatefold 2LP version. “The second in Numero’s series of peeks into the world of regional studios hones in on Mickey Rouse’s Lowland operation out of Beaumont, Texas. Long after the Bopper’s plane crashed and the Winter brothers (Johnny and Edgar) and Janis Joplin split, Texas’ Golden Triangle was home to a vibrant scene of musicians, songwriters, and entrepreneurs just trying to make it in Houston, let alone the world. From the ashes of a vibrant garage and stage band scene, the Lowland studio and its clientele were formed. Holed up in a rundown strip mall, groups like Mourning Sun, Insight Out, Sage, Sassy, Mother Lion, Hope, Circus, and Boot Hill tracked out hundreds of demos, most of which were put on the shelf and left to bake in the South East Texas heat. Until now. Over the last two years, Numero has painstakingly gone through every tape in the studio’s archives, selecting the best of the best for this peerless compilation. The songs themselves run the gamut; southern boogie rock, CSNY clones, British blues thunder, garage-psych hangovers, Morricone-esque supper club instrumentals, yacht rock, and what can only be described as Bobby McFerrin fronting the Velvet Underground, are threaded together in the way only a tightly-knit scene can be. Forget bringing these treasures back to life, Numero’s giving them the life they never had.”
| || COLLINS, LYN: Think (About It) LP (PE 5602HLP) 13.00|
180 gram exact repro reissue of this 1972 James Brown production for funk/soul diva Lyn Collins, featuring backing band The J.B.’s. Besides Catfish and Bootsy Collins, Lyn was another of James Brown’s most notable discoveries and sang back up on various albums. Her solo album features the hit title track, as well as tight covers of “Ain’t No Sunshine,” “Reach Out For Me” and “Fly Me To The Moon.”
| || MACEO: Us LP (PE 6601LP) 11.50|
Exact repro reissue of this 1973 album by saxophonist Maceo (Parker), produced by the minister of new new super heavy funk, James Brown. Worth it for the insane track “Parrty,” as well as “Doing It To Death,” “The Soul Of A Black Man” and “Soul Power.” Maceo was later a significant Parliament-Funkadelic player.
| || GEGENHEIMER: The Inner Path Stories 12″ (RT 001EP) 12.50|
Ratio? invites Marco Gegenheimer from Barcelona to be the first artist to do a full 12″ on the label. Two tracks of pure deepness and emotions have been delivered. “21:4 (The IPS Prayer)” is all about losing that one love and is a sentimental piece of house music, while “Mystical Crossings” is all about the mystical and divine aspects of life.
| || SCHULZE, KLAUS: La Vie Electronique 3 3CD (SPV 307872CD) 20.00|
“2009 three CD set, the third in a series of releases that feature classic Schulze recordings. 21 tracks.” CD1: Alles Ist Gut; Well Roared, Lion!; Der Blaue Glaube CD2: Fourneau Cosmique, Die Lebendige Spur; La Pre’sence D’esprit; Der Lauf Der Dinge CD3: Zeichen Meines Lebens; Semper Idem; Wann Soll Man Springen?; Experimentelle Bagatelle; Kurzes Stuck Im Alten Stil; Gewitter
|RUSH HOUR (NETHERLANDS)|
| || SHAKIR, ANTHONY ‘SHAKE’: Happy To Be Here 12″ (RH 110A-EP) 12.50|
Rush Hour presses the first 12″ from the Frictional Recordings compilation, Frictionalism 1994-2009. Four energetic house tracks — “Happy To Here,” “Breathe Deeper,” ” March Into Darkness” and “Electron Rider” — from one of Detroit’s finest… TIP!
| || SHAKIR, ANTHONY ‘SHAKE’: Frictionalism 1994-2009 12″ (RH 110B-EP) 12.50|
Rush Hour presents the second edition in their Anthony “Shake” Shakir 12″ series, taken from the Frictionalism 1994-2009 (RH 110CD) compilation released in early 2010. Here are four stone-cold Shake classics: “Arise,” “Simpatico,” “The Fake Left. Go Right Plan” and “Mr. Gone Is Back Again.” This is what they call value for money, folks! Comes with different artwork from the limited box set.
