|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 05/03/2010
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|4 MEN WITH BEARDS|
| || STIFF LITTLE FINGERS: Inflammable Material LP (4M 526LP) 17.00|
“The debut album from Belfast’s finest punk band, originally released on the Rough Trade label in 1979. Inflammable Material features two of the greatest songs recorded on the controversy and violence surrounding Northern Ireland. ‘Suspect Device’ and ‘Alternative Ulster’ indict both sides of the conflict, the Royal Ulster Constabulary and the Irish Republican Army, in driving punk rock form. Those tracks, along with ‘Rough Trade’ (which blatantly attacks their own record label), and a Bob Marley cover, ‘Johnny Was,’ make up the highlights of one of the greatest albums of the first wave of punk.”
| || F: Energy Distortion Part 1 12″ (7EVEN 012EP) 11.00|
Vinyl version, part 1 of F’s debut full-length release for 7Even, Energy Distortion. F is the alter ego of French producer and DJ Florent Aupetit. Part 1 includes a remix by Untold.
|ALM MUSIC (SPAIN)|
| || MUNSON, ALAN: The Road Goes On CD (ALM 3104CD) 21.00|
“New album by our beloved Alan Munson after 30 years of silence. Time has passed, but Alan is still diggin’ the same sort of laid-back folk-rock of his First Light and Good Morning World days. The same great harmony vocals, the same top-notch songwriting. Most of you guys loving his early works will be more than pleased with this one. A slightly more modern-sounding touch is there with some keys, which may also be making the sound more attractive to many. The album includes new versions of two First Light tracks: ‘A Visit From A Friend’ and ‘Sail Away Forever’. Again, Alan plays all instruments here: electric, acoustic and bass guitars, keyboards and percussion. Old mate Bill Cooley of Cooley-Munson fame shows up to collaborate on the song ‘The Road Goes On’. CD has an 8-page booklet with lyrics.”
|AMAZING SOUNDS (UK)|
| || DEACON, DAN: Woof Woof EP 12″ (AMSO 002EP) 12.00|
Baltimore’s Dan Deacon confidently straddles the line between nut-job and genius, downright brilliant and insanely mind-bending, with a live show from another world inducing more audience participation than a seriously skewed pantomime. The label Amazing Sounds has brought together kindred spirits Hudson Mohawke, Allez-Allez and Luke Abbott to remix some tracks off of Deacon’s highly-acclaimed Bromst, creating a rich and varied EP which mirrors the artist’s rich and varied music.
| || SORRENTI, ALAN: Aria LP (AMS 019LP) 34.00|
“A very important artist from Naples, Alan Sorrenti released his first album in 1972 on the legendary Harvest label. Aria is an absolute Italian prog classic, with two different sides: the first only contained the long title track, a dreamy psych-suite starting with acoustic guitar and based on the marvelous instrument-like voice of Sorrenti, and exploding in the final part with a memorable violin solo by Jean Luc Ponty. Side 2 was softer, with three tracks, two of which also appeared on a single: whereas ‘Vorrei Incontrati’ is particularly nice. A great record, never reissued on vinyl before, now on a great sounding 180 gram high quality vinyl!” Gatefold sleeve. Please note: all copies produced have a minor cover crease on the front/back of the jacket which occurred during the printing process — it’s not shipping damage and can’t be fixed. It’s also not that “bad” and won’t leave you sleepless for weeks…
| || SORRENTI, JENNY: Suspiro LP (AMS 020LP) 34.00|
“Sister of well known artist Alan Sorrenti, Jenny (or Jane, as she was called in her early releases) was born in Naples from a Welsh mother, and formed there the acid folk trio Saint Just. With this band she released two albums before embarking in a solo career that only produced two more albums in the ’70s. Jenny’s style as a solo artist is far from her previous bands, being much closer to the song format. Both albums being mainly built on Jenny’s delicate voice, Suspiro is the best of the two, with help from experienced musicians like Peter Kaukonen (brother of Jorma, Jefferson Airplane’s guitarist), drummer Francesco Froggio Francica (from Raccomandata con Ricevuta di Ritorno and Procession), guitarist Pino Daniele (later a well-known solo artist), violinist Lucio Fabbri (PFM) and long cohort Toni Verde from the Saint Just days. Suspiro has recently reached high values due to the interest by many foreign collectors in the Jenny Sorrenti production. A great rarity never reissued on vinyl, now on 180 gram wax!” Full color inner sleeve
|ANALOG AFRICA (GERMANY)|
| || VELASQUEZ Y SU CONJUNTO, ANIBAL: Mambo Loco LP (AALP 067LP) 19.50|
Deluxe gatefold LP version on 180 gram vinyl. Analog Africa moves its focus to another continent for release number 7: Mambo Loco is a compilation of tracks by Anibal Velasquez, the legendary accordionist from Barranquilla in Colombia. In fact, when not crate-digging in Africa, Analog Africa founder Samy Ben Redjeb can often be found in Colombia. Nestled between the Caribbean Sea and the Rio Magdalena, lies the city of Barranquilla. Hailed by its locals as Colombia’s “Puerto de Oro” (Golden Gate), Barranquilla has served as a gateway for “Caribbean Tropical Sounds” for almost a century. Home to the country’s biggest cultural celebration, El Carnaval, and the birthplace of Colombia’s radio and recording industry, Barranquilla has always been a city deeply rooted in musical traditions, and nobody embodies Barranquilla’s rich musical heritage more than Anibal Velasquez. Known affectionately by his fans as “El Mago” (the Magician), Anibal has been one of the most prolific musicians of Colombia’s Musica Tropical movement. Anibal was born into a musical family in Barranquilla in 1936. His father was an accomplished musician but his biggest influence was his older brother Juan who first introduced him to the secrets of the accordion. One of the turning points was a chance encounter with Robertico Roman, a musician from Cartagena. “It was with Robertico Roman that I formed my first band called Los Vallenatos de Magdalena. I made my first recording with that band in 1952. Four songs were recorded including a track called ‘La Gallina,’ which became a huge hit and really spread the costal sound toward the interior of the country.” Unfortunately soon after, in 1955, band-mate Robertico died and Los Vallenatos de Magdalena had to disband. Without a band, Anibal was forced to take a job as a session musician for Barranquilla-based label Disco Eva working for a group called El Conjunto Colomboy. He remained with Disco Eva until the end of the 1950s, working closely with the great Costeno master Lucho Campillo. Then in 1960, Anibal formed a new group together with his elder brother Juan, a gifted musician in his own right, and his younger brother Jose who would soon become his right hand man, enabling Anibal to add a new dimension to his playing style. Jose himself began experimenting by incorporating new instruments and re-inventing old rhythms. He would break the rules and replaced the traditional bongos used in Cuban guaracha and rumba with a traditional Colombian drum called “La Caja” which he modified by adding “radiografias medicas” (x-ray film) over the drum. This — combined with Anibal’s powerful accordion — was to become a sensation, generating a much harder and drier sound than the traditional leather skin drums. Anibal’s new Guaracha style was infectious, fast and furious, often leading his crowds into a state of frenzy. The interest for Anibal’s new innovative sound started growing and recording offers poured in. Anibal began to have an impressive amount of followers, drawing huge crowds wherever he went. By the mid-1960s, music in La Costa began to change drastically. With the onset of the hippie movement in the United States came a craving for marijuana, and Colombia’s Caribbean Coast had become a main trafficking hub. A new economy of drugs had emerged and with it a musical style called Vallenato rose to prominence. Its distinct accordion sound and bluesy appeal made it a favorite among drug lords and mafiosos alike, becoming the soundtrack for their feverish life-styles. By the 1970s the level of violence in the coast had grown to unprecedented heights and Vallenato was everywhere. Fed up with this, Anibal decided to move to Caracas, Venezuela, where he remained for 18 years until finally returning back to his beloved Barranquilla in the late ’80s. Anibal’s contribution to Colombia’s Musica Tropical Movement cannot be forgotten. It is said that Anibal Velasquez recorded 300 LPs throughout his remarkable career. His ability to play music that was joyful and percussive, with lyrics right out of everyday life, while at the same time championing a new sound, has made him into one of the few living legends of Colombia’s glorious musical past. Includes a full color poster and printed inner sleeve.
|AREA REMOTE (NETHERLANDS)|
| || ARADO & DEN ISHU: Preacher Man 12″ (AREA 019EP) 12.00|
Area Remote welcomes genius duo Arado & Den Ishu, two local heroes from the heart of Germany’s Ruhr Valley. Producing in collaboration since the beginning of 2009, their work is influenced by their common experiences and backgrounds in soul, funk, hip-hop and house music. “Preacher Man” is a slamming track with clever snippets all masterfully mashed together — from preacher-talk to laughter to police sirens — a mayhem of madness. “Same Thang” gives you a rawer, stripped-down sound for those who just want to keep moving and do their “thang” on the club floor.
| || HATHAWAY, DONNY: Extension Of A Man LP (SD 7029LP) 11.50|
Exact repro reissue of soul legend Donny Hathaway’s final album, originally released in 1973. Manufactured by Rhino. “Ranging from inner-city soul to orchestral grandeur to a bluesy ballad to easy-listening pleasantries, Extension Of A Man was Donny Hathaway’s most ambitious LP, the justly titled capstone to his phenomenal career.” — All Music Guide
| || KIRK, ROLAND: Blacknuss LP (SD 1601LP) 11.50|
Exact repro reissue, manufactured by Rhino. Originally released in 1972. Featuring Billy Butley (guitar), Sonelius Smith (piano), Henry Pearson (bass), Khalil Mhrdi (drums), Richard Landrum (conga drums) and Joe Habad Texidor (percussion). Tracks include “Ain’t No Sunshine,” “What’s Goin’ On,” “I Love You Yes I Do,” and “One Nation.”
|AURORA BOREALIS (UK)|
| || FAUNA: The Hunt CD (ABX 038CD) 17.00|
“Fauna return with The Hunt. Originally self-released in an extremely limited run, this official release on Aurora Borealis has the addition of live drums and has been fully remastered by Mell Detmer (Earth, Sunn O))), etc), standing as the definitive version. The Hunt sees Fauna further expand upon their aesthetic as they head further into the dark core of man, the spirit of the original man of prehistory. The album chronicles the search of primitive man for food, though displays the magical reverence, wonder and visceral horror of such an undertaking in a world of animism. Musically the album defines a progressive course for the band with increased use of synthesizers and extended atmospheric passages building the tension. The live drums and full remaster also greatly expand the sound, adding an urgency to the proceedings, especially in the more traditional black metal sections. The Hunt further solidifies Fauna’s mythic status as true pioneers on a musical trail that at once reaches out into our collective past and forward to what might be.”
| || YRSEL: Requiem For The 3 Kharites CD (ABX 039CD) 17.00|
“Yrsel is a collaboration between The Austrasian Goat, primarily an experimental doom/black metal project, and Ondo, an equally prolific dark electronica project. Though hailing from different musical genres and from France and Sweden respectively, the two artists bonded following a split release on DIY label Burning Emptiness. Yrsel create complex, multi-layered and highly atmospheric music that fully explodes the genres of drone, doom and electronica resulting in a glorious glacial melt of sound and texture. Conceptually, Requiem For The Three Kharites deals with the Three Graces (Kharites) of Greek mythology; symbols of grace, beauty, pleasure and the creative impulse. A requiem for the loss of culture in an ever spiraling material world, a twilight ode to the mythic manifestation of our higher facilities. In this context the drones, glitches and whispers form the perfect soundtrack to such dark materials. The album dissolves slowly from its thunderous opening, finally leaving the listener in a deep void of palpable loss.”
| || GREEN, BILLY: Stone CD (BMS 020CD) 15.50|
“Untraveled electronic swamp-funk from the 1974 Ozploitation biker-psych cult classic. Featuring 7 exclusive tracks not available on original LP. To many global record collectors, DJs, music producers and general retrophiles living outside of Australia Stone was primarily known for its electronic sound effects, psychedelic guitars, cosmic sound scapes and funky basslines… In the ’80s and ’90s, before the global DVD boom, Stone to many people was first and foremost a soundtrack… The kind of soundtrack that makes you wish you could see the film but it’ll probably never happen. The LP artwork alone was beyond enigmatic with its contradicting embroider logo alongside its striking futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realized by airbrush whizz Errol Black). The huge parade of brand new Kawasaki bikes inside the gatefold looked like something from the future compared to the classic full-dresser Harleys from the American Hells Angels movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played by Johnny ‘Didge’ Matthews and synth expert Andy Cohan) blended with unidentified clicks belches and pops fly out the speakers it is literally impossible to put a date, never mind a story line, to this acid fuelled soundscape. The use of confusing and contradicting musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks-in, you are left with a 45 minute programme of skewed. Forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.” Includes a 24-page booklet packed with notes and photos.
| || WEAVER, JANE: The Fallen By Watch Bird CD (BMS 022CD) 15.50|
“Taking influences from Eastern European children’s cinema, Germanic kunstmärchen, ’70s television music and early murmers of ’80s synth-pop The Fallen By Watch Bird is a new conceptual pop project featuring seven chapters of cosmic aquatic folklore by songwriter Jane Weaver ( Misty Dixon / Bird Records / B-Music). Combining the sonic sisterhood of seven other musical actresses drawn from the past 40 years of soft-rock and femme-folk history under the collective moniker ‘Septieme Soeur’ the new LP features rare appearances from Wendy & Bonnie (harmonic creators of ’60s soft psych teen-pop rarity Genesis), Lisa Jen (Starry eyed Welsh language Volk singer and female voice of Gruff Rhys’s Candylion), Susan Christie (1969 Philadelphian top-ten pop starlet whose lost acoustic pop recordings were eventually released by Finders Keepers in 2006) alongside traditional Bosnian singer Behar and members of Misty Dixon. Casually alluding to a floating storyline based around missing seamen, telekinesis, avian messengers, white witchkraft and death & re-birth, Jane’s fifth release is her first fully realised concept album. Sharing themes explored in her acclaimed 2002 LP Like An Aspen Leaf (recorded with members of the embryonic band Elbow) The Fallen By Watch Bird also revisits collaborative production techniques explored alongside Dave Tyack in her previous synth-fuelled girl-groop band Misty Dixon, which drew comparisons to American Spring and Suicide in shining reviews across the board. The project, recorded sporadically over a 2 year hiatus was initially conceived after assembling a one-off supergroop featuring Susan Christie and Wendy Flower under the direction of Andy Votel and Sean Ohagan as part of Jarvis Cocker’s Meltdown Festival in 2007. The Fallen By Watch Bird is a rare foray into the public eye for Miss Weaver, after leaving a trail of carefully placed musical crumbs marking her retreat from Manchester’s municipal public-eye as one-time omnipresent ambassador of Manchester’s vibrant indie scene as part of New Order’s management team, recording early singles with leading Mancunian cinematic alt-rock groop Doves.”
| || DANNY THE DANCER PRESENTS OTO GELB: A Disco Classic 12″ (BAL 016X-EP) 12.50|
The mysterious yellow sound from Germania. Extended with love by Danny The Dancer. A-side excavated near Copan Building, São Paulo and B-side at Treptower Flea Market, Berlin.
| || BASSNECTAR: Bass Head 12″ (BASSHEAD 004EP) 11.00|
“This will be the first vinyl release by Bassnectar in over a year! Side A is an 808-driven bassline workout; side AA is a dancefloor stomper with vocals by underground hip-hop star Zumbi (Zion I). You’ve got to hear this release! It sounds like DnB and dubstep made love and produced a hip-hop baby.”
| || VA: 2010 2LP (BINE 023LP) 18.00|
Vinyl release. Like all its previous releases, BineMusic’s first compilation is more about quality than quantity, so it had to be released on double vinyl. At the end of the day, new and upcoming artists like Severence should be accommodated just as much as those the label has fostered for years. Düsseldorf artist Lars Leonhard, who’s already well-known among fellow techno freaks, makes his debut for Bine and starts off with the Twin Peaks-ish and lovely grooving “Citylights,” while Thomas Touzimsky pleases with a chirring beat on “Insect.” A remarkably straight Scanner track showcases the better side of trance, followed by the minimal house sounds of Tol. Move D’s live recording back from the ’90s paves the way for a warm, guitar chord-driven ambient piece by New Zealand’s Ben Swire. Along with Move D, Benjamin Brunn is one of the label’s cornerstones and finds his place among Taylor Deupree aka Ando and Marconi Union. What unifies all of these artists is the idea of combining abstract, emotional thoughts, which also reveals itself in the formidable, cosmic artwork.
| || TIGNINO, DANIELE: Woodanza 12″ (BITT 004EP) 12.00|
“Bitten, co-founded in 2009 by Amsterdammers Sandy Huner and Dylan Hermelijn, focuses on the techier side of tech house life. Daniele Tignino is without doubt one of the most famous and prolific Italian DJs and producers. Way back in 1991 he started releasing tracks on important Italian labels such as UMM and Palmares. For the fourth release on Bitten he delivers ‘Woodanza,’ a tech-house track phat on the tribal beats, with a layer of mumbling vocal snippets across the top. Oliver Klein then drives it down a techier route, while chart-topping duo Doomwork and award-winning Neuroxyde take the track down the deep and grooving road.”