|SLOW TO SPEAK|
| || HOUSE, SON: Grinnin’ In Your Face/John The Revelator 7″ (BLP 1026EP) 7.00|
“A beautiful example of the precursor to the mass-recording era, this limited 7″ pressing of blues legend Son House provides a rare glimpse into real American folk music. Before every facet of our musical world was commodified and marketable, working people’s lives were predominately narrated by song, the central nerve center of consciousness, history & culture. Haunted by slavery, segregation and racial hatred, black communities of the South nurtured the blues into existence from a deep psychic pain that demanded an especially rigorous cultural processing, using song as a positive affirmation of existence and power. These prototypical recordings of Son House’s weathered, sorrowful blues standards, sung without instrumentation, are two of the most stunning examples of the urgent imperative of early blues music. Tinged with a tangible sadness and the knowledge of a veritable sage, these songs testify to the cathartic power of a music created for far more than the decadent superficialities of modern industrial societies, providing a historical document of the foundations of so much American music to follow and suggesting that the infinite possibilities provided by technology have not expanded on the basic purpose of music and artistic expression.”
|SOUL JAZZ RECORDS (UK)|
| || RUSSELL, ARTHUR: The World of Arthur Russell 3LP (SJR 083LP) 25.00|
Triple LP version, 2010 repress.
| || OZZIE: The Parabolic Rock: 1975-1982 2LP (SS 039LP) 23.00|
“It is 1971 in a small town near Santa Cruz, California. Three friends from Sacramento have just polished off a bottle of cheap wine to the sounds of Captain Beefheart’s Strictly Personal and wander on to the beach with a couple of harmonica and a guitar. For the next couple of hours, they howl out some Beefheart inspired blues yuck. Thus begins a musical relationship that would become the band Ozzie. From their wine-soused, Magic Band obsessed roots to their art-rock/new wave end some ten years later, Ozzie made some fantastic music. They built up substantial followings in Sacramento, San Francisco, and Los Angeles. They were a Mabuhay Gardens regular, sharing the bill with bands like the Weirdos, The Sleepers, VOM, and the Nuns. In Sacramento, they played with everyone from the Rutabaga Boogie Band and the Talking Heads to the Nerves and the Fleshtones. However like many bands of the time, their limited output (only three 7″s during their lifetime) and difficulty fixing them to one musical subgenre led to their obscurity and ultimately them being forgotten. In the early 90s, S.S. stumbled upon Ozzie’s 1977 debut single, Android Love, and flipped. He tracked down one of the band’s main members, William Fuller, and struck up a friendship with him. A decade later S.S. tosses Fuller the idea to reissue Android Love single with a different B side. Fuller digs out some reel to reel tapes, an act that starts a multi-year odyssey through the Ozzie archives, recordings and print material spanning from the mid 70s to the early 80s. The proto-punk meets glam wildness what made Android Love (produced by Public Nuisance/Twinkeyz David Houston) such a great song was present in the tapes, but there was more: Massive doses of Blue Oyster Cult inspired hard rock brilliance, Roxy Music glam drama, Sparks-like art, Bomp! Records-worthy power pop, edgy new wave that recalls the Suburban Lawns, and mid-Seventies-style underground rock sounds that thrill any collector of private press obscurities, all with a Keith Moon/Jethro Tull inspired drummer. By the time, S.S. was done digging through the archives, he’d assembled a solid double album worth of unreleased and live material, as well as alternative tracks and a few gems from Ozzie’s previously released stuff. Complete with a full history of the band, lots of photos, and archival images The Parabolic Rock: 1975 – 1982 is the definitive document of Sacramento’s forgotten band, one worthy of mention with Sacto underground icons Public Nuisance, the Twinkeyz, and Tales of Terror.” Gatefold sleeve with 6-page insert.
| || CHINESE RESTAURANTS, THE: Summer Romance 7″ (SS 052EP) 6.50|
“On the surface you wouldn’t hear ‘Summer Romance’ as a pop song, but let the needle ride and you will hear hooks galore, a tune that references summer classics by Television, ? and the Mysterians, Joy Division, Mungo Jerry, David Dundas, and others. The flip is a stirring rendition of the Mexican classic ‘Nunca Jamas’, a strum happy dirge that brings to mind The Ex and their take on folk songs from the Spanish Civil War. The Chinese Restaurants are from New York City and are helmed by El F. Restaurant (AKA Acapulco Rodriguez) and Keith Restaurant ((neé Redgerson) with assistance by Bunnybrain Malcom Tent, Kemp Boyd, and others. This is their second 7″. 300 press.”
| || BANQUE ALLEMANDE: Eins, Zwei LP (SS 053LP) 15.00|
“Banque Allemande has a relentlessness that reminds me of the Gordons and Rema Rema, the thuggish charm of Feedtime, and some 1-2-3-4 yucks of ‘I dunno, name some late ’70s Euro punk out’ — but that’s me hearing them. Their background is in the bands Discounter, Trumpf As, and Moser Indian. Their ears are atuned to the hammering beats of Boys Noize. Or as they describe their sound: minimalistic, cut-down songstructures — yes please. Rough sounds, straight beats — yes please.. If what comes out is called ‘punk’ — whatthefuck.”
|STRANGE ATTRACTORS AUDIO HOUSE|
| || YONA, YAIR: Remember CD (SAAH 062CD) 13.00|
“Israel isn’t exactly known as a hotbed for acoustic steel-string guitar music, but Yair Yona’s reissue of Remember is simply some of the most genre-bending music for solo steel-string guitar since Sandy Bull first opened the doors in the ’60s. It’s a celebration of the Takoma Records school, filtered by alternate tunings and syncopations, a John Fahey-esque compositional instinct across landscapes of banjo, electronics, resonators, bass guitar and strings.”
| || IMBOGODOM: The Metallic Year LP (THR 245LP) 15.00|
“Imbogodom are the UK’s Alexander Tucker and New Zealand’s Daniel Beban. The Metallic Year is their Thrill Jockey debut and first release under the Imbogodom moniker. Mutual friends in sound exploration, this Trans-Atlantic duo create other-worldly transmissions where improvisation gives way to mutated song forms and intricate soundscapes. Imbogodom began life inside the depths of BBC’s Bush House, where Beban worked nights as a world service radio engineer. Taking advantage of the empty studios, Tucker and Beban dusted off the disused reel to reel tape machines and put them to work. Splicing together tape loops, the duo dove into the fine and nearly lost art of tape editing. While this technique is challenging, the process often yields great rewards. Using an array of instruments, objects, dictaphones, and voices, the duo switch between one operating the tapes and mixing desk and the other being the player. Through this process of roll exchange, the duo were able to remove the divide between player and manipulator to create a pure sonic interaction and unique meeting of minds. The Metallic Year is a collection of eerie tracks where sound collage and unraveling songs present a haunted world of spooling atmospheres, warped instrumentation, and disembodied voices. The nocturnal creations were inspired by the tape experiments of BBC’s Radiophonics Workshop, Terry Riley, Steve Riech, and their love of New Zealand musician Alastair Galbraith. Imbogodom continue in the tradition of these sonic pioneers to bring new sounds from old sources.”
| || FENNESZ/DANIELL/BUCK: Knoxville CD (THR 246CD) 14.00|
“Christian Fennesz, David Daniell and Tony Buck (The Necks) are three of the most recognized and respected players in experimental music from around the globe. In 2009 the Big Ears Festival in Knoxville, TN brought the three together and encouraged them to collaborate at the festival. The aptly named Knoxville documents the results of that first collaboration. Recorded on February 7th, 2009, Fennesz (guitar and electronics), Daniell (guitar) and Buck (drums) channel their collective energies into a darkly atmospheric piece of music that ebbs and flows with remarkable cohesion. Minimalist drum passages scatter over the top of textured layers of guitar and subsumed melodic sequences, eventually giving way to warm beds of evolving, tactile drones. Sonic rain showers roll into full-blown thunderstorms of effected guitar and pounding drums only to yield a field of shattered electronic and percussive debris. The three retain a remarkable sense of unity for never having played together (aside from a brief soundcheck) while allowing plenty of room for each to express his individual personality.”