|BPITCH CONTROL (GERMANY)|
| || JAHCOOZI: Barefoot Wanderer Remixes Part 1 12″ (BPC 214EP) 12.00|
Part 1 of a remix package of Jahcoozi’s album Barefoot Wanderer (BPC 215CD). “Close To Me” is taken to another level of abstraction by Click Box, who also skillfully blend in elements of “Barefoot Dub.” The pair retain the hysterically-absurd mood of “Close To Me,” even though the sound of their remix, with its old school electro beat and nervously flittering filters, is light years away from the original. Other remixes by Object Object and Milanese.
| || GLITTERBUG: Privilege 2LP (CSIDES 007LP) 18.00|
Double vinyl version, featuring an exclusive bonus track. Limited, hand-numbered edition of 500 copies. This is the second album by Cologne’s multi-dimensional, creatively-active DJ/producer/artist/curator Glitterbug. Privilege is a milestone that continues Glitterbug’s line of adventurous sounds and overflowing inspirations, exploring and uncovering the new frontiers of techno. Glitterbug’s debut album Supershelter (CSIDES 002CD) made huge waves with music critics, magazines and fans around the globe. His subsequent EP Dim Flares and remixes kept unraveling his musical surprises and an unmatched sound of an epic Glitterbug world. Privilege is an emotional and passionate production, and Glitterbug’s sensitivity to sounds keeps unraveling and revealing a unique language that spans between abstract composition, ambient, pop music, and the one ingredient that binds it all: techno. Glitterbug takes the listener on a journey to explore new terrains, inverted and unconditional, drawing the full attention of every nerve and sense. If Supershelter was still searching for a refuge, Privilege goes farther, to explore alternative prospective landscapes and uncharted territories of unearthly lands. This album was produced partly in Glitterbug’s Cologne recording studio and partly on the road during his international performance tours in 2009 between the Arctic Circle, southern India, Israel, Europe and China (and everywhere in between). Fragments of field recordings he took in these places appear on many of the tracks — some are apparent, others very subtle. Includes a stunning 12-page CD-sized booklet by internationally-acclaimed Israeli visual artist and photographer, Ronni Shendar. Shendar’s photos and artwork perfectly mirror the album’s foreign terrains of blurring and desolate horizons.
| || PARLIAMENT: Parliament’s Greatest Hits LP (CASA 822637LP) 11.50|
Exact repro reissue, originally released in 1984. Tracklist: A1. Up For The Down Stroke A2. Chocolate City A3. P.Funk (Wants To Get Funked Up) A4. Mothership Connection (Star Child) A5. Give Up The Funk (Tear The Roof Off The Sucker) B1. Do That Stuff B2. Bop Gun (Endangered Species) B3. Flash Light B4. Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) B5. Theme From The Black Hole
|CLAP YOUR HANDS (GERMANY)|
| || KLANG, MICHA: The Other Men 12″ (CYH 001EP) 12.00|
Clap Your Hands is the new shit when it comes to quality house music and floor-rocking tunes. The first release is by Micha Klang, label-head of Glueckskind Schallplatten and founder of Mothership & Kiss Club in Nürnberg (Germany).
|CODE OF ARMS|
| || WU-TANG CLAN: Wu-Tang Meets The Indie Culture Vol. 2: Enter The Dubstep 4 12″ (COA 006EP) 11.00|
“This groundbreaking project is trail-blazing the collaboration between dubstep and hip-hop, with stomach-pounding, bass-thumping guttural beats, and gully, gritty and grimy lyrics that break into the next decade in the chapters of each respective genre’s history.” Tracklist: A1. Keep Hustlin feat. Killah Priest, M-80, Doe Boy & Son One (Thrill Bass Remix) A2. Do It Big feat. Busta Rhymes, Icewater & Raekwon (Baobinga & I’D Extended Remix) B1. Deep Space feat. Lord Jamar & RZA (Jay Da Flex & Yoof Remix) B2. Pencil feat. GZA, Masta Killa, RZA, Ghostface Killah & KA (Soroka Extended Remixes)
| || COLON & ORCHESTRA, JOHNNY: Boogaloo Blues LP (CS 1004LP) 11.00|
Exact repro reissue of Colon’s debut, originally released in 1967 on the New York-based Cotique label, founded by George Goldner. “Johnny Colon found a big hit within the Latin community during 1966-1967 with his blending of the burgeoning boogaloo craze and the earthier, subdued tones of the blues. A trombone player first and foremost, Colon also handled the vocals (with a straining tenor) and plinked out a few piano lines as well.” — All Music Guide
| || LEBRON BROTHERS ORCHESTRA, THE: Psychedelic Goes Latin LP (CS 1008LP) 11.00|
Exact repro reissue, originally released in 1967 — another supercool venture by legendary producer George Goldner and his burning hot, but short-lived Cotique label. “All the tricks of way out sounds are put into these numbers. Whether you listen to them in Stereo or Mono you will hear the weirdest sounds ever cut in Latin dance music. No one has ever dared to produce this sound in Latin Music in the past, but I felt the time had come to do it as all past records had the same sounds. Of course, arrangements had a lot to do with my decision to go on this electronic trip.” — Goldner
|CURLE RECORDINGS (BELGIUM)|
| || WALKER, STEWART: Scratched Notes 12″ (CURLE 026EP) 12.00|
This is the first Curle from Stewart Walker. He started his career on the mythical Detroit label Matrix, did some stuff for Force Inc, Tresor, Mille Plateaux and M_nus, before founding the amazing Persona imprint. Since then, he has done very few releases on other labels. All three tracks on this Curle EP live and breathe the deep, melodic, minimal sound Stewart Walker is known for, and Scratched Notes is among the very best music he has ever released.
|CYCLICAL TRACKS (SPAIN)|
| || TADEO: Series 02 12″ (CYCLICAL 014EP) 12.00|
Tadeo’s cosmological concept continues with Series 02, this time playing with the essential forces involved in the idea of the Universe. “Everlasting” develops this idea as a more energetic whirlwind than “Eta Carinae,” an introspective track which shows the apparent peace between galaxies. The balance between both tracks is “Winds Of Glory.” This release also includes a great remix by Marcel Dettmann who has a very interesting point of view. Cyclical Tracks continues researching new sounds together with cosmic ideas.
|DEEP MEDI MUSIK (UK)|
| || PRITCHARD, MARK: Elephant Dub/Heavy As Stone 12″ (MEDI 025EP) 11.00|
“What’s to say about the phenomenal production talent of Mark Pritchard that has not already been said? Mark has been lovingly producing cutting edge music for some two decades now under numerous music guises and aliases such as Global Communications, Reload, Troubleman, Jedi Knights and under his Harmonic 313 moniker for Warp Records. Along the way Mark has captured the attention of the most discerning industry heavyweights, be it DJ Jazzy Jeff extolling the virtues of his Harmonic 33 project, Kenny Dope raving about his Troubleman output, or tastemakers such as Gilles Peterson, Mary Anne Hobbs and Benji B eagerly anticipating the next email from Mr Pritchard bearing the fruits of his labour in the studio. Over the last four years Mark has become entranced with the bass weight of dubstep from such pioneering figures as Mala, Kode9, Benga and Skream to name but a few. Mark’s first release on Mala’s DEEP Medi Musik imprint showcases both facets of his production talent. The appropriately titled ‘Elephant Dub’ rumbles and shakes with earth shattering density and is relentless in its sub bass charge, which poses problems on lesser sound systems which have been known to give up the ghost or simply shut down in the face of such an onslaught. On the flip ‘Heavy As Stone’ takes us in a completely different direction, maintaining a deeper, organic vibe with percussive, hypnotic drum patterns and a driving double time bass. A little something for everyone then.”
| || FX PROJEKT: Anger/Pimp My Bitch 10″ (DESTPUB 009EP) 13.00|
“Destpub hits back with a new signed artist in the dubstep scene — FX Projekt, who’s brought us two heavy tunes. ‘Anger,’ our main tune here and the most liked by DJs and ravers so far, oscillates between reggae riddim and a fearful bassline. On the flip, ‘Pimp My Bitch’ is a more straight forward, hard hittin’ monster sure to devastate dancefloors.”
| || VA: 2010 (2) 12″ (DIAL 051EP) 12.00|
This is the second part of the fabulous 2010 compilation 12″ series celebrating the 10th anniversary of Dial Records. Carsten Jost continues his lovely, hymnal productions. With Kassian Troyer, a new star is born, and his very first release “Tourist” is an outstandingly deep techno mover. Rndm who is part of the Efdemin collaboration Pigon comes along with “No Beginning,” a grower for all night peak-time madness.
| || VA: 2010 (3) 12″ (DIAL 052EP) 12.00|
The third and last part of the outstanding 2010 compilation 12″ series celebrating a decade of Dial Records. Pigon open the single with an awesomely deep and reduced techno mover. John Roberts presents some lovely house music with a touch of real instrument music. Another highlight is the ultra-deep “New Heaven & Earth” by Christian Naujoks, who presents his very first house tune. The 12″ ends with the star of the moment Pantha Du Prince. Another pure love issue.
| || SOLOMUN: Remix:Session 05 12″ (DIYNAMIC 036EP) 12.00|
The fifth installment of Diynamic’s Remix:Session series revisits Solomun’s highly-acclaimed album Dance Baby. Manuel Tur’s remix of “Cloud Dancer,” arguably the album’s most popular track, is a heady and euphoric mix of power, soul and emotion. Tobi Neumann follows with his remix of “Hypnotize.” Evoking memories of the heady days of ’90s house, Toby delivers lashings of guitar-licked funk and powerfully warm bass, polished to perfection by the sultry vocals of Ilhem.
| || MIZRAHI & SOUL CLAP, GADI: Joint Custody EP 12″ (DS 001EP) 12.00|
Double Standard Records, the next chapter for Gadi Mizrahi (founder and one-half of the Wolf + Lamb project), is a vinyl-only odyssey into revolutionary body-moving music. The first release comes from Mizrahi and Soul Clap, famed for their divine pop edits. This EP features “So Addicted To You,” with its swirling synths and vocal distortion, and “Funk Sex,” a sultry, bass-heavy house blend. Collaborations include “Yer Body (Kills Me)” forging an engagingly soft cushion of sound; and “Romantic Comedy,” an edgy, funk-inspired number.
| || HENRY, PIERRE: Le Voile d’Orphée LP (DOZ 403LP) 21.00|
“Pierre Henry’s 1953 ‘Veil of Orpheus’ is the first example of symphonic musique concrete, the use of non-traditional sources and ‘real’ sounds like trains, dogs barking, footsteps, etc., in place of actual instruments and then electronically manipulating these sounds in new ways. It was originally composed for the opera Orpheus 53, which was written with movement founder Pierre Schaeffer for the Donauescliingen Festival. Despite the quantum leaps made in the field of electronics over the past 50 years, this initial experiment still manages to convey its original importance. The piece uses ‘concrete sounds’ much in the same way a traditional orchestra would use individual instruments. Besides two versions of ‘Veil of Orpheus’ (the original 27-minute version and the second 15-minute version used in the Maurice Bejart-Pierre Henry ballet Orpheus in 1958), there are two shorter pieces — ‘Entity’ and ‘Spiral’ — which evoke an unsettling search for meaning that is so often associated with Henry’s work.”
| || HENRY, PIERRE: Musique Sans Titre/Spatiodynamisme LP (DOZ 404LP) 21.00|
“Musique Sans Titre, composed in 1951 at the Studio d’essai of the RTF, was one of Henry’s earliest attempts at musique concrète. Spatiodynamisme, on the other hand, was based on the 1954 recordings of a Nicolas Schöffer sound sculpture. Metallic parts, mirrors, lights and sounds emanating from a 50-meter building interacted with the environment and visitors. Henry recorded various grating and scraping sounds from the metallic sculpture and then manipulated them for this piece, which was influenced by Italian Futurist Luigi Russolo’s L’Arte Dei Rumori.”
| || HENRY, PIERRE: Haut-Voltage/Coexistence LP (DOZ 405LP) 21.00|
“The 22-minute ‘Haut-Voltage’ is a product of Henry’s collaboration with French choreographer Maurice Béjart, recorded in 1956 for one of Bejart’s stage productions, and featuring the vocals of Henry himself. By 1958, Henry had left Pierre Schaeffer’s RTF and had begun working in his own private studio. ‘Coexistence,’ recorded in 1959, comes from this new period, when Henry had begun to realize that in order for musique concrète to evolve, it would have to begin to use electronics. ‘Coexistence’ is one of Henry’s first attempts at bringing the two together.”
|DUB POLICE (UK)|
| || OTHERS, THE: Gravity EP 2×12″ (DP 033EP) 23.00|
“With their first release on Boka (Hear Dis Style/Underworld) in 2006, The Others were quickly signed by Dub Police, arguably the world’s leading dubstep label, in a move that has seen them become the most released artists on the label’s roster and considered true ambassadors of the eclectic Dub Police sound. Having spanned the globe with their unique and varied DJ sets, taking in tours of Australia & New Zealand as well as countless dates all over the UK and Europe, clocking up releases on leading labels such as the legendary Tempa and N-Type’s Wheel & Deal Records along the way, The Others continue to move forward with ever increasing strides and no sign of slowing down, these dubstep stalwarts stand out as true creative trailblazers.”
|DUG OUT (UK)|
| || JAH WARRIOR: Dub From The Heart/Heartical Dub 7″ (DO JW702) 10.00|
A collaboration between Steve Mosco and Dougie Conscious, this was originally released in 1996, in the early days of Steve’s London?based Jah Warrior label. With one eye on the past, this captures UK roots sound?system vibes, like magic in a bottle; the other on the future, it’s a prophecy of dubstep. The music is live and direct, in?session; grooving and intense, dense and massive; swirling, sizzling and echoing, with writhing, junglist bass.
| || MAETRIK: So Real 12″ (DU 056EP) 12.00|
Originally from the USA and now relocated to Spain, Eric Estornel is making incredible leaps and strides, releasing some of the most devastating yet unique music in the industry. His DJing obsession began back in 1993 at the age of 15, and he’s been infatuated ever since. Currently, his pseudonyms Maetrik, Mariel Ito, and Maceo Plex are under great demand for their rich dynamic production and unique blend of techno, house, funk, and electro that only Eric can devise.
|EAST MEETS WEST|
| || SHANKAR, RAVI: Nine Decades – Vol. 1 1967-1968 LP (EMWM 1001LP) 25.00|
LP version featuring “‘Raga Gangeshwari” split across both sides. Two tracks featured on the CD version — “East Meets West Circa 1967” and “Durga Suktam & Mahishasura Mardini Stotram” — are available via digital download. Numbered, limited edition of 500 copies. “East Meets West Music’s inaugural release, Nine Decades – Vol.1, is the first in a multi-volume series that will feature rare and never before released recordings, handpicked by the legendary Ravi Shankar from his vast archive. With live performances and studio recordings pivotal to his development as an artist and reflective of unique times and places, the Nine Decades series will provide fresh insights on a career spanning 70-plus years and offer a direct bridge between the artist himself and his listeners. ‘Raga Gangeshwari,’ the centerpiece of volume one, takes listeners to an outdoor concert at a temple on the banks of the Ganges in 1968. Though recorded with one hand-held microphone, ‘Raga Gangeshwari’ is representative of the archive’s many treasures which the artist describes as, ‘not recorded with sophisticated audio equipment and yet they exhibit the power of life in live performance that has a value beyond any technological shortcomings.’ The intimate quality of the recording and virtuosic playing allows listeners to experience a page from the artist’s diary circa 1968. Performed with Kamala Chakravarty on tanpura and the great Ustad Allah Rakha on tabla. East Meets West Music is the official recording label of the Ravi Shankar Foundation.”
|ECHOCORD COLOUR (GERMANY)|
| || SAN, SEBASTIEN: Stellar Winds/Continental 12″ (ECHOCOL 010EP) 12.00|
Sebastien San from France releases his third EP on Echocord Colour. Again, he presents a beautiful mixture of the Detroit sound and the more modern sound of dub techno. “Stellar Winds” is a very beautiful track, with full-on strings and after-hours melodies for fans of Carl Craig. “Continental” is a super-powerful dub techno track. Sebastien is also known from his releases on Gigolo, Planet E and Rush Hour. Lime-colored vinyl.
|EDITIONS MEGO (AUSTRIA)|
| || CINDYTALK/ROBERT HAMPSON: Five Mountains Of Fire/Antarctica Ends Here 10″ (EMEGO 105EP) 15.50|
Cindytalk’s Gordon Sharp and Robert Hampson (Loop, Main) are two characters of legend circulating on the periphery of London (and beyond) underground music over the last 2+ decades. It may come as a surprise then, that this stunning split 10″ is the first meeting of these two singular minds. “Five Mountains Of Fire” by Cindytalk is a cracking track taking their recent brittle electronic experiments and charging them with firecracker-like percussion to create a pleasantly disorienting soundscape. Flip it over, and Hampson delivers the practical polar opposite with “Antarctica Ends Here” — an exceptionally beautiful piece utilizing piano and carefully-placed electronics so as not to break the ice — a tribute to John Cale’s “Antarctica Starts Here” (from Paris, 1919, 1973). Limited to 500 copies. Cindytalk is: Gordon Sharp (electronics), Paul Middleton (drums), Dan Knowler (guitar), Gary Jeff (percussion), and Sherrill Crosby (electronics).
| || EXCISION/EXCISION & NOIZ: Subsonic/Force 12″ (EX7 003EP) 11.00|
“Ever wondered what the apocalyptic soundtrack to invading robots ready to destroy the world would sound like? Well, you’re about to find out as Excision drops the latest 12″ on his own EX7 label. Following the immense dancefloor killer ‘Swagga,’ supported heavily by Rusko and Mistajam, Excision steps up on the A side of EX7003 to deliver ‘Subsonic,’ an incredible blend of super-tough beats and grinding bass. Opening with prophecies of robotic doom before stamping down its mark of totalitarian authority, this one destroys the dance each and every time. Flip over and Excision teams up with Noiz to create ‘Force,’ a shifting tumultuous slab of whirling and interchanging basslines that create a wall of sonics just powerful enough to crack a rib or two. Haunting FX and skipping percussive rhythms pave the way for utter destruction.”
| || DJ T.: Fabric 51 CD (FABRIC 101CD) 17.00|
“Fabric 51: DJ T. serves as an unforgettable introduction to one of his astonishing DJ sets, a lively adventure full of sharp twists and unexpected turns. Deep, elegant and swelling, the mix transcends listeners to otherworldly soundscapes with a fantastically diverse ambience — at times sunny and bright, other times wild and mystifying, and always keeping a psychedelic and cinematic feel throughout. Featuring the off-beat spontaneity of dOP, the Latin infused bounce of Matias Aguayo, the percussive retreats of Bodycode — and plenty of hidden gems in between — Fabric 51 is a joy of a listen, a daydream-fuelling hideaway where each track is crammed with as many soul-fuelled moments and intricate charms as the next. Thomas Koch, aka DJ T.’s, list of accolades and contributions to electronic music are irrefutable, indelible and seemingly endless. There’s his editing and publishing work in the periodical world: founding Groove Magazine in 1989 and remaining its publisher and author for 15 years (Groove remains one of the longest running — 20 years and counting — and most respected dance music periodicals in the world). There were his projects with other likeminded souls: co-founding the legendary Monza club night in 1999 (now an Ibiza landmark) with close friend Patrik Dechent; and co-founding the triumphant Get Physical imprint with M.A.N.D.Y. and Booka Shade in 2002, which has grown to be one of the most forward-thinking, consistent and flourishing labels on the electronic map. And that’s not forgetting his artistic contributions to the hungry music world; from his imagination-travelling productions to his smooth DJ sets that shimmy around the globe with an incessant run of tour dates. ‘Dis,’ ‘Bateria,’ and ‘Shine On’ from his second album, the critically cheered The Inner Jukebox, became international dance floor faves last year.”
|FACES RECORDS (GERMANY)|
| || MOTOR CITY DRUM ENSEMBLE: Raw Cuts Vol. 1 CD (FACES 003CD) 17.00|
This is the debut full-length release by Stuttgart’s hotly-tipped Motor City Drum Ensemble, who has caused quite a stir with his collection of releases on his own MCDE imprint. Now, that material is compiled here along with three exclusive tracks. A heady mix of contemporary house and breezy techno, Danilo Plessow has an undeniable grasp of what makes people shake and shuffle on the dancefloor. Despite his German location (and as is hinted at by his moniker), he has a masterful grasp of the sound of Detroit, combined with heavy doses of soul and diva-disco blurts, all blended until creamy-smooth and groove-able. Also includes two cuts from new MCDE signing, Jayson Brothers — one cut of swinging, kick-filled house and another cut of downtempo disco funk-groove, with piano samples and claps.
|FREUDE AM TANZEN (GERMANY)|
| || HEMMANN, MAREK: Left/Right EP 12″ (FREUDE 047EP) 12.00|
On this 12″ Marek Hemmann is the leader in producing; on point, at the center of the heart of the club. This time, he has marshaled foreign forces for both pieces. Fabian Reichelt intones with an airiness and soul, and a guarded intensity on both sides. It is Hemmann’s first real vocal record which will, just as his own discography has already, enrich the dancefloors and beyond. Yes to the voice, yes to fresh techno.
| || SHAKIR, ANTHONY “SHAKE”: Thought Processes EP 12″ (FRCT 015EP) 12.50|
The legendary Anthony “Shake” Shakir is back on his re-launched Frictional label with some stellar, hotly-anticipated brand-new material. Detroit’s finest techno from an important and essential label.
|FUTURE CLASSIC (AUSTRALIA)|
| || LLOYD, JAMIE: Beware Of The Remixes 12″ (FCL 041EP) 12.00|
Jamie Lloyd’s sophomore album gets remixed by some newcomers and older legends. Tuff City Kids are Gerd Janson from Running Back and Phillip Lauer from Arto Mwambe and Brontosaurus. As expected, these two come up with something unexpected, think Bobby Orlando. Matthew Herbert gets his wobble on, with a nice dose of techno euphoria in the mix while the flip side is more restrained with Mark E perfecting his slo-mo house and Alex “Jazzanova” Barck and Christian Prommer presenting a fat, tasteful slice of “sophisticated disco.”
| || ELDERS, THE: Looking For The Answer CD (GF 244CD) 13.00|
“Another great and as-yet undiscovered album from 1970. Formerly known as Jerry & The Others and also featuring Ron Skinner from The Pictorian Skiffuls, this Dayton, Ohio band recorded this album, which blended driving guitar and organ with late flower pop music.”
|GET BACK (ITALY)|
| || ROTA, NINO: Music For Federico Fellini 3LP BOX (GET 716LP) 115.00|
“La Dolce Vita, 8 ½ and Amarcord are three of Fellini’s masterworks, and the films that have made him one of the most brilliant film directors of the 20th century. 1960’s La Dolce Vita was a film that broke with the tones of neo-realism to depict a lifestyle of excess and pleasure, winning Fellini international acclaim (while being eventually banned in Italy for its scandalous content). 1963’s 8 ½, a film that played with the line between fantasy and reality, was unanimously praised by fans and critics as Fellini’s magnum opus. 1973’s Amarcord, literally ‘I Remember,’ was exactly that, a collection of memories from Fellini’s childhood in his hometown of Rimini during Fascism. Considered some of the greatest films of all time, their essence is captured in the soundtracks of Nino Rota, one of Italy’s most acclaimed composers. Box is limited to 500 numbered copies and includes 3 original movie posters while the records are on three different colors.”
| || QUINCE: Noodles 12″ (GR 010EP) 12.00|
Edwin Oosterwal and Joris Voorn’s Green imprint welcomes Dutch artist Quince to the family with Noodles. Two tracks of powerful, driving, melodic and intelligent techno. Thoroughly road-tested by the exacting standards of the label heads themselves, and met with aplomb.
|GREY PAST RECORDS (NETHERLANDS)|
| || HEATWAVE, THE: Honeymelon Teapot CD (DUST 009CD) 24.00|
“At last we will be witnessing the release of the CD version of Honeymelon Teapot, the out of print Grey Past Records LP release by Dutch freakbeat band The Heatwave — featuring 10 extra tracks! This band wrote all their fantastic material themselves. No covers here! That they never had an official record release during their heyday surpasses and defies all comprehension. The music has been taken from rare 4-track demos and studio recordings with Dutch leading 60s producer Freddy Haayen and two with Job Maarssen, all recorded from 1967 to 1969. The vinyl album from 2006 got fantastic reviews worldwide and captured that cool 1967-1968 mood to a T, mixing gritty fuzzed freakbeat with Motown mod sounds and a thick slice of that brilliant ’60s trash we now refer to as Nederbiet. They hailed from Dordrecht and they would eventually become members of The Zipps and Inca Bullet Joe. Willem de Ridder, one of the most important Dutch ’60s (and ’70s) cult icons, wrote an introduction for the 32-page CD booklet and only 500 CDs have been issued on that mesmeroid underground label, Grey Past Records.”
| || SMITH, LONNIE: Afro-Desia LP (GM 3308LP) 11.50|
Gatefold exact repro reissue, originally released in 1975. “Afro-Desia expands upon the soul-jazz sensibility of organist Lonnie Smith’s classic Blue Note efforts, abandoning their hairpin-tight, diamond-sharp grooves in favor of more meditative, free-flowing epics that draw on elements of Latin jazz, pop, and even disco. Featuring a supporting cast including then-unknown saxophonist Joe Lovano, electric bassist Ron Carter, and drummer Jamey Huddad, Afro-Desia features some of Smith’s strongest, most nuanced work; the imaginative arrangements create panoramic stretches of space for all of the players to explore, and they push the 15-minute ‘Spirits Free’ into compelling new spheres of funk consciousness.” — All Music Guide
|GUERSSEN RECORDS (SPAIN)|
| || KRISTYL: Kristyl LP (GUESS 065LP) 23.50|
A real classic of ’70s underground rock, the 1975 self-released sole album by Kentucky band Kristyl is now reissued and fully legit for the first time. Regarded as one of the best guitar psych-rock albums from the ’70s and a true collector’s gem, this wonderful disc includes seven original songs with stunning guitar-work from the band’s leader Sonny DeVore. Despite being a private pressing, the recording quality is great, still revealing serious fuzz-wah, twinned guitar and blues supported by some subtly repentant Xtian vocal themes. Limited vinyl edition of 500 copies only, including an insert with photos and liners by Kristyl fan Patrick Lundborg (The Acid Archives).
|HALO BEATS (UK)|
| || GARGAMEL (SLAUGHTER MOB): Hocus Pocus/Marshmallow Mindmush 12″ (HALO 010EP) 11.00|
“New beats from Gargamel (Slaughter Mob) are on display for the label’s tenth release. Gritty, rugged and raw dubstep just how it was always meant to be. Watch out for Halo — big things in the pipeline.”
| || WADE, RICK: The Craft User 12″ (HP 013EP) 12.50|
Presenting another new one from Harmonie Park label-boss Rick Wade — The Craft User. Smooth groove, blended keys, and subdued deep bass waaaay deep down in the mix provide the backing for ascending vibratone shimmers, whispered vocals and some funk shuffle-step galore.
|HEY! RECORDS (NETHERLANDS)|
| || DE HEY, MICHEL: Makes You Smile EP 12″ (HEY 016EP) 12.00|
Another big one for Michel De Hey with remixes by DJ Coyu & Edu Imbernon and Chriss Ronson & Yvel & Tristan. Not that strange that Richie Hawtin is already a big supporter of the great remix on the A-side and plays it quite often, so don’t wait and check this great new Michel de Hey release as soon as possible.
| || STAVOSTRAND, MIKAEL: How To Be 12″ (HIGH 074EP) 12.00|
Mikael Stavöstrand’s debut on Highgrade Records is a very varied and complex mix of sounds. “How To Be” is a laid-back, crazy sound collage that is accompanied by “Cries,” a spooky homage to the lower frequencies. Samuel L. Session’s remix gives the track a nicely diverse and harder edge. “She Walks My Mind” is Stavöstrand at his best — a beautiful example of his impressive understanding of timing and interaction, with seemingly infinite sound bites that are perfectly arranged.
|HOLLOW POINT RECORDINGS|
| || SPL & EYE-D: Masters Of Rave/Movie Boof 12″ (HPR 003EP) 11.50|
“Hollowpoint collective keep on striking banger after banger. After SPL’s sick Storm EP, it’s time to rack up another 12 with 2 tunes that showcase the SPL dubstep sound like no other! SPL teams up with Dutchie Eye-D for a brand new take on this experimental sound. This tune got made without Eye-D ever hearing a dubstep track so nothing could influence this sick DnB/hardcore producer. Expect BPM switches heavy destructive basslines… and no wimpy wobbles!! Turn it around for ‘Movie Boof’ for some SPL action updated 2010 style! See Sam show his dancefloor colors here. With a drop as big as the empire state building and basslines so hard as the concrete it’s standing on. Yes, kids, these are big boy toys! Parental Advisory is a must!”
|HONEST JON’S RECORDS (UK)|
| || T++: Wireless 2×12″ (HJP 049EP) 20.00|
Wireless is the last work Torsten Profrock produces as T++. Long ago snagged by the rhythmic innovations of the post?jungle underground, Profrock makes explicit his debt to the radical fringe of UK garage. Snapping 2?step rhythms are at the heart of these tracks; additionally, the release is shot through with the contorted samples of voice and ndingidi from a handful of old East African 78s. The result: a record that sounds both ancient and modern, possessing an almost occult power.
| || MOUNT KIMBIE: Mount Kimbie Remixes Pt. 1 12″ (HFRMX 006EP) 11.00|
“Hotflush presents the first of two EPs of remixes of Mount Kimbie. On the first, Dom and Kai’s HF021 debut ‘Maybes’ gets a soulful treatment from their sometime collaborator James Blake, as heard on Scuba’s recent Sub:Stance mix on Ostgut Ton, while ‘Serged’ from HF 023EP is reshaped into woozy garage by New Yorker FaltyDL. On the flip, DJ Mag’s 2009 Best Breakthrough Producers Instra:mental transform ‘At Least’ into a blissed-out, bass-heavy 4/4 roller.”
|HOUR HOUSE IS YOUR RUSH (NETHERLANDS)|
| || HUNT, GENE: Cancemnini EP 12″ (HHYR 009EP) 12.50|
Chicago house veteran Gene Hunt presents a great 4-track EP for Hour House Is Your Rush. Gene proves he still has the touch with three deep, yet raw tracks somewhere between jacking Chicago and classic Detroit. Reminiscent of tracks by Boo Williams, Glenn Underground, etc. Special mention goes out to “I Know You Care,” which is a lush disco track. Elevating stuff.
| || BARTOK, BELA: Music For Strings, Percussion & Celesta CD/SACD (HUNG 32510CD) 19.00|
Featured works: Music for Strings, Percussion & Celesta (1936); Divertimento for strings (1939); Hungarian Sketches for orchestra (1931). Performed by Hungarian National Philharmonic Orchestra/Zoltan Kocsis. “Like the preponderance of Béla Bartók’s works, the three orchestral compositions dating from the 1930s on his recording, too, are deeply rooted in old ‘multicultural’ Hungary’s folk and peasant music. This is nowhere more evident than in Hungarian Sketches (1931), a suite based on piano pieces composed between 1908 and 1911, in which Bartók relies so heavily on folk-music types of form and melody that one has the impression that they are arrangements of authentic dances and songs (which, except for the last movement, does not hold true). The relationship with folk music in Music for Strings, Percussion and Celesta (1936) and Divertimento (1939), however, is considerably more abstract; it is perceivable only under the surface and the ‘national’ stylistic elements meld seamlessly with the composer’s own musical idiom. According to Bartók’s own classification the three works embody two different types of using folk-music material.” Stereo/multichannel hybrid SACD that can be played on any CD player.
| || GRAHAM, DAVY: From Monkhouse To Medway 1963-1973 CD (HUX 113CD) 17.00|
“Davy Graham was one of the most innovative guitarists of the 1960s and, with his eclectic mixture of folk, blues and jazz, was considered to be the catalyst of the British folk scene. His legendary Angi single was released in 1962 and would prove hugely influential on a generation of British guitar heroes. But Britain was still in the pre-Beatles world of ‘Light Entertainment’ and Davy Graham, ahead of his time, couldn’t get arrested. So closet guitar buff and radio/TV star Bob Monkhouse stepped in and funded a demo acetate which resulted in Davy’s first album deal. Now restored from a sole surviving copy, those tracks are heard here for the first time, along with a folk club set recorded in stereo from Davy’s ‘wilderness years’ in the early ’70s. The release of this CD now adds numerous otherwise unrecorded titles to Davy’s unique legacy. The accompanying booklet includes extensive liner notes by renowned folk journalist Colin Harper, and an interview with Bob Monkhouse.”
| || ST. JOHN, BRIDGET: BBC Radio 1968-1976 2CD (HUX 114CD) 27.00|
“Bridget St. John was one of the first acts to be signed to John Peel’s Dandelion Record label in 1969. She recorded 3 albums there before she was signed to Chrysalis Records in 1974. Throughout the late 1960s and early 1970s, Bridget made many unique recordings for BBC Radio, mostly for John Peel. None of those recordings have ever been released on CD until now. Compiled by Bridget herself, this set features the best of her BBC radio concerts and sessions, including her very first Peel session, recorded in 1968. Several of these songs are released here for the first time. This double disc release is packaged in a lavish full colour digipak with an accompanying 20-page color booklet featuring extensive liner notes, an interview with Bridget, plus several rare photographs from Bridget’s own archive. The tracks are a mixture of solo and band recordings, and three songs are duets with Kevin Ayers. These CDs have been digitally remastered by Ron Geesin (who also produced Bridget’s second Dandelion LP in 1971).”