| || FENNESZ/DANIELL/BUCK: Knoxville LP (THR 246LP) 14.00|
| || COIL SEA: Coil Sea LP (THR 247LP) 15.00|
“Coil Sea is a collaborative and mostly improvised recording project featuring David Heumann (Arbouretum, Human Bell), Matthew Pierce (Arbouretum) and Michael Lowry (both of Lake Trout and Big in Japan) and Walker David Teret (ex-Arbouretum, Anomoanon).”
|TIMES SQUARE RECORDS|
| || VA: The History Of Indian Film Music 10CD BOX (TSQ 9072CD) 89.50|
“The first ever authentic historic collection of Bollywood music tracing its history from its beginning in 1930 to the present. The 168 tracks feature leading vocalists including Lata Mangeshkar, Mohd. Rafi, Asha Bhosle, Kishore Kumar, Hemant Kumar, Geeta Dutt, Sonu Niigaam and many, many more. The development of Indian film music is traced from being overtly classical to being influenced by jazz and rock & roll in the 1960s and new age sounds in the 1970s, thanks to the musical genius of RD Burman. Later, the 1980s and 1990s sections introduce other influences like disco and hip hop, culminating in the 2000 section where Sufi and folk begin to appear and melody once again makes a comeback. Accompanied by a hardbound book tracing the history of the music with rare pictures, this set in stellar packaging features the greatest Bollywood hits of all time, and is produced as a joint collaboration by two of the oldest media companies in the sub-continent of India; Saregama (formerly The Gramophone Company of India) and The Times of India Group (the oldest News Media Corporation in India).” Contents: 130 page full-color hardbound book; CD 1: 1930s – 1940s; CDs 2 & 3: 1950s; CDs 4 & 5: 1960s; CDs 6 & 7: 1970s; CD8: 1980s; CD9: 1990s; CD10: 2000-onwards.
| || VA: Bloody War: Songs 1924-1939 CD (TSQ 2479CD) 15.00|
“Soldier’s laments, heart-songs, and patriotic tunes have been an essential part of the American sound-scape for many generations. Most of these compositions, however, have been identified with the Vietnam War or with World War II. This newly minted collection presents performances captured between 1924 and 1939 of songs originating from the American Civil War, the Spanish-American War, and the ‘war to end all wars,’ the First World War. These recordings were the folk foundation both of the common soldier’s perspective of the battlefield and of the family and loved ones that were left behind. Bloody War recreates the musical panorama of the early 20th century with songs of warfare that are humorous and tragic, sardonic and vivid. Many of these songs have not been heard since they were originally issued in the 1920s and 1930s and are as relevant today as they were when they were first composed. Highlights of this collection include the masterpiece ‘Dixie Division’ by Fiddlin’ John Carson, the legendary Atlanta, GA entertainer that was among the first rural performers to wax country music. His idiosyncratic fiddling meshes together a paean for Southern soldiers that have fought in the American Civil War to the First World War, held together with a medley of ‘Dixie,’ ‘Swanee River,’ and ‘Yankee Doodle.’ Contemporary banjoist and singer, Wade Mainer, contributes the poignant ‘Not A Word Of That Be Said’ a mere two years before the outbreak of World War II. A deep diversity of artists & performances are to be found in this anthology: from the inspired street-singing of William & Versey Smith to the plaintive balladry of Buell Kazee and from the red hot breakdown of Earl Johnson to the mesmerizing guitar blues of Darby & Tarlton. Produced by Christopher King and Josh Rosenthal, with art-design by Susan Archie and liner-notes by country music historian Tony Russell. A portion of all proceeds from the sale of this album will be donated to Iraq and Afghanistan Veterans of America (IAVA.org).”