|I’M SINGLE (GERMANY)|
| || LAY LOW/BIG ROBOT: Nordisc Split EP 12″ (IMS 009EP) 12.00|
Cosmic experimental music collective Big Robot released two albums with electronic pioneer Conrad Schnitzler (Tangerine Dream, Kluster). The group consists of Ollis Christensen, Per Sjøberg, Joakim Langeland and drummer Kjetil Manheim (original member of Mayhem). Reworked by Norwegian disco legend Björn Torske, “Coka Kohle” turned into a 13-minute space-dub orgy. Lovísa Elísabet Sigrúnardóttir aka Lay Low hooked up with Gluteus Maximus aka President Bongo and mixmaster extraordinaire Jack Schidt. Originally recorded and produced by Liam Watson, this is a psychedelic stomper.
|IF SYMPTOMS PERSIST (UK)|
| || WEDGE & AESOTERIC: A Night On The Wonk 12″ (ISP 003EP) 13.00|
“‘A Night on the Wonk’ is on an experimental tip with highly addictive horn and chime hooks. The Gemmy remix takes the chime section, gives it some of the well known purple treatment and turns it into a highly distinctive but slightly sickly intro. I say sickly but that’s perhaps because I’ve listened to it a lot of times in a fairly short period of time. However we’re then treated to a bleepy roller with moderate variation to keep things interesting. This makes it perfect for an early set or casual listening. ‘Detached Reality’ crackles its way through some haunting vocals and evil guitar riffs creating a tense but soothing atmosphere — detaching you from reality, sinking you into your seat while your mind starts to play tricks with itself. What are we really here for?”
| || SOUVENIR’S YOUNG AMERICA: The Name Of The Snake CD (INIT 060CD) 9.00|
“Richmond Virginia’s Souvenir’s Young America present the follow up to their critically acclaimed 2007 album An Ocean Without Water. The Name Of The Snake is the band’s third full length and first for Init Records. Inspired in part by Rebecca Solnit’s Savage Dreams, The Name Of The Snake is a powerful four-song instrumental album about man’s tragic relationship with the past and the present. Not easily classifiable, Souvenir’s Young America effortlessly surpass genre restrictions with a unique combination of heavy and ambient guitars layered with harmonica, keyboard, electronics, organs, and percussion. These tracks, their first written as a quintet, are epic, emotional narratives that pull the listener in with both crushing and meditative passages. The album was recorded at Sound of Music with John Morand (Labradford, Sparklehorse, Strike Anywhere), mastered by James Plotkin (Khanate, Sunn O))), Earth, Isis), and features original artwork by Sasha Barr (Sub Pop Records). The CD version comes in a digipak with bonus tracks from the band’s September Songs 12″ EP, remastered and in a digital format for the first time.”
| || SOUVENIR’S YOUNG AMERICA: The Name Of The Snake LP (INIT 060LP) 14.00|
|INTERNATIONAL DEEJAY GIGOLO (GERMANY)|
| || SNUFF CREW: More Fun 12″ (GIGOLO 264EP) 12.00|
Snuff Crew presents a taster of new demos, most of which have found a place in DJ Hell’s DJ sets. New vs. old, analog vs. digital, Chi-town takes on Berlin, bring it on! With this in mind, let’s meet “More Fun” & “I Like Your Body,” two tracks that have been tried and tested at some of the best clubs in the world and made specifically to detonate a dancefloor near you.
| || HARD TON: Earth Quake 12″ (GIGOLO 265EP) 12.00|
Earth Quake is Hard Ton’s debut EP for Gigolo Records. What would happen if Divine had been captured by disco aliens and later beamed back to modern-day Italy? The answer is closer than you think. With a body reminiscent of John Waters’ muse, and a voice that confidently rivals Sylvester’s falsettos, Hard Ton hops between accelerated beats and shameless acid sounds. Hard Ton is Giorgio Moroder’s low-fat grooves model, with all points colliding into a heavy-weight, Chicago-sound, disco queen machine.
| || VA: International Deejay Gigolos CD Twelve Part One 12″ (GIGOLO 269EP) 12.00|
This is the 12th installment in DJ Hell’s much lauded and highly-anticipated annual selection of material from Gigolo artists, new and old. For this volume, Hell has two themes — one is house music, the other is Vienna. Makossa & Megablast presented a sublime 12″ for Gigolo in 2009 and have returned with “Soy Como Soy” (feat. Cleydys Villalon). Diskokaine presents an unreleased Skatebård remix which epitomizes the new sound of Austria.
|INTERNATIONAL FEEL (URUGUAY)|
| || HUNGRY GHOST: Illuminations 12″ (IFEEL 004EP) 12.00|
Hungry Ghost takes us on a trip to Lagos via Köln with a title track that’s impossible to keep still to. Sam and Ben are calling the B-side a “deluxe DJ tool,” but “Don’t Eat The Apricots” is much more than that, apparently taking its inspiration from the “enhanced” fruit served at Cedric Woo’s infamous house parties. Complete with remixes from Daniele Baldelli & DJ Rocca and one of the Three Chairs, Marcellus Pittman, this is a release for real music connoisseurs.
|JAZZMAN RECORDS (UK)|
| || MILLER TRIO, THE LLOYD: The Lloyd Miller Trio EP 12″ (JM12 020EP) 11.00|
Despite having dedicated most of his 72 years to the intricacies and nuances of jazz and Middle Eastern music, Dr. Lloyd Miller is an incredibly talented yet little-known genius who is still criminally unheard-of in music circles. So when Jazzman Records heard he was coming to town, they jumped at the chance of getting him into the recording studio. For a project of this importance, some proficient and capable sidemen were required — drummer extraordinaire Malcolm Catto and Jake Ferguson of The Heliocentrics. The results were astounding. In just two hours, with Miller never having met the duo before, several tracks were cut, all with the intensity of a meeting of great minds with great artistic vision. Performed on a variety of exotic instruments from around the world, Miller’s music is a unique blend of jazz with the modal and spiritual sounds of traditional Asian and Middle Eastern music.
| || UNCLE FUNKENSTEIN: Together Again CD (JMAN 023CD) 17.00|
2008 release. This is the first volume in Jazzman’s Holy Grail series, including the rarest and most coveted soul, funk and jazz LPs ever released. And that’s what Uncle Funkenstein is all about. Never before on eBay and impossible to find, this is an ultra-rare LP from1983 that funk collectors talk about but never see. One of the ultimate private-press funk/jazz LPs, with just a handful of known copies. The original album bears all the hallmarks of a local, private press album — black and white budget cover, home-made “conceived on a kitchen table” sleeve design, self-produced and on a shoe-string budget. Some of these kinds of records are over-hyped and have all kinds of amazing things said about them — only for the MUSIC itself to disappoint. Not so with Uncle Funkenstein — you’ll know that from the moment you hit track 1 and the awesome bass blows you away. Horn-driven, piano-smattered classic jazz with shakers full of big-hipped funk. All songs fully licensed, never before reissued, and restored from the original sources. Includes a 8-page color booklet with in-depth liner notes, interviews, and previously-unpublished photographs. Cover features the original album artwork.
| || JOKER: Tron 12″ (KAP 005EP) 11.00|
” Limited edition pressing featuring ‘Tron’ on one side and artwork etching on the other. All eyes are on Joker for his next move, having created havoc on dancefloors all over the world with huge remixes for numerous major labels/acts and anthems such as ‘Digidesign,’ ‘Do It’ and ‘Purple City’.’ He has defined the colourful synth-led melodic style within dubstep that’s become known as ‘Purple w0w.’ ‘Tron’ is his biggest tune yet. It’s a rare piece of music that can unite a diverse range of DJs such as Diplo, Kode 9, Shy FX, Flying Lotus, TC, Caspa, Pinch… it’s got an illicit feeling of funk that Dr. Dre would have to admire. You want to nod down low to it, you want to move in slow motion to it, you want to ride one of those cars from F-Zero to it.”
|KARAOKE KALK (GERMANY)|
| || TOLOUSE LOW TRAX: Mask Talk LP (KK 056LP) 15.50|
LP version. This is the debut full-length release by Düsseldorf’s Detlef Weinrich aka Tolouse Low Trax. Mask Talk a distillation of the sounds of the night, possessing a musical intensity that bodes well for a different kind of dancefloor. Cool, atmospheric new wave sharpness, and a cushioned beat rate between 107 and 116 bpm call out a mechanical functionality that doesn’t bow to any contemporary doctrine. This is urban music, and a true club album, harkening big city lights in Africa with chilly neon sounds from Düsseldorf. As a member of Kreidler, Weinrich has contributed to a group’s cosmic vibes. Now, with his solo project, he demonstrates that an MPC and a small synthesizer ensemble are enough to bring alive futuristic dance music in the here and now. Bedroom-recorded under tense creative circumstances, the 10 tracks invoke, mostly instrumentally, an eerie atmosphere that would fit in perfectly with an early John Carpenter movie. With plenty delay on the bass figures, compact analog effects, percussive dabs and a rough blend of layers, Weinrich has, without any digital support, created quivering drum machine music, whose danceability he was able to test regularly as a resident DJ and co-owner of a Düsseldorf club/ bar. These tracks breathe the hypnotic power of his DJ sets, where he arranges diverse rhythms between Krautrock, cosmic, electronic and acid. They are also reminiscent of analog-electronic pioneers such as Cluster or Peter Baumann. Also, 1980s avant-gardists Cabaret Voltaire and Zazou Bikaye have left their mark, without Tolouse Low Trax explicitly referring to them. Mask Talk is a dark, urban solanum, full of reverb, whose melodies are never prankish, but whose minimal nonchalance is sure to help not only the dark creatures through the night. “Form is essence brought to the surface,” Victor Hugo wrote 150 years ago. Mask Talk reasserts this theory as a distillate of an operating procedure seeking to subvert ingrained listening habits and to resharpen the contours of the audible. LP includes one vinyl-only track, “Aseko On,” and a download voucher for the entire CD.
|KILL ROCK STARS|
| || STEREO TOTAL: Baby Ouh! CD (KRS 521CD) 15.50|
“The name: Baby Ouh!. The look: ‘hysterical glamour.’ The sound: playful, experimental. The Lyrics: R’n?R’: Romantic and Rebellious. Stereo Total recorded a total of 40 songs for this album. So as not to strain your nerves too far, only 17 will appear on the album. Also included are a few cover versions of Stereo Total?s idols (e.g. Brigitte Fontaine from France and Pedro Almodóvar from Spain). Lyrics that are anarchistic, lewd, poetic in an overwrought way, sometimes very sad and sometimes very silly; accompanied by music that is played with flea market instruments, recorded on to cassettes, and with its lo-fi attitude, generally regards the penultimate technical developments as the best.”
| || BENNI HEMM HEMM: Retaliate CD (KRCD 016CD) 12.50|
This is the second release on Kimi Records for Benni Hemm Hemm. With a move to Edinburgh, Scotland, Benni Hemm Hemm learnt two things: he learned to speak Scottish and that it’s just as much fun recording at home as it is to record in the Sigur Rós studio. To practice his recently discovered knowledge, Benni made an EP by himself with his home recording gear, apart from the usual 10+ member Benni Hemm Hemm collective. This EP is called Retaliate and it’s a collection of five songs which feature knives, gold, lazy pioneers, confident Talibans, blood-thirsty vampires, Stan-Stan-the-caretaker-man, and last but not least — blood, lots of blood. This is Benni Hemm Hemm’s first release all sung in English — and with English lyrics, a new sound evolves. Retaliate is home-made in almost every sense. It is recorded in Benni’s home in Edinburgh and Benni plays most of the instruments, very important exceptions being the wonderful contribution of Emily Scott (double bass) and Peter Liddle (trumpet & alto-horn). Retaliate is Benni Hemm Hemm’s third EP (and sixth overall release) but the previous two, Summer Plate and Ein Í Leyni, have been released in Iceland only.
| || BENNI HEMM HEMM: Retaliate 10″ (KRLP 016LP) 14.00|
10″ EP version.
|KLANGFARBE SCHALLPLATTEN (GERMANY)|
| || TANDEM/LEKTRO: EPO 12″ (KLA 001EP) 12.00|
“Get ready for ill thrills and cheap spills coming to you live and direct from Klangfarbe Schallplatten, Cologne’s freshest vinyl designers. Klangfarbe Schallplatten was born 2007 to state a platform for electronic music with a diversified spectrum. Founded by Thorsten Lindenlauf and Mark Falkenrath and based next to cologne, it shall be a base for themselves as Tandem, but also explicit for new and fresh producers like Lektro. Klangfarbe doesn’t wants to follow stereotyped kind of thinking in the stylistic description, so keep mind and ears open! Each track on EPO delivers exactly as the name promises. Got a low red blood cell count? Need some assistance in climbing those hills and valleys thrown at you during a weekend in the club? Grab a needle and throw on some EPO! Higher endurance, better stamina, more vitality are the result of just one application at the turntable. Repeated applications increase these effects exponentially. Best of all, there are no known tests for vinyl EPO. You will be able to use it over and over again! Some mechanical expert work had also been done by yellow jersey winner Sweet´N´Candy on one of those tracks, which assists to climb the alpine stage!”
| || DATENZAUBER: Speicher 66 12″ (KOM EX066EP) 12.00|
Datenzauber is electronic dance music following the traces of Krautrock/electronica — a crossing of 1/8-bass rock beat and shuffle romanticism with a minimalist disco feeling. Datenzauber takes Kraftwerk’s and Klaus Schulze’s analog soundscapes over the digital highway back onto the dancefloor again. Datenzauber commutes in an electric car between Cologne and Düsseldorf. Datenzauber is free of sampling residues, yet nevertheless it’s non-retro, electronic music feeling from the 1970s for 2010. Datenzauber is Wolfgang Voigt.
|LABORATORY INSTINCT (GERMANY)|
| || DAEDELUS: Meanwhile… LP (LI 001LP) 20.00|
2010 repress, 2004 release. LP version. Born Alfred Weisberg-Roberts in Santa Monica, CA, producer/instrumentalist Daedelus wanted to be an inventor from an early age, a sentiment that led to him choosing an artistic moniker (in Greek mythology, Daedalus was known as an inventor, although Weisberg-Roberts also cites the character Stephen Dedalus in James Joyce’s A Portrait of the Artist as a Young Man — as well as the ship in the Japanese cartoon Robotech — as equally valid reasons for his selection) when he began releasing his own work. Despite the fact that he was formally trained on double bass and bass clarinet, had studied jazz at USC, and could play additional instruments such as the guitar and accordion, Daedelus chose to go the electronic route, often incorporating samples from the ’30s and ’40s into his IDM and left-field hip-hop.Though Daedelus’ first single appeared in 2001, it wasn’t until the following year that his debut full-length, Invention, was released by the Plug Research label. Daedelus proved to be a prolific composer, and the following four years brought four new albums (released via Plug Research and Mush): 2003’s Rethinking The Weather, 2004’s Of Snowdonia, 2005’s Exquisite Corpse, and 2006’s Daedelus Denies The Day’s Demise. He also worked on countless singles and side projects, including a stint as a producer for his Mush label-mates. “Sublime eccentric beats and sampledelic cutups from the unstoppable Daedelus, offering up his distinct plunderphonic charm for the Laboratory Instinct label. Following on from releases for Plug Research, Phthalo, Hefty, Tigerbeat 6, Mush and Eastern Developments, Daedelus has refined a style that is often imitated but seldom matched. The child-like quality of his selection defines these new pieces — film samples, television advertisement clips and anachronistic narratives lifted from deep within his dusty wax archives nestle themselves amidst a weave of breaks and re-configured beats, a hip-hop paced antithesis to the drill n’ bass techniques of old. Meanwhile is an utterly charming album that you will adore if you’re into anything from Madlib through to Venetian Snares.” –Boomkat
| || PARTY HARDERS VS. THE SUBS: The Pope Of Dope 12″ (LL 027EP) 12.00|
The Pope Of Dope is the Partyharders’ first release in collaboration with The Subs. The Partyharders Squad are about to conquer not only France but the rest of Western Europe as well. Their electronic letterbox is crammed with invitations to the trendiest parties. The track is the result of The Subs inviting Partyharders over for some first class partying, what else? Remixes by Highbloo and The Oddword.
|LES PETITES COSES (SPAIN)|
| || ANIMIC: Himalaya CD (FAL 059CD) 19.00|
“We’re happy to introduce you to this very special folk band from our own Catalonia. Anímic have been around for quite some time now, and they have put out a number of releases. Himalaya is the last one, and is an album that can already be considered a masterpiece of Catalan folk-psych. Twelve tracks (combining English and Catalan vocals), all great original songs with electric and acoustic guitars, flutes, ukulele, theremin, xylophone, bass, and drums. A must for any folk and folk-psych fan.” Includes 12-page booklet with lyrics and illustrations.
| || ANIMIC: Himalaya LP (FAL 059LP) 24.00|
LP version. Limited to 500 copies, includes insert.