| || ALTAR EAGLE: Mechanical Gardens LP (TYPE 073LP) 18.00|
LP version. Brad Rose (aka The North Sea) is probably the last person you’d expect to see at the helm of a pop album. A folk record — maybe, a noise record? sure, but pop? Probably not. Yet that’s exactly what he and his wife Eden Hemming have done with Mechanical Gardens. The Altar Eagle sound might not come as much of a shock for those cassette collectors who have managed to source copies of the duo’s now-rare debut EPs, but for the rest of the world it should serve as a radical change in direction for one of experimental music’s most valuable sons. The ear-splitting noise that enticed listeners on Bloodlines is all but forgotten as Brad and Eden pick through shimmering dream-pop and cold-wave electronics with the greatest of ease. The quality is assured within minutes of the gorgeous Slowdive-esque opener “Battlegrounds.” Anchored by Eden’s humming, ethereal vocal tones, the song is a glorious statement of intent and while the band go into clubbier directions on the second half, this song is a gateway to their sound. Possibly the biggest surprise on Mechanical Gardens is the sound shift which occurs mid-way through the record, as the bubbling bliss of “B’nai B’rith Girls” gives way to the abrasive electro growl of “Monsters.” Influenced in part by Eden’s long-time love affair with techno and Brad’s recent obsession with synthesizers, the duo strike a perfect middle ground between crumbling experimentation and pop excess. This is rarely better explored than on “Spy Movie,” a track that somehow combines the supposedly warring sounds of Juan Atkins and early My Bloody Valentine. On Mechanical Gardens, Brad and Eden have created an album that revels in its grab-bag of influences, but somehow they have managed to emerge with a sound that is totally singular. It’s pop music for sure, but un-cynical, atypical and hugely enjoyable.
| || ZORN, JOHN: Filmworks XXIV: The Nobel Prize Winner CD (TZ 7385) 14.50|
“Called in at the last minute to score this bizarre and fascinating black comedy out of the Netherlands, Zorn responded to the stark black and white cinematography by turning in this intimate and moody score for piano trio. Brilliantly performed by Rob Burger, the fabulous pianist from Alhambra Love Songs, along with the dynamic rhythm section of Trevor Dunn and Kenny Wollesen, they capture the mood beautifully, bringing a subtle depth to Zorn’s lyrical and evocative compositions. Touching upon Debussy, Glass, Guaraldi and Satie, this is a fabulously enjoyable installment of the popular FilmWorks series!”
| || COEN ”JEWISH EXPERIENCE”, GABRIELE: Awakening CD (TZ 8154) 14.50|
“The composer/saxophonist Gabrielle Coen is a household name on the Italian jazz scene. He is the founder of the noted ensemble Klezroym and has recorded two masterful CDs of Jewish music for Italian labels. For his first Tzadik release he broadens both the scope of his music and his ensemble to create his most exciting and ambitious presentation to date. Full of energy, lyricism and improvisational excitement, Awakening is one of the strongest Jewish jazz CDs we have ever released, and a wonderful new addition to Radical Jewish Culture, now in its eighteenth year and going strong thanks to creative and passionate musicians like Gabrielle Coen.”
| || EHRLICH, MARTY: Fables CD (TZ 8155) 14.50|
“Marty Ehrlich is one of jazz’s most acclaimed contemporary multi-instrumentalists. Hankus Netsky is a renowned Jewish klezmer and scholar, and founder of the Klezmer Conservatory Band. Friends for decades, these two master musicians join forces for the first time in a fabulous program of original music that meets in the nexus of Jazz and the Jewish tradition. Exciting, touching and soulful, Fables is a real tour de force. One of jazz’s greatest voices on the saxophone and one of the world’s greatest experts on Jewish music in a unique and exciting duo project!”
|UNIVERSAL SOUND (UK)|
| || VA: Voodoo Drums 2LP (US 016LP) 21.00|
2010 repress. Double LP version. “Soul Jazz Records are re-issuing Voodoo Drums, recorded in Haiti, to coincide with the release of Kanaval, their new photography book and music CD about Kanaval in Haiti. 19 rhythms of Haitian Voodoo drumming! Recorded in Port-au-Prince, Haiti, this record features The Drummers of the Societe Absolument Guinen. This music is at the heart of both Latin and African music and this CD explains the connections between the music of Africa, The West Indies and onto America. These rhythms feature heavily in dance music today, especially with artists such as Masters At Work, Joe Claussel, Osunlade and others.”
| || STRIPLIN, SYLVIA: Give Me Your Love CD (US 034CD) 18.00|
“This incredible one-off album produced by Roy Ayers in 1981 features the amazing vocal talents of Sylvia Striplin. Striplin was one of the featured members of Eighties Ladies, who the year before had released another seminal release (Ladies of the Eighties) also produced by Roy Ayers. Striplin was also the vocalist in the jazz fusion soul group Aquarian Dream. This solo album features the two classic singles ‘Give Me Your Love’ and ‘You Can’t Turn Love Away’. Sylvia Striplin’s only solo album has been a serious collectors album ever since its original release (currently selling for over £300!). Remastered album in its entirety with original artwork, in Soul Jazz case edition CD.”
| || STRIPLIN, SYLVIA: Give Me Your Love 2LP (US 034LP) 21.00|
Deluxe gatefold 2LP version.
| || BROWN, JAMES: Summertime/Message From The Soul Sisters 7″ (PD 14669EP) 7.00|
“High quality 7″ reissue highlighting another side of James Brown, far from the up-tempo feel good funk of the Godfather. A stunning rendition of the Jazz standard ‘Summertime’ is evoked here by Brown and Martha High within the context of 1970s social fallout — ‘Winter In America’ to use Gil Scott-Heron’s language, a political immobility that cast its shadow over the entirety of the United States. Brown & High take the leisure-jazz of ‘Summertime’ and turn it on its head in an act of realist defiance. On the flip, ‘Message From The Soul Sisters Pt. 1 & 2’ is a more familiar funk workout from yet another Brown produced female vocalist, Vicki Anderson, delivering her sassy soul masterpiece with impeccable instrumental backing from the ever prestigious J.B.’s. Overall, another 2 essential soul cuts from the master himself available once again for aural and contemplative consumption.”
|WORLDWILD PRODUCTIONS (FRANCE)|
| || DJ FABYO: Anatolia Rocks 2 LP (WW 002LP) 23.00|
Subtitled: A Second Musical Trip Through Turkey, 1971-80. “Here’s the second part of the musical trip through 1970s Turkish rhythms. Appreciate the best of the Anatolian folk-rock scene. A great selection with 16 rare tracks including 8 tracks reissued for the very first time. Get your ticket for Istanbul and set your mind free. Listen to Alpay, Metin H. Alatli, Timur Selçuk orkestrasy, Serpil Barlas, Erkin Koray, Zerrin Zerren, Ersen, Ferdi Özbegen, Baris Manço, Gulden Karabocek, Cigrisim, Mavi Isiklar, Aziz Azmet ve Bunalimlar, Ajda Pekkan, the Gomidas Ensemble and Edip Akbayram.” On red vinyl with an insert featuring info and pictures of the original releases.
|YOUNG AMERICANS (UK)|
| || SUUM CUIQUE: Midden LP (YOUNGAM 002LP) 23.50|
Suum Cuique (pronouned “su-um-kwi-kwe” — Latin for “to each his own”) follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analog array of machines. In “Lithic Reduction,” concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas “Red Binary” is distinctly electronic, revolving around muted radar bleeps like the resonance from Selected Ambient Works II soundtracking a speckly pill experience that’s starting to go west. The album’s centerpiece, the aptly titled “Entropy” nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. “Cyclic Redundancy” opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950s, before “Even In Death…” conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead. Limited to 400 copies for the world, comes in a deluxe white-on-white embossed sleeve. Mastered at Dubplates and Mastering in Berlin.
|FORCED EXPOSURE MAILORDER EMAIL UPDATES|
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