|LIGHT IN THE ATTIC|
| || KRISTOFFERSON, KRIS: Please Don’t Tell Me How The Story Ends CD (LITA 050CD) 16.50|
Subtitled: The Publishing Demos 1968-72. “After 7 years in the ever-changing, ever-challenging music business and with 49 titles under their belt — ranging from French provocateur #1 Serge Gainsbourg to Detroit psych soul master Sixto Rodriguez — how does Light In The Attic celebrate its 50th release? By bringing you their pinnacle album to date. Over 5 years in the making, and with the attention to detail and elaborate packaging the label is known for, LITA 050 is none other than the never-before-released 1968-1972 demos of Texas-born Renaissance man and maverick songwriting pioneer, Kris Kristofferson. With the outlaw Highwayman’s full blessing, Light In The Attic is proud and honored to present Kristofferson’s honest and upfront formative takes on the tunes that would eventually become part of the great American songbook. Since penning these numbers (many of which were written during the mid-to-late 60s while working as a janitor for Columbia Records in Nashville), over 500 artists including patron saint Johnny Cash, one-time lover Janis Joplin, and co-actor Bob Dylan (to name but three), have covered Kristofferson’s material. While we shouldn’t forget his vast commercial accomplishments as an award-winning recording artist and actor in more than 70 films (working under master directors like Martin Scorsese and Sam Peckinpah), it’s these soul-stirring demos that laid the groundwork for his rough and tumble creative journey. Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72 features comprehensive liner notes by Michael Simmons (MOJO, LA Weekly), including interviews with Kristofferson, the musicians, and other related-folks from these landmark sessions. Plus, dig into a handful of testimonials from friends Dennis Hopper and Merle Haggard. With full lyrics housed in a massive 60-page full color booklet featuring unseen photos and archival material, plus a gloriously mastered audio soundtrack, you’d best crack open a bottle of your favorite trouble, sit back, and listen closely as Kristofferson relates his humanist vision in that down-home style — it’s full-blown poetry for the people.”
|LIVE AT ROBERT JOHNSON (GERMANY)|
| || FLUGEL, ROMAN: Brian Le Bon/N.M.I.S.M.D. 12″ (PLAYRJC 006EP) 12.00|
Live At Robert Johnson presents a 12″ by Roman Flügel — and what a bass-heavy beauty he created! “N.M.I.S.M.D.” highlights his use of 808 electrical circuitry in combination with some eccentric vocal bits and irresistible grooves that make even strange bodies move. “Brian Le Bon” leaves such funky analogies behind and aims at the melancholic and epic side of things. This is what the Joy Division dance orchestra would have sounded like.
| || VA: Harmonium 12″ (MUSIK 001EP) 12.00|
Mainakustik presents 4 different tech-house tracks by new talented artists from the Mediterranean country. Venice duo Die Haustiere offer a warm, pumpin’ dancefloor bomb for the special moments of the night. Sicily’s Hooved presents “PO Box,” a functional tool which fits perfectly. Genoa’s Mastafaktor give up a jazz-influenced house track, and last but not least, there’s Tobia Coffa from Milan. His track “Margana” is a groovy, phat bass line track that is indescribable.
| || STAG HARE: Black Medicine Music CD (MAR 067CD) 11.00|
“Stag Hare’s second album, Black Medicine Music, was recorded among the redwoods of Arcata, Calfornia in the fall of 2007. Mastered by Adam Forkner, Black Medicine Music was first released by Stag Hare under his (now defunct) A.Star record label, as an edition of 350 in May 2008. For fans of: Spires That In the Sunset Rise, Ya Ho Wha 13, Cave, Espers and Joanna Newsom.”
| || GEIGER, KYLE: Wrong Turn EP 12″ (MBELEK 057EP) 12.00|
Kyle Geiger knows his techno: that’s what becomes clear when listening to the Wrong Turn EP. The title track is 7 minutes of first-rate pounding techno accompanied by a sinister tone that will give you goosebumps all over. “Flood” submerges you in breaks and beats. Halfway through, calmer water appears, but don’t be fooled, the “Flood” strikes again. “Grit” just keeps going and going, like an underground techno train to destinations unknown.
| || BAILEY & TOM HADES, MARCO: Brabant 12″ (MBELEK 058EP) 12.00|
Marco Bailey is on fire! After several releases on Bedrock and Intec, it is now time for another MB Elektronics release. Together with his partner in crime Tom Hades and a little help from Dutch talent Egbert, this is going to cause a commotion.
| || VELVET UNDERGROUND, THE: The Velvet Underground LP (SE 4617HLP) 14.00|
180 gram exact repro reissue, originally released in 1969. Cale left, Yule came, they bridged the gap between rock and the avant-garde, they’re sitting on a couch, etc… The point is “After Hours” is one of the best songs ever written.
| || VELVET UNDERGROUND, THE: The Velvet Underground LP (SE 4617LP) 11.50|
Standard weight exact repro reissue.
| || FNS: FNS LP (MIA 012LP) 18.00|
LP version. The latest addition to the Miasmah roster is Oslo-based musician FNS aka Fredrik Ness Sevendal. A veteran of the Oslo experimental scene, Sevendal has been associated with several bands over the years: DEL, Slowburn and Kobi. Additionally, his previous work has involved collaborations with Makoto Kawabata (Acid Mothers Temple), Mitsuru Tabata (Zeni Geva, Marble Sheep), Mark Francombe (ex-Cranes guitarist), and Bill Wood (1/3 Octave Band). For his Miasmah debut, FNS treats the listener to a spectacular excursion into the world of psych-folk instrumentals, with a collection of semi-improvised multi-layered pieces, primarily for acoustic and electric guitar and voice. These lo-fi home recordings capture a sense of astral travel, though explorations into drone, raga-styled melodies and layers of guitar feedback. The immediate allure of FNS’ spectral sound is in the understated nature of the performances — it recalls the magnetic interplay between Tom & Christina Carter’s work in Charalambides, the playful free noise of Sunburned Hand Of The Man, the ethereal blues of Loren Connors, and a variety of subtle but undeniable influences from the ’70s progressive UK folk scene. FNS’ sound is a sorrowful sound — a death-fuzz, a hazy, wailing wall of cavernous guitars, doom freak-out and swirling psychedelia, melded into one then drowned in echo and haze. FNS fires forth cosmic transmissions for the mind and spirit — the result is nothing short of an aural treat. Audio mastered by Helge Sten aka Deathprod.
| || BURROUGHS, WILLIAM S.: Words Of Advice: William S. Burroughs On The Road DVD (MC 958DVD) 21.00|
“In 1983, the counter culture icon and author of the cult classic Naked Lunch (1959), William S. Burroughs (1914-1997), traveled throughout Scandinavia making a series of personal appearances. Twenty years later, filmmakers Lars Movin and Steen Moller Rasmussen found never-before-seen footage of his Copenhagen visit and set out on the road to record new material, telling the story of the acclaimed author’s later work — especially what is known as The Last Trilogy — and his unique performance skills. The result is Words of Advice: William S. Burroughs On The Road, a compelling portrait of one our most enigmatic public figures. Featuring: James Grauerholz, John Giorno, Hal Willner, Jennie Skerl, Ann Douglas, Regina Weinreich, and others. Music by: Bill Laswell/Material, Patti Smith, Islamic Diggers, and others. Extras include a nearly complete documentation of Burroughs reading in Copenhagen, Oct. 29th 1983; a statement by Ann Douglas, Professor at Columbia University, New York; and two short tribute films, One Shot I + II.” Region 0, NTSC All Region format; 74 minutes; color.
| || RANGE RATS: Range Rats LP (MR 063LP) 14.00|
“Recorded in 1986 & completely unreleased until now – this is Fred & Toody Cole’s (Weeds, Lollipop Shoppe, Zipper, Torpedoes, Rats, Western Front, Desperate Edge, Dead Moon, Pierced Arrows, & so on) great lost country LP! All original compositions…some sad lilting ballads & some punk as hell. Two songs feature Fred & Toddy playing with ‘Rollie’, a janky Roland drum machine that didn’t keep a consistent meter very well. The rest of the songs were recorded with a lean mean band. We are very proud to bring this LP into the world for the first time – another facet of the genius of Fred & Toody Cole & low-fi as can be. Housed in an oldschool tip-on sleeve.”
| || VA: Fanajana LP (MR 067LP) 14.00|
A Collection Of Recordings And Photography From Madagasikara. “Over a three year period in the late 1990s, Charlie Brooks embarked on two long field recording trips in Madagasikara. Brooks primarily concentrated on the more remote north and west regions of the island. Upon his return in 1999 he pressed 200 copies of a triple record and stored them under his bed for the last ten years. The three themed LPs: Vocal, Valiha Marovany and Miscellaneous Instruments were released as the now out-of-print MR-061 Fihavanana. This single LP collection compiles seventeen tracks from Fihavanana. Comes with a twelve page booklet of photography and notes.”
| || FELDMAN, MORTON: Trio 2CD (MODE 216CD) 25.00|
“Feldman’s Trio is a 105-minute work in one continuous movement, slowly and beautifully folding and unfolding itself through its long duration. Both Aki Takahashi and Rohan de Saram (formerly of the Arditti Quartet) worked closely with Feldman. Marc Sabat is among today’s great Feldman interpreters, having recorded the complete violin music on Mode. This is the only readily available recording of the Trio in the U.S.A.”
| || FELDMAN, MORTON: Trio DVD (MODE 216DVD) 27.00|
“The recording sessions were filmed and directed by Tim Chu in High Definition Video, widescreen format. The intimate video allows the viewer to enjoy the subtle interplay of the performers. The DVD format allows the 105-minutes of the Trio to be enjoyed continuously on one disc without a break. DVD Bonus: Video essay on Feldman and the Trio by the noted German composer and Feldman expert Walter Zimmermann (31 minutes). Recorded in hi-definition 96khz/24-bit sound; DVD presented in surround as Dolby and DTS.” Region 0, NTSC rormat; aspect ratio: 16:9.
| || XENAKIS, IANNIS: Works With Piano CD (MODE 217CD) 15.00|
“Aki Takahashi follows up her acclaimed first disc of Xenakis piano works (which won the ‘Diapason d’or’ in France) with this second volume — this time works for piano with instruments. She is joined by an all-star cast of players: Rohan de Saram (formerly of the Arditti Quartet), the JACK Quartet, and the Callithumpian Consort conducted by Stephen Drury. All works are underrepresented in current recordings or difficult to find at all. The legendary Eonta — a blistering work with one of the most difficult piano parts ever written — receives its first new recording in over 10 years. The brass writing specifies spatialized movement for the brass players — including playing directly into the piano for its resonance — both dramatic to see and hear. Akea 1968, written for Claude Helffer and the Arditti Quartet, is not a typical addition to the romantic tradition of the piano quintet. It signaled the beginning of a more inward, reflective phase of Xenakis’ output. Morisima/Amorsima was composed with the aid of a computer in 1962. This is the only readily available recording. Paille In The Wind (1992) for piano & cello performed with Rohan de Saram. This is the only available recording.”
| || BRACEY, ISHMAN: Suitcase Full Of Blues 1928-1929 2LP (MOK 322LP) 34.00|
“One of the best, if lesser-known Delta bluesmen of the 1920s, singer and guitarist Ishman Bracey (1901-1970), along with his good friend Tommy Johnson, began playing juke joints first in Jackson, and then all over Mississippi around 1917, but did not make his first recordings until 1928. He recorded his first sessions for the Victor label with Charlie McCoy on second guitar, but by 1930 his recording career was over — likely due to the onset of the Great Depression which made the recording industry dry up for the next decade. Bracey eventually left the blues scene for the church, and his blues output is therefore rather slim. He recorded a total of just 16 tracks in all and original 78s fetch high sums.”
| || BEALE STREET SHEIKS, THE: Chicken You Can Roost Behind The Moon LP (MOK 323LP) 24.00|
“The Beale Street Sheiks was the moniker used by Memphis guitar duo Frank Stokes and Dan Sane for their Paramount recordings (made in Chicago in 1927 and 1929). Stokes (1887-1955) was one of the earliest Memphis bluesmen, and his distinct vocal and guitar style has been imitated by many bluesmen since. Not only did he have a truly distinct style, but his repertoire was one of the most enormous and diverse in the history of blues, and his songs have become a living history of a bygone era. Although W.C. Handy is often cited as the father of Memphis blues, many scholars believe Frank Stokes to be its true originator.”
|MOTE EVOLVER (UK)|
| || SUBMERGE: Black Mamba/J XX 12″ (MOTE 016EP) 12.00|
“Luke Slater’s Mote-Evolver stands tall amongst its peers as the label’s consistently high quality output maintains their current run of form. One of the most exciting new techno artists to emerge out of the USA in recent times, Submerge (AKA Orlando Solis) has built his reputation on being an eclectic and innovative producer capable of blending all styles of techno to create his signature sound. Currently drawing praise for his recent 2012 EP on his own Impact Mechanics label, Submerge is flying the flag for a new wave of producers bringing fresh energy and ideas in to the techno scene. Title track ‘Black Mamba’ leads off the EP with a bang. Bristling with energy and intensity, this is a standout peak-time cut that combines pounding beats, pulsing acid stabs, futuristic phaser effects, chopped up vocals and a riveting breakdown. On the flip ‘J XX’ shows another side of Submerge’s production palette with its steady, building arrangement making for a more linear vibe. Crunchy beats and swirling effects add a feeling of rawness to compliment the tense powerful groove.”
|MUSIK KRAUSE (GERMANY)|
| || SIMMONDS, IAN: The Burgenland Reworked EP 12″ (MKR 032EP) 12.00|
Musik Krause presents a 12″ package of reworked tracks off of Ian Simmonds’ The Burgenland Dubs (MKR 003CD/LP) album. “Lutherstreet Blues” is a superb late-night mover with horns from Martin Rudolf. Krause Duo’s rework of “Kon 1” is bowed from the original and resides in its own cosmos. Dave Aju tightens the broken drum storm of “The Esel” into a straight beat corset, and Even Tuell dares to try the complex and percussive “Speak,” which is taken apart and dissected.
|MY BEST FRIEND (GERMANY)|
| || PIEMONT: Grandfather’s Clock 12″ (MBF 12066EP) 12.00|
“Grandfather’s Clock” may be the most house-influenced release from the German duo Piemont so far. Going more deep, dirty and house-y this time, they turn towards a more relaxed and slack approach. Chopping up bits of vocals and sounds, tight and funky, this is what Piemont is all about. “Running Mirror” manifests a turning point in their musical spectrum to the deeper grounds of electronic dance and will get other DJs involved in their manifold world of music.
|NINJA TUNE (UK)|
| || POIRIER, GHISLAIN: Running High 2CD (ZEN 154CD) 15.50|
“A twelve month period has seen the release of three EPs, all showcasing very different sides of Poirier’s production, from digi-dancehall bangers, to hyper Soca rhythms, and techno/Caribbean hybrids. Now it’s time to drop the culmination of those last twelve months into his 7th full length (2nd for Ninja Tune)… the two disc Running High album.” Guest appearances by Busy Signal, Warrior Queen, Burro Banton, Erup, MC Zulu, Mikey Dangerous and Sticky Douster.
| || MUEHL, OTTO: Psycho Motorik LP (NRSS 1001LP) 19.00|
“Otto Muehl is an Austrian convicted child molester, who is best known as one of the co-founders as well as the most exciting participant of Viennese Actionism. He’s the sort of guy who might fuck a swan, and then scream a little poem about it. In the sixties his aim was ‘to overcome painting on canvas through staging the process of its destruction.’ He made rhizomatic structures with scrap iron (Gerümpelplastiken), but soon proceeded to the ‘Aktion’ in the vein of the New York Happenings. Gradually, Muehl began to distance himself from ‘Aktion.’ He regarded the ‘happening as a bourgeois artform, mere art.’ This is an exact reproduction of his 1971 Psycho Motorik LP, which documents that very departure.”
| || DIMLITE: Prismic Tops CD (NA 5060CD) 14.00|
“It’s been a startling couple of years for instrumental beats of all persuasions: the likes of LA’s Brainfeeder crew and Glasgow’s LuckyMe collective have developed styles with a scope far beyond creating merely ‘instrumental hip hop’. Amongst all the hype and promotion, one of the music’s reclusive architects seems to have been mysteriously overlooked. But Dimlite’s production was astounding from the start. His EPs of 2003 and debut album Runbox Weathers two years later revealed a Swiss producer beholden to no one, possessing a style as nuanced as his friend Prefuse 73 and yet enriched by a careworn romanticism and quirkiness that rewarded repeat listens and has, over time, made him something of a ‘producer’s producer’. Another album, singles, remixes and side-projects followed, taking Dimlite’s sound further left, further into a singular world where soul music, Latin rhythms, hip hop and more are reconstituted into dreamy, lovelorn beat constructions. And so he takes his place on Now-Again, home to a cadre of similarly singular spirits such as The Heliocentrics and The Whitefield Brothers, each bent on refracting music history through their own unique lenses. And while copycat producers abound, Dimlite’s uniqueness is only throw into sharper relief. It’s clear the moment he sings, such as on EP highlight ‘Elbow Flood’ or the astonishing (and miniature) closer, ‘Can’t Get Used To Those.’ It’s apparent in every one of his strangely abrupt changes. It’s even in his song titles. Perhaps Prismic Tops will be the record that sparks a critical reappraisal of this gifted producer’s work. And if not, Now-Again Records is still proud to present this, the latest in a line of remarkable releases from a quiet pioneer.”
| || DIMLITE: Prismic Tops LP (NA 5060LP) 17.00|
LP version, housed in a heavyweight, printed brown board sleeve.
|NTROP RECORDINGS (GREECE)|
| || FELIZOL & THE BOY: O.H.I.O/She Is My Party She Is My Port 12″ (NTROP 018EP) 12.00|
“With abundant indecency, Felizol & The Boy merge contradictory fields of modern electronic dance music. With sarcasm, humor and an outstanding sound production, Yiannis Veslemes & Alexandros Voulgaris consume Ntrop018 as their first single out from the album, The Weirdos Of Oz. The single contains ‘O.H.I.O,’ already thrilled in their live appearances and ‘She Is My Party She Is My Port’ which comes with a Gavin Russom remix from the DFA label.”
|OLMETO RECORDS (UK)|
| || LAYO & BUSHWACKA!: Femme Fatale 12″ (OLM 028EP) 12.00|
Layo & Bushwacka present Femme Fatale plus an additional remix of their hit “The Longest Day” by Audiofly, stripped-back but beautiful and haunting. “Femme Fatale,” with its winding, hypnotic synth and deep pads harks back to the birth of house music while maintaining that upfront feel. The track began by playing around with some well-known ’80s music (yes, you will know who…) but then developed into a track of its own.
|OSTGUT TON (GERMANY)|
| || DETTMANN, MARCEL: Dettmann 3LP (OSTGUT 005LP) 22.00|
3LP version. This is the debut long-player by Berghain’s resident DJ, producer and remixer Marcel Dettmann. Intrinsically tied to the myth that is Berghain by now, the attached label Ostgut Ton and at the same time with the regeneration of no-frill, cleansed and powerful electronic music, Marcel Dettmann managed a daring feat: the production of a truly absorbing and veritable techno album. Spread out over these tracks, Dettmann transports the raw energy, the rough aesthetics and the simple grace of techno. A Berliner-by-choice, the difficult format doesn’t bog him down. Neither does he give in to exhausting finger exercises that try to supersede his learned trade, nor does he confront the listener with hasty or brutal tracks that would rather feel at home pressed on a 12″ in a DJ-case. Tracks like “Reticle,” “Drawing,” “Captivate” or “Silex” seem like the convergence of his striking efforts and discography up until now. You get contemplative moments with almost-weightless layers of sound that get used like melodies or chords, rotating with condensed, intensified and sappy snatches. Rigour and austere beauty go hand-in-hand. Surprisingly enough, with a genre that is aware of its own history, Dettmann never falls prey to the dangerous and seductive nature of nostalgia. However, Dettmann sounds as fresh and self-contained as techno nowadays can be. And more so, it once and for all establishes its eponym as a genre mainstay. However described or classified, his music is a successful meditation about the art form we call techno.
| || GALLUZZI & DANA RUH, ANDRE: Freya/Mauersegler 12″ (OSTGUT 035EP) 12.00|
André Galluzzi finally returns home alongside close colleague Dana Ruh, with this 2-track foray into cutting-edge, hypnotic territories. “Freya” is an understated cut whose attitude lies within the strength of insistent drum patterns, rolling arrangements, and no-nonsense resolutions. Fluttering vocal utterances and Dadaist crescendos characterize this refined ode to percussion. “Mauersegler” weaves a more urgent path — tripping delay and a gentle dose of softly-voiced manipulations lock the listener into this undulating slice of next-wave minimalism.
| || ILIOS: Kenrimono LP (PAN 004LP) 31.00|
“Kenrimono is a type of pachinko machine for advanced players which gives certain privileges during the course of a high-risk game. This LP is entirely based on field recordings and manipulations made from sounds in pachinko parlors in Kansai area, Japan in 2007. A very intense and meditative atmosphere to be played at maximum volume. Active since the early ’90s in sound art and image, ILIOS has been exploring the extremes of sound and image derived phenomena. Through constant change in his sound palette touching and surpassing the limits of the sound spectrum he definitely advocates for an anti-career. By 2009 ILIOS has performed more than 170 times in various venues and festivals in Asia, Europe, South and North America, pushing the space and body resistances to a hard test pursuing a state of alert for the human senses. He has done studio and live collaborations with the likes of: Francisco Lopez, Jason Kahn, Keiichiro Shibuya, Mattin, Michael Gendreau, Norbert Möslang, Coti K, Xabier Erkizia (Billy Bao), Julien Ottavi, Bernd Schurer, Ralph Steinbruechel, Takehiro Nishide, Tzesne, Thurston Moore amongst many others. Since 1997 he runs Antifrost, a publishing label for sound media with more than 40 works published to date. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs.”
| || BLOOD STEREO: Your Snakelike King LP (PAN 005LP) 31.00|
“Brand new release from Brighton mongs Blood Stereo, duo of Dylan Nyoukis and Karen Constance. Your Snakelike King picks up where 2008’s The Magnetic Headache left off, a shape shifting and strange mix of tape collage, free vocals and electro-acoustic mischief. Midnight to 3am recordings fueled by grape and smoke conjour up a blurred narrative, the meaning of which is never quite clear, like weird off camera sounds in some tripped out movie. ‘Anal fins tucked in tight behind them, Blood Stereo look like a pair of ill-kempt roosters, fighting over a doughnut. The guy rooster is jibbering in some unknown tongue, turning his face inside out, while shoving the microphone slowly through a hole in his cheek. The girl rooster appears to be pecking at him, either that or she’s picking at various trash they have strewn around the stage. Every time she ducks her head there is the sound of a jet passing overhead. But when you look up at the sky there is no sign of a contrail. After a while you think you are starting to get a handle on what they are doing, but the guy falls down and starts doing a spazz dance so utterly convincing you begin to worry about him. Then the girls starts screaming and it seems as though something is really profoundly wrong. And it is. But it’s not like they’re in any kind of trouble. They’re just wrong, y’know? So savagely wrong from every angle that it’s really tough to imagine there ‘s anything you could do to really help them. As if they’d even want in. In their masks or out, they sow confusion like wheat.’ — Byron Coley. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs.”
| || DAS SYNTHETISCHE MISCHGEWEBE: Frequency Conquistadors LP (PAN 006LP) 31.00|
“Words are more often then not the point of departure for many works of Das Synthetische Mischegewebe. The track titles here stem from ‘El Mundo Alucinante’ de Reinaldo Arenas, which itself is inspired by François-René de Chateaubriand’s ‘Mémoires d’outre-tombe’. It is about time rather than history and about being in history. Having lost the war of time, the only thing that remains to do is being, and here we go, ‘being infiniment exigent’ in its means of expression. DSM began in Berlin armed with a visual education from the early ’80s. They quickly became part of the international industrial cassette scene. Composing for light installations with open-reel machines, cassette recorders, microphone and guitar fuzz boxes with both loud, quiet, occasionally full blast and frequently sneaking in little sounds, all alternating within a few seconds, create an electroacoustic anti-music. With unusual concerts in the underground network as well as in high art institutions and museums (such as Centre Pompidou) and later on with performances for mixed media installation, exhibitions and conferences on cognitive science and neurologic research related topics, the group toured with changing casts since the early ’80s, and participated in international festivals throughout Europe and the US. Since 1982 they continue to produce vinyls, CDs and tapes on many international labels: Discos Esplendor Geometrico, RRRecords, Hypnagogia, Vinyl-on-Demand, Auf Abwegen, Harsh Reality Music, Equation Records, Das Cassetten Combinat and many others. Live and recording collaborations with musicians such as: The New Blockaders, Ralf Wehowsky, Frans de Waard, Ios Smolders, Zeitkratzer Ensemble, Artificial Memory Trace, ERG, MSBR, Toy Bizarre, Roel Meelkop and others. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs.”
| || SEWER ELECTION: Vidöppna Sår LP (PAN 007LP) 31.00|
“Following on from his Kassettmusik release, Vidöppna Sår is an evolution in scum-brow field recordings and voice recorded to mono tape — akin to OU Revue — recorded on a building site. This record shows the development, as witnessed from his recent live performances, of aggressive blur build-up and ominous restraint, tape speed replacing effect pedals, going beyond the mere ‘junk noise’ description and closer to the original idea of musique concrete, namely altering everyday sounds onto tape into a wholly other vocabulary. Sewer Election is Dan Johansson, based in Gothenburg, Sweden. He is most known for his extreme and nasty noise on often limited edition cassettes and obscure vinyl releases on labels such as iDEAL, Troniks, Chondritic Sound, Release the Bats!, Freak Animal, Segerhuva, and Gameboy to name a few. He is a member of the Swedish collective Utmarken and lo-fi group Attestupa. What separates him from the rest of the wall-of-noise heads is that he is great at creating uncomfort and filth. To experience his stuff is like experiencing pure power and energy through subtle and restrained soundscapes of a world falling into pieces. The LP is mastered by Viktor Ottosson and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket, which is itself housed in a two-tone silkscreened PVC sleeve with interweaving geometric designs. All artwork by Kathryn Politis and Bill Kouligas.”
| || HAMMER, JOSEPH: I Love You, Please Love Me Too LP (PAN 008LP) 31.00|
“With I Love You, Please Love Me Too, Joseph Hammer continues his journey into playful yet heavily focused idiot-savant infinite psychedelic inertia. Utilizing consumer audio technology and 20th century detritus, Hammer lovingly decodes his passion for mid-century sci-fi and AM radio stations beyond all point of recognition like a snake charmer. Multi-dimensional audio collage techniques to a freeform and completely unorthodox plunderphonic hypnosis. Baked devotionals for tape loop minds. Joseph Hammer, a sound artist from Los Angeles, has actively created experimental works since 1980 as a member of the LAFMS collective. His practice draws on the complexities of the process of listening and playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction. In various collaborations, solo, and as a founding member of the trio Solid Eye along with several other projects (Joe & Joe, Dinosaurs With Horns, Dimmer, Points of Friction), Hammer has performed widely and is an influential contributor to the Los Angeles underground scene. The LP is mastered by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket, which is itself housed in a two-tone silkscreened PVC sleeve with interweaving geometric designs. All artwork by Kathryn Politis and Bill Kouligas.”
| || PARKER & JOHN WIESE, EVAN: C-Section LP (PAN 009LP) 31.00|
“British free-jazz phenomenon Evan Parker with electronic and tape noise artist John Wiese in a set of real-time evolving improvisations intended for maximum volume. Vinyl version of the CD released earlier this year (2010), but slightly different, containing all the final mixes and edits of the sessions with a new and more intense mastering for the maximum listening experience. C-Section finds density in scarcity — deep, glacial muck bubbles emerge beneath Parker’s inhuman circular breathing, only to plunge into an incessant clatter of industrial landscape. Evan Parker is a free-sax legend, best known for his work with Keith Rowe (AMM), Anthony Braxton, Joe McPhee, Cecil Taylor, Peter Brotzmann (including on his epochal Machine Gun), Derek Bailey, and for his inspired, individualistic take on musical freedom. Being the U.K.’s equivalent of Peter Brotzmann means that as far as free-jazz saxophonists go, Evan Parker has very few equals. Hugely respected with a rich and varied back catalogue, Parker has graced the cream of the free-jazz racks for the last forty years. John Wiese is an artist and composer from Los Angeles, California. His recent works have a focus on installation and multi-channel diffusions, as well as scoring for large ensembles. He has toured extensively throughout the world, covering the U.S., U.K., Europe, Scandinavia, Japan, Australia, and New Zealand. He is also a founding member of the concrète grindcore band Sissy Spacek. The LP is mastered by Diane Maroney, cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket, which is itself housed in a two-tone silkscreened PVC sleeve with interweaving geometric designs. All artwork by Kathryn Politis and Bill Kouligas.”
| || BILLY BAO: Urban Disease LP (PAN 011LP) 31.00|
“Urban Disease is the new radical work by Billy Bao, Mattin, Taku Unami, Tim Barnes, Barry Weisblat and Margarida Garcia. It’s important to remember that before Mattin and anarchism ruined his life, Billy Bao was a bit of a troubadour who accompanied himself on acoustic guitar and warbled wild songs of protest in his native Nigerian patois. This new album, his third on vinyl, finds Billy in a transitional phase toward the end of 2006, before the gaztetxes of Bilbao burrowed into his marrow, before Mattin became the Merle to his G.G., before Billy turned into a herpes sore in the mouth of global capitalism. ‘Billy doesn’t believe in hypnagogia,’ we’re told, ‘because he always sleeps with one eye open, and when he dreams, all he sees is AIDS denialists, German shepherds, and soldiers disguised as UN peacekeepers.’ Before Taku Unami fucked it up, this session found Bao relaxed and in high spirits as he conducted a pickup band of itinerant improvisers through a song-by-song cover of Amon Düül’s Psychedelic Underground. Margarida Garcia lent her astounding skill and highly personal idiom on the electric double-bass, in her hands an instrument with the tension of string on wood and the disruptive potential of a crackle box. Barry Weisblat, meanwhile, teased out a century of drone from a Cornell lunchbox of filament and circuitry. Who better to play drums and percussion than the sainted Tim Barnes? Mattin, thumb and forefinger compulsively pinching or stroking his Hitler moustache after every take, funneled Billy’s malaise through laptop, percussion, and folk instrumentation. There was even, astonishingly, a women’s choir on-hand, eerily filling out the atmosphere with wordless vocals and incantations. But this is after, and the result is a fragmentary, extremely loud hippie jam session punctuated by stretches of uneasy silence and scrape. The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket, which is itself housed in a two-tone silkscreened PVC sleeve with original artwork by New York artist Henry Flynt.”
| || ALBRIGHT, CHARLES: I’m Happy, I’m A Genius 7″ (PERM 014EP) 7.00|
“Charles Albright self-released a 7″ last year (2009) that knocked us out. It obviously had the same effect on Scott Soriano at S-S Records, ‘cuz he reissued it on his own label. It’s long since sold out and highly sought after. Anyhow, here’s Mr. Albright’s (not the serial killer, unfortunately) follow-up, a killer 7-song EP. It’s a blown-out, lo-fi, catchy punk jammer with loads of hooks and sweet riffs. A couple of the tracks are experimental guitar instrumentals that give you a chance to catch your breath before picking yourself up off the ground to begin pogoing again. Charles is a big fan of Black Flag and if you are too (especially the early stuff), you’ll probably dig this slab.”
| || BLUE CHEER: Vincebus Eruptum LP (PHS 600264LP) 11.50|
Repro reissue of the stereo version of the first Blue Cheer album, originally released in 1968. Features their “hit” cover of “Summertime Blues” and the beginning of their documentation to be the loudest/heaviest rock band ever. Later practitioners may have bested them on at least a scientific level (in terms of decibel or pound measurements), but for pure trouser-beltage, the sound of Blue Cheer is instantly iconoclastic. Psychedelic bombardment from the times.
| || JESUS AND MARY CHAIN, THE: Darklands LP (PLAIN 147LP) 17.00|
“The second album from the brothers Reid, originally released in 1987. Darklands is more accessible and hooky than Psychocandy, leaving most of the feedback and some of the noise behind to focus on the songs and to make a clear break from the legendary debut album. With tracks such as ‘April Skies’, ‘Darklands’, ‘Happy When It Rains’ and ‘Nine Million Rainy Days’ the Reid’s proved they had plenty of great songs in them and wouldn’t be boxed in by the past. An all out classic.”
| || RIPPERTON: Nocturnal Reflection 1# 12″ (PLK 021EP) 12.00|
A 14-minute epic track with ecstatic keyboards, melancholic strings & raw beats. Call it house, techno or what you want, this is an outstanding, soulful piece of music written by the electronic chameleon Ripperton. From analog to analog, dedicated to wax lovers. One-sided release.
|PLAY OUT! MUSIC (BELGIUM)|
| || ARSENAL: Estupendo 12″ (PLAYOUT 011EP) 12.50|
“Estupendo, a catchy little number with hints of ’80s synthpop, including a chorus that’s equally catchy as breezy and a stupendously addictive hook (see what we did there?) that sounds like a pastel tinted rival to MGMT’s ‘Electric Feel.’ Next to the album version there’s three different mixes on offer: young Belgian producer Compuphonic stretches the original into a dubby, synth heavy electro-house trip that criss-crosses between glitzy melancholy and restraint euphoria. Brazilian button pusher Gui Boratto, of Kompakt fame, keeps most of the vocals (courtesy of Scott Mason from Chicago indie-popsters Office) intact and performs his trademark minimalistic, feverish bleeps for a bouncy yet easygoing makeover. Kid Gloves (or the joined forces of Freelance Hellraiser’s Roy Kerr and Anu Pillai of Freeform Five) recently chopped up tunes for Ladyhawke, Santigold and Riosin Murphy — here they add some Afrobeat flavour to a deep house mix before letting it drift off into frantic territory for a Nathan Fake-ish finale. Pretty intense stuff!”
| || LOSOUL: Care Remixe Pt. 2 12″ (PLAY 157EP) 12.00|
Here is the second part of the 12″ remix package of tracks from Losoul’s Care (PLAY 024CD). The idea behind the mixes is to hear the sound of Losoul through the ears of like-minded artists. The A-side starts with John Tejada’s version of “Gridlock,” followed by Soul Phiction aka Jackmate’s remix of “Up The Beach.” On the B-side you’ll find the original of Losoul’s “Sunlite” — a popular track which hasn’t been released on vinyl yet.
|PLUS 8 (CANADA)|
| || DATASOUL: Digital Disorder 12″ (PLUS 8112EP) 11.00|
Christopher Bleckmann and Hannes Wenner are no strangers to innovative dance music. Their latest incarnation is in a freshly formed alter ego called Datasoul. “Digital Disorder” is nothing short of hypnotic genius. The focus is all about the groove, with elements that are constantly looping, while the track perpetually builds intensity with steady, surgeon-like precision. A perfect track when you want the auditory focus to be solely towards building tension. This is hypnotic, driving and ultimately essential.
|PSEUDONYM RECORDS (NETHERLANDS)|
| || OUTSIDERS, THE: Beat Legends BOOK/CD (PSEUD 1012CD) 37.00|
“For eighteen months, five teenagers from Amsterdam held the pop world spellbound. The Outsiders were stars from the moment they outshone The Rolling Stones, when they appeared as their supporting act in the Brabanthallen in March 1966. With all that stardom entailed: hits, delirious fans and exaggerated newspaper headlines about their long hair and wild performances. But the bubble burst before singer Wally Tax’s 21st birthday and The Outsiders split up. What remained is the memory of one of the best beat bands that The Netherlands has ever known. Beat Legends tells the story of The Outsiders in words and pictures, with wonderful photographic material, legendary record sleeves and tantalizing newspaper cuttings. Plus a free CD of unique live recordings of The Outsiders at the pinnacle of their fame, the first two singles for the illustrious Muziek Expres label and a radio session for the progressive broadcasting company the VPRO, recorded in the then-newly opened rock club Fantasio.” Hardcover book (9 x 6.75 inches) with 192 glossy pages of sepia & color photographs.
| || OUTSIDERS, THE: Afraid Of The Dark LP (PSEUD 99012LP) 30.00|
“Limited edition of only 500 copies; 180 gram vinyl housed in beautiful 350 gram quality sleeve. Unique live recordings of the Outsiders on the pinnacle of their fame. Stereo/previously unreleased live recordings. Remastered in the 24-bit domain from the original master tapes.” Tracks: A1. Bird In A Cage; A2. Ain’t Gonna Miss You; A3. Afraid Of The Dark; A4. Ballad Of John B.; A5. I Love Her Still, I Always Will; B1. Story 16; B2. I Wish I Could; B3. Tears Are Falling From My Eyes; B4. Set Me Free (unreleased song); B5. Wont You Listen.
| || VA: Raks! Raks! Raks! 17 Golden Garage Psych Nuggets LP (RAKS 001LP) 30.00|
..From The Iranian 60s Scene. Repressed on vinyl — last copies. “Raks Discos is proud to present one of the most anticipated as well as unexpected compilations from the global depths of ’60s and ’70s rock’n’roll: The Persian scene. Let alone coming across with a representative compilation, even solid evidences of such a scene has not been seen until now and has been largely suspected, maybe save for a select few of eager garage and psychedelic record collectors and enthusiasts of worldwide rock, who have been trying to hunt such sounds on the internet and private collectors’ circles, usually to no avail. Needless to say, the most important factor in this has been the obvious hideously rare status that Iran’s pre-Revolution East-West cross cultural artifacts are in right now. As with almost all Asiatic countries, the Shadows and the Ventures seem to be the true and primal influence in the Iranian music scene of the most part of ’60s for the rock sound and attitude to penetrate the country’s fledgling record industry and its swinging public base. In 1964, the legendary Top4 company opened up and started releasing choice chart hits from the worldwide lists, on 4-track EPs, followed soon by MonoGram and other companies. These mixed up records featured a lot of popular songs of the day, spanning the whole European continent i.e. including what’s referred to now as ‘Euro pop’ hits and the ‘big brothers,’ UK and US charts. The day’s youth back then was lucky: they could follow the West moment by moment now. The foremost impact of these were to feature and spread British invaders, The Beatles and The Rolling Stones, otherwise available only on radio. Come 1966, ’60s was in full swing in Iran too!” On eye-popping purple & green Persian rug-colored vinyl. Includes full-color glossy insert with liner notes and rare photos.
| || TOKIMONSTA: Cosmic Intoxication 12″ (RAMP 030EP) 17.00|
“With the likes of Gilles, Benji and Mary Anne already eating out of the palm of her hand, it’s hard to believe this is Tokimonsta’s debut EP. She has been trailblazing her boom bap-come-glitch addled beats around America for a few years, and recently graduated from the London Red Bull Music Academy. We are pleased to welcome her to the Ramp family, following in the footsteps of fellow L Aliens like Ras G and Computer Jay.” Amazing artwork by acclaimed Belgium-based graphic designer Elzo Durt.
| || BUMBLEBEE UNLIMITED: Sting Like A Bee LP (AFL 13407LP) 11.50|
Exact repro reissue of this Gregory Carmichael (Universal Robot Band) production with “the uncrowned King Of Disco” Patrick Adams (Cloud One, Inner Life), originally released in 1979. House meets space disco along solid grooves and goofy lyrics on songs like “Space Shuttle Ride,” “Honey Bun” and “I Got A Big Bee.”
| || SIMONE, NINA: Silk & Soul LP (LSP 3837LP) 11.50|
Exact repro reissue, originally released in 1967. Simone performs Burt Bacharach’s “The Look Of Love” (featured in the film Casino Royale); other songs include “It Be’s That Way Sometime,” “Go To Hell,” “Love o’ Love,” “Cherish,” “I Wish I Knew How It Would Feel To Be Free,” “Turn Me On,” “Turning Point,” “Some Say” and “Consummation.”
|ROTARY COCKTAIL (GERMANY)|
| || PUPKULIES & REBECCA: Burning Boats In Remix 12″ (RC 023EP) 12.00|
This is the remix record of the great album Burning Boats (NORM 032CD) by the electronic indie project Pupkulies & Rebecca. On side A, you will find a wonderful 12-minute remix-trip by Masomenos, and on side B there are some different remixes by youANDme and Someone Else.
| || EXCISION & DATSIK: Boom (SkisM Remix) 12″ (ROTTUN 006EP) 11.00|
“Here we have a sick heavy remix of ‘BOOM’ by Skism. So utterly revolting a tune, you’ll be cleaning the vomit off your turntable time. Skism throwing out the remix filth for the Rottun camp. As if the original wasn’t rottun enough, Downlink had to twist up Swagga even further! Enjoy!”
|RUSH HOUR (NETHERLANDS)|
| || COSMIN TRG: See Other People 12″ (RH DC-2EP) 12.50|
The DC series continues with Cosmin TRG, known for his releases on Hotflush and Tempa, amongst others. “See Other People” is an infectious garage stepper, announcing the future of r&b. Big tune. “Groove Control” continues on a techno tip. It starts off deep and mysterious, evolving into a pulsating, acidic bass line-driven killer.
| || ARP & ANTHONY MOORE: FRKWYS Vol. 3 LP (FRKWYS 003LP) 23.00|
“For the third volume in Rvng’s FRKWYS (pronounced Freakways) series, ARP (aka Alexis Georgopoulos) and Anthony Moore contribute an album of modern minimalist compositions culled from sources both old and new. From the reworking of some of Moore’s unreleased late ’60s compositions and the incorporation of actual extant tapes from that time, to the newly minted pieces by Georgopolous along with new accompaniments to the original recordings, it’s another vibrant addition to the ongoing series in which contemporary artists are paired with their progenitors by way of remix, reinterpretation, and original collaboration. The idea to pair the two composers was born of Georgopoulos’ appreciation for Pieces from the Cloudland Ballroom (1971), Moore’s adventurous avant-garde album described by Alan Licht as neither a ‘Krautrock or art rock LP but a bona fide minimal classic.’ Upon listening to several pieces by his symphonious accomplice-to-be, Moore was ‘struck by a powerful sense of familiarity, a recognition of certain musical values close to my own heart being explored by someone else.’ Mutual admiration formed, Moore and Georgopoulos came together in September 2009 at Atlantic Sound’s Brooklyn studio, a scene serenely inspired by the live room’s forward face on the East River. Recorded to a 24 track, 2″ Studer tape machine, the album begins with the stringed drone of ‘Today’s Psalter,’ a piece named for the instrument at its thematic core (re-established later with ‘Yesterday’s Psalter’). ‘Spinette’ is a lively and cyclical measure exercise built on an original work. And, at end of the first side, ‘Piano Waves’ reinvents a Magnetophone tape recording Moore originally realized in the ’60s as a sonorous anchor on the album. The second side begins with ‘Wild Grass I (for Arthur Russell),’ composed by Georgopoulos for a cello, violin, and piano ensemble. As with its companion piece ‘Wild Grass II (for Robert Wyatt),’ it takes heroic inspiration and uses intimate instrumentation to create a movement compelling in its refined gestures. ‘Mirrors & Forks’ returns to Moore’s treasure trove of tape loops, seething into ‘Yesterday’s Psalter,’ and then a lunar-lit rendition of ‘Slow Moon’s Rose’ sung by Georgopoulos, a song originally recorded by Moore in 1972 as part of Slapp Happy. Limited pressing of 550 vinyl copies housed in thick jackets wrapped in a lively monochromatic adhesive.”
| || THESE ARE POWERS: Candyman 12″ (RVNGNL 002EP) 10.00|
“These Are Powers lay it on thick, sweet, and sludgy for their new Candyman EP on Rvng Intl. The Brooklyn-based trio of Anna Barie (vocals & electronics), Pat Noecker (bass, electronics, vocals), and Bill Salas (beats & production) do nothing to sugar coat the grimy center of a new, bass bin rattling, electro-shock sound. Powers kick off the EP with ‘Candyman’, a naughty nursery rhyme set to a bombastic East meets West-Indies reggaeton shuffle. The rifling bass and scattered snare shots of ‘Gutterspaces’ emerge as dancehall back from the future, followed by the sputter to mega-life Chicago juke and drone fest of ‘World Class Peoples’. The EP also includes a runway house remix of ‘Candyman’ by globe-trotters Teengirl Fantasy and a remix of ‘World Class Peoples’ by Costa Rica’s Cosmetics that is as much Burial as it is Scott Walker. The artwork, by Kevin O’Neill at Will Work For Good, is inspired by the slimy sexual fetish known as sploshing. The sploshee featured on the cover will remain anonymous. First pressing limited to 1000 copies. RIYL: Dizzee Rascal, The Bug, Peaches, The Knife.” Full color glossy inner sleeve.
|SHIFTING PEAKS (UK)|
| || VA: UK Tropicale EP 12″ (SPEAKS 002EP) 11.00|
“Cuba’s complicated. Standing alone and defiant for decades against its bullying neighbors in the North, safeguarding the real gains of revolution : economic equality, decent healthcare, unequalled infant mortality and adult literacy rates for the region. But it’s a one party State, with no independent Trade Unions and no real freedom of movement or expression, and the truth is that you don’t have to be some frothing anti-Castro freak sweating it out in Miami to consider yourself a political refugee from Raul/ Fidels’ Cuba . ‘Stylo Pohibido’ rapper Roll-X left Cuba, Havana in the late ’90s, swerved Miami, and headed straight for Hackney/London instead. His Red Smoke Family studio initially was a base for garage and UK hip-hop artists, then slowly established itself as a base for Cuban émigré Rappers in London (Papo Record, Mr Huevo, Philipsman, Michelito, Kid Africa). Mixing up hip hop and reggaeton (‘Cubaton’ ), ‘Rejalate’, ‘Tiren’ and ‘Arranca’ here showcase the breadth of that sound : big synths, fat beats, booty bass and urgent raps steeped in Latin-British hip hop culture. ‘Rejalate’ and ‘Tiren’ are battle cries, letting everyone know the Redsmoke Family train is about to burst out of its Hackney base, ‘Arranca’ a tropical bomb waiting to go off. In the name of dancefloor solidarity, we called in some UK brothers to collaborate. Leicester’s finest Emvee carries on where his ‘Glitch Dub’ left off, adding rave-bass, rolling percussion and marimbas to Mr Huevo’s ‘Rejalate’ . Hackman uses RRB’s salsa piano riffs and Roll-X’s rap over his trademark funky rhythms to get seriously tropical. Midlands bod Max Morrell closes the package out in style with a dubby, jacking, funky-fidget hybrid, using a sliver of Arranca’s vocal over slamming beats and big basslines for a pulsating finale.”
|SLOW TO SPEAK|
| || TOKLAS, ALICE B.: Dimension 128 – Vuh 12″ (DIMENSION 128EP) 16.00|
“Divining with the whisper of impetuous fantasy and earthly pleasure, our ears are once more turned over to the persisting demands of pure sound. An unraveling, winding journey through the castings shadows of perturbing gothic walls and disorienting multi-textural synthetics, ‘Vuh’ is a hymn to the religious devotion of stripped down, concentrated and ecstatic esotericism at the outer reaches of the ambient canon. Horrifying and divine in the same breath, this masterpiece recalls the titanic feats of gods long since departed from this world, resurrected and rechanneled through the horizontal perception of mortal souls blessed with the touch of the netherworld. Entrancing, dazing and totally mesmerizing, ‘Vuh’ reminds us that the eternal can be birthed from the temporal effort of human will, a timeless specimen of infinite musical sublimity and celestial transcendence. Chosen by Paul Nickerson for the 1979 Foundation for the Black Arts. 100 Pressed. This release is in direct conflict with the Unlawful Societies Act of 1799.” One-sided release with spooky insert.
| || PRETTY THINGS, THE: S.F. Sorrow + Live At Abbey Road CD+DVD (SMA 963CD) 17.00|
“CD & DVD set featuring the classic original recording of S.F. Sorrow coupled with DVD of the band’s performance recorded at the world famous Abbey Road Studios. S.F. Sorrow is without a doubt a classic. Originally recorded at Abbey Road in 1967, it was the first and the most complete ‘rock opera’ to be recorded and released. It predates The Who’s Tommy by a full year. This new deluxe CD and DVD set comes in rigid digibook packaging with re-worked artwork, new liner notes written by Phil May, plus additional notes by Mark St. John, the band’s manager. The CD includes a host of bonus tracks including several rare tracks. Disc two features a sensational one-off performance of S.F. Sorrow in 1998 recorded at Abbey Road Studios on DVD. Originally broadcast live to an audience over the internet, it features Dave Gilmour of Pink Floyd on guitar and also includes narration by the ‘God of Hell Fire’ Arthur Brown.” Dual layer NTSC DVD format; stereo & 5.1 Dolby surround sound; color; running time: approx. 125 minutes; aspect ratio: 4:3.
|SOUL JAZZ RECORDS (UK)|
| || VA: Studio One Soul 2LP (SJR 050LP) 21.00|
2010 repress. Double LP version.
| || VA: Studio One Ska 2LP (SJR 085LP) 21.00|
2010 repress. Double LP version.
| || VA: Soul Jazz Records Presents Studio One Dub 2LP (SJR 089LP) 21.00|
2010 repress. Double LP version, with poster.
| || VA: Studio One Classics 2LP (SJR 096LP) 21.00|
2010 repress. Deluxe double LP version.
| || VA: Studio One Roots Vol. 2 2LP (SJR 114LP) 21.00|
2010 repress. Double LP version.
| || VA: Studio One Soul 2 2LP (SJR 128LP) 21.00|
2010 repress. Double LP version.
| || VA: Deutsche Elektronische Musik Volume 1 2LP (SJR 213A-LP) 21.00|
Deluxe full color gatefold 2LP version, volume 1. Tracklist: A1. Can – Spectacle (5.39) A2. Between – Devotion (3.46) A3. Harmonia – Dino (3.29) A4. Gila – This Morning (5.45) B1. Kollectiv – Rambo Zambo (11.39) B2. Michael Bundt – La Chasse Aux Microbes (8.30) C1. E.M.A.K. – Filmmuzik (3.15) C2. Popol Vuh – Morgengruss (2.57) C3. Conrad Schnitzler – Auf Dem Schwarzen Kanal (3.12) C4. La Dusseldorf – Rheinita (7.37) D1. Harmonia – Veterano (3.55) D2. Faust – It’s A Rainy Day Sunshine Girl (7.26) D3. Neu – Hallogallo (10.03)
| || VA: Deutsche Elektronische Musik Volume 2 2LP (SJR 213B-LP) 21.00|
Deluxe full color gatefold 2LP version, volume 2. Tracklist: A1. Cluster – Heisse Lippen (2.21) A2. Ibliss – High Life (13.01) B1. Moebius – Hasenheide (2.36) B2. Amon Duul II – Fly United (3.29) B3. Popol Vuh – Aguirre 1 (6.13) C1. Ash Ra Tempel – Daydream (5.22) C2. Tangerine Dream – No Man’s Land (9.05) D1. Amon Duul II – Wie Der Wind Am Ende Einer Strasse (5.43) D2. Roedelius – Geradewohl (3.31) D3. Can – I Want More (3.30) D4. Deuter – Soham (4.55)
| || VA: Deutsche Elektronische Musik 2CD (SJR 213CD) 19.00|
Subtitled: Experimental German Rock And Electronic Musik 1972-83. “The objectives of German experimental rock and electronic music in the 1970s were to create a new music, ‘free’ from the past. A music that gave seed out of the cultural ‘nothingness’ that young Germans felt as a consequence of Germany’s role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents’ generation and their disillusionment at the reintegration of old Nazis into mainstream society. The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation’s desire to rid itself of the guilt of war. Many German youth turned their back on mainstream society. From the opening of the first collective/cooperative in 1967, Commune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of ‘the system’. These cooperative and communal experiences led to a number of new radical German bands including Amon Düül, Faust and Can. Many artists and musicians believed a complete rejection of everything musically that had gone before was also necessary in order to build a new identity for German culture. At this time German music meant ‘schlager’ music — insipid pop music that hardly confronted the country’s recent historical events. The first recordings of groups such as Kluster (later Cluster) were extreme experiments with sound; un-music, anti-melody and anti-rhythm – attempts to destroy any musical links with the past. Holger Czukay and Irmin Schmidt of Can studied music under the radical avant-garde composer Karlheinz Stockhausen and Conrad Schnitzler studied art under the conceptual artist Joseph Beuys. German rock groups were as interested in musique concrète and serial composition as they were in the psychedelia of Pink Floyd or the rock, soul and jazz music played by resident American forces. From this beginning German rock music began an evolutionary journey of experimentation. Electronic music became a pathway to notions of space and the cosmos. Conversely, the emergence of communal living led to a number of musicians setting up live/work spaces in rural areas and developing a ‘pastoral’ outlook, with musical ideas engaged closely with nature. And despite an aversion to the politics of American society, German rock bands were nevertheless fascinated by the emerging stateside counter-culture of psychedelic music and drug experimentation. A band such as Ash Ra Tempel even recording an album with drug guru/theoretician Timothy Leary (Seven Up, 1973). And whilst some of the bands featured here slipped by the wayside over the years, others such as Faust, Cluster, Can, Tangerine Dream are now well into their fourth decade having firmly established that which they set out to achieve — a new German music.” Includes 36-page full color booklet with extensive liner notes and photos.
| || HEDZOLEH SOUNDZ: Hedzoleh LP (SNDW 019LP) 15.50|
LP version. Hedzoleh Soundz were one of the first and most original “Afro” bands from 1970s Ghana, playing a mix of traditional music from across the country tinged with Western rock. They were residents at the notorious Napoleon nightclub where they met South African trumpeter Hugh Masekela in late 1973. The music for Hedzoleh was recorded just months before the band met Masekela to become the backbone of (and sadly over-shadowed by) the Afro-jazz classic LP Introducing Hedzoleh Soundz. Hedzoleh (meaning “freedom”) emerged at the beginning of a decade that saw great changes in the West African music scene. At that time, the sight of a band playing music at clubs in the city (as opposed to the countryside), dressed in traditional costumes was fairly radical and typified the new feeling for Afrocentric roots and culture which was gaining popularity amongst the youth of the day. The self-titled LP Hedzoleh has since vanished from public domain despite the success of their collaboration with Hugh Masekela. The original trumpet-less sound of this record hasn’t had a chance to be heard for nearly 40 years… until now.
| || BIRDS & SOULS: Birds & Souls 12″ (SPC 091EP) 12.00|
Spectral Sound presents the debut from Birds & Souls. “Birds & Souls” is an exuberant track, charting a journey from giddy, congas-and-claves house to synth-drenched space disco to ecstatic arpeggiated bliss and back again. The “Birds & Souls (Birds & Beats Version)” indulges the track’s cosmic side, emphasizing repetition, atmosphere, and chanting backing vocals; while “Birds & Souls (Runaway’s Mountain & Ground Remix)” sees the Brooklyn-based DJ/producers and DFA alumni drag “Birds & Souls” into the dank, half-lit gloom of a sweaty basement party.
|SWAMP 81 (UK)|
| || KRYPTIC MINDS: Badman/Distant 12″ (SWAMP 003EP) 11.00|
“Loefah’s mighty Swamp 81 label is back with 2 hot new tracks from Kryptic Minds, ‘Badman’ and ‘Distant’, trademark Kryptic style, deep, moody and heavyweight dubstep, naturally supported by Loefah, Youngsta, N-Type, Mala and all the scene heads.”
|SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)|
| || DAGNON, BAKO: Sidiba 2LP (SYLLART 6146076) 23.50|
2LP version. Bako Dagnon is one of Mali’s premier Mande musicians, as well as a respected female griot. Bako sings with the authority, passion and wisdom born of having learned her craft the old way: not from recordings, as many young singers do nowadays, but at the feet of masters, deep in the countryside. As such, she may be one of the last griots to live according to the old ways of griotism, though she carries her message for the current age with a knowledge base that ranges from her native Biriko style, to the more lyrical Maninka music from Guinea to the Bambara style from Segou. She has the gift of bringing the old stories to life, making them sound utterly contemporary. On Sidiba, the special character of her voice finds a new expressive freedom, with a subtle production that brings out the best in her voice and music.
| || DAGNON, BAKO: Le Guide De La Révolution – Simbad & Frankie Francis Reworks 12″ (SYLLART 6156796) 12.50|
“Le Guide de la Révolution” is a huge, groovy track from Bako Dagnon’s album Sidiba (SYLLART 6146642/6146076). Fat bass, pure traditional guitar sounds, soaring vocals — over 5 minutes of Afro-funk ! On A2 comes a Latin-flavored & more acoustic tuned re-edit by the one-and-only Frankie Francis. On the B-side, the French DJ/producer Simbad delivers one of his best reworks so far. Fat beats, psychedelic voices — what a massive track! Check the dub version out: Africa on acid.
| || VA: African Pearls: Sénégal 70: Musical Effervescence 2LP (SYLLART 6157396) 25.50|
Syllart presents a deluxe gatefold 2LP edition of the mighty African Pearls collection dedicated to the funky sounds of ’70s Sénégal. More than any other country in West Africa, Sénégal was strongly influenced by Cuban music largely played by the ORTS (Radio Sénégal). Widely circulated, this Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal as well as the monikers “stars” and “étoiles” in the history of modern Senegalese music with bands such as Youssou N’Dour’s Super Etoile, Star Number One, etc. James Brown’s 1975 Dakar visit set the country on fire, and opened a new era in music. As a result, “Kelen ati leen,” a Wolof folk tale, shows the Orchestra Baobab’s mighty funk vision driven by Cissoko’s horn arrangements. Released on the wonderful Visage Du Sénégal, part of a series of 5 LPs released in 1975 thru Buur Records, it epitomizes a perfect Senegalese groove and stands as Dakar’s ultimate funk statement. Produced by Ibrahima Sylla. Limited vinyl pressing of 1,000 copies worldwide. Other artists include: Xalam, Super Diamono de Dakar, Guelawar, Ifang Bondi, and Etoile 2000.
| || PURSUIT GROOVES: Fox Trot Mannerisms 12″ (TEC 038EP) 14.50|
12″ EP version. This the debut full solo release by Brooklyn-based producer and MC Vanese Smith aka Pursuit Grooves, and her first for the Tectonic label. Unexpected, and yet somehow perfectly at home on Tectonic. Props to Pinch for his consummate A&R skill sets, though no doubt this would also bless labels such as Motown, Stones Throw, Hyperdub or even Rush Hour’s Beat Dimensions series, where Ms. Grooves debuted. In these times of overhyped one-trick, nu-jacks it’s a rare blessing indeed to discover such an accomplished and original artist with a vision and flow to ignite flames for all the true-school heads and still bring new ears to this stylish music. Altogether it makes the best soundtrack to midnight inner-city motoring, it will work brilliantly in beat-driven club situations with its effortless production science to the fore. “Pressure” drops like a lost Erykah Badu & Madlib collaboration, Miss Smith’s vocal here is even a little reminiscent of Badu’s considerable stylings, but watch out girlfriend, she flows with the best in a style somewhat similar to Bahamadia. “Start Somethin'” rocks the downtempo beat-down harder than most, and is the most electronic-feeling cut on this album — vicious fuzz bass lines, filthy claps, oiled snares and block-rocking cut-up beats. Drop this in a DJ set and watch all crew get busy. If you had to pick a single highlight, then “Shabaps” might well be it. A heavyweight hip-hop roller, all luscious bass frequencies and cosmic synth drifts that keeps an upful tempo for maximum bugging fully on lockdown. “Whisper” dubs it heavy like a feather, all bubbling, Mantronik-style 808 beats with melting jazz piano drops and a sweetly mysterious, softly-spoken vocal. “Tweezers” adds a 2-step electro flex to an L.A./Detroit hip-hop feel — mind-blowing stuff on headphones, only still built for the biggest systems. “Mister Softee” is perhaps the most traditional-sounding hip-hop cut — turn out the lights, because the delivery here is world class ‘010 — we reach the outro refreshed by a cooling breeze on a mad hot summer day. This album is big with Kode9 and company already, so get on this soon!
| || BADAWI/SHACKLETON (FEAT. VENGEANCE TENFOLD): El Topo 12″ (INDEX 001EP) 11.00|
The Index is a new project conceived by two of New York City’s underground music pioneers; Raz Mesinai aka Badawi, and Dub War founder Dave Q. The label will feature original Badawi productions as well as new compositions and remixes by some of the most forward-thinking artists at the outer limits of dubstep and experimental electronics. This is a 12″ of Badawi’s “El Topo” backed by a Shackleton interpretation of Badawi’s “Dstry All Prfts,” featuring spoken-word vocals from Vengeance Tenfold. Also included is “Stem1” from Badawi’s audio vaults.
|THE TAPEWORM (UK)|
| || PITA: Mesmer Cassette (TTW 018CS) 7.00|
Cassette-only release. Edition of 250 copies. Mesmer was Peter Rehberg’s first-ever solo composition, originally released in 1995 as part of Mesmervariations, a (long-deleted) 2CD by Ash International presented in an oversized plastic wallet with eight card inserts. That release contained various original compositions influenced by the work of Friedrich Mesmer, and included pieces by Ryoji Ikeda, Gescom, Edvard Graham Lewis, Robert Hampson, Bruce Gilbert, CM Von Hausswolff and Drome (Bernd Friedmann). The artists featured on this release were given a copy of the vinyl recording Mesmer (Ash 1.8) and asked to compose a piece influenced by the work of Friedrich Mesmer, the 19th century “animal magnetist and hypnotist.” The brief was — there is no brief; method and style were left entirely to the discretion of the composer. Rehberg’s contribution is reproduced in its entirety here, the B-side of the cassette containing a copy of the weathered dubplate of the track he cut in 1996 for personal DJ use.
|THE WIRE (UK)|
| || WIRE, THE: #315 May 2010 MAG (WIRE 315) 8.50|
“On the cover of this month’s issue: Excepter. Features: Toro Y Moi (The LA chillwave auteur refracts R&B and 1980s pop through a distorting FX-haze); Lil B (Andrew Nosnitsky enters the “based freestyle” universe of the eccentric Californian rapper); Jahtari (In Leipzig, Steve Barker Tunes in to the global reverberations emanating from this digital dub crew); Global Ear: Vancouver; Cross Platform: Craig Baldwin; Invisible Jukebox: August Darnell; Daniel Carter (The quixotic New York saxophonist has blown up a soundstorm with everyone from Test to Sonic Youth, and isn’t afraid to keep the funk); Seoul music (Nat Roe reports on South Korea’s newly unleashed experimental improve scenes, from shamanic freeplay to disemboweled hard drives); Excepter (electronic body music and consciousness-altering improvised marathons collide in this Brooklyn sextet’s discordian disco noise). Epiphanies (Mark Pilkington on out-of-body experiences courtesy of Kraftwerk, Charles Hayward and others).”
| || FUTURE ISLANDS: In Evening Air CD (THR 235CD) 14.00|
“Comprised of J. Gerrit Welmers (synthesizers and programming), William Cashion (bass), and Samuel T. Herring (vocals), Future Islands has continued to make passionate music through an electronic medium for the past four years (although the three have been working and performing since the spring of 2003). They call their music ‘Post-Wave,’ taking in part from the emotional fragility of new wave and coupling it with the power and drive of post-punk. Their music is spearheaded by Welmers, whose layers of synths and drums create the landscape for Cashion’s punching-strum style, that pulses and fights — the two creating noise and bliss. Herring, who has been called ‘one of the most magnetic frontmen in indie rock,’ finds his space in between, carving through the music, at times, with a whispering croon, and at others with a deathly wail.”
| || FUTURE ISLANDS: In Evening Air LP (THR 235LP) 14.00|
LP version on translucent orange vinyl.
| || LAZER CRYSTAL: MCMLXXX CD (THR 241CD) 14.00|
“Lazer Crystal is a musical node comprised of three humans and various mechanisms. They are from the city of Chicago, Illinois and have thus far released two limited selections on the collectors imprint HBSP-2X. The first 12″ single Hot Pink BMX was printed in an edition of 300 copies and spray painted by hand, some with custom textile covers. The following 12″ release EP1 was even more unique. Lazer Crystal asked several artists to contribute artwork for another 300 copy limited release. The results were that approximately 50 people contributed designs and every single record ended up with a unique jacket. These were displayed ‘gallery style’ for a special release on Record Store Day. The members of Lazer Crystal are Nicholas Read (electronics & vocals), Josh Johannpeter (percussion), and Mikale De Graff (vocals & electronics). MCMLXXX is their first full-length. In short: Lazer Crystal believes that we as humans are at the extreme promontory of the centuries. The human race has reached the moment where we must open the mysterious shutters of the impossible to seek the unknown. We are moving beyond Time and Space toward the absolute, since we have discovered eternal, omnipresent speed.”
| || LAZER CRYSTAL: MCMLXXX LP (THR 241LP) 16.00|
LP version in Tron-meets-ancient-Rome die cut LP jacket with full-color insert for “maximum 3D effect.”
|THRONE OF BLOOD|
| || AKA JK: Someone Out There 12″ (THRONE 005EP) 12.00|
AKA JK is Jonathan Kreinik aka Limozine Unlimited aka Tanline (1999-2002) — a NYC-based musician, producer, engineer, DJ, remixer, and photographer. He has engineered or produced records by Trans Am, !!!, Out Hud, etc., and toured behind the mixing console with The Rapture, Le Tigre, LCD Soundsystem, and more. Someone Out There is a reflection of years in basements with sequencers and most importantly, his long-standing friendship with the Rapture boys, culminating in this Vito Roccoforte-produced stinger. Remixes by Kim, Runaway, and Neurotic Drum Band.
| || CUBA SEXTET, JOE: Wanted Dead Or Alive LP (LP 1146LP) 11.00|
Exact repro reissue of this 1966 album. Joe Cuba was one of the biggest names of the Latino music explosion in New York in the 1960s and was at the forefront of the boogaloo craze. The success of this album’s ecstatic opening track “Bang Bang” cemented Joe Cuba as the “Father of Latin Boogaloo.” “The boogaloos are very simple, relying on chants that live crowds could follow easily. In fact, this was a major album that drove the boogaloo dance scene in New York.” — All Music Guide
| || CUBA SEXTET, JOE: El Alma Del Barrio: The Soul Of Spanish Harlem LP (SLP 1119LP) 11.00|
Exact repro reissue of this 1964 album. The sound of Latin music in the 1960s grew out of a Spanish Harlem scene influenced as much by the sound of Black America as by its Cuban roots. El Alma Del Barrio is a tight, grooving nod to Joe Cuba’s East Harlem roots, produced by one of the most colorful jazz producers of all time, Teddy Reig.
| || CUBA SEXTET, JOE: We Must Be Doing Something Right! LP (SLP 1133LP) 11.00|
Exact repro reissue, originally released in 1966. Featuring the hit, “El Pito,” included on Soul Jazz Records’ Nu Yorica Roots! compilation, released in 2000. “When Cuba recorded ‘El Pito’ (‘the whistle’) in 1965, he scored one of the biggest crossover hits of his career. The song laid down the blueprint for the incoming Latin boogaloo style by combining catchy piano montunos (riffs) with infectious hooks.” — NPR
| || DILL, ROLAND M.: Baked Potato 12″ (TRAPEZ 108EP) 12.00|
Roland M. Dill’s “Baked Potato” is an excursion into deep waters, dirt paths, rocky hill tops and descending slopes, bending and twisting the dynamic in different ways, making it a forceful techno epic. “Hash Browns” is a funky affair… it wiggles and squeaks and shifts from acoustic to synthetic to “live recorded” sounds and back. “Bubble And Squeak” is a bit of a bonus track and a DJ tool — the groaning bass line plays a strong and efficient melody.
| || APPLESCAL: A Mishmash Of Changing Moods CD (TRAUM 022CD) 15.50|
The Netherlands’ Applescal presents a hotly-anticipated second full-length album for Traum. These new tracks are cinematic, with moods ranging from uplifting and joyful to dark, melancholic and claustrophobic ones. Working on a stronger conceptual level has allowed Applescal to pull all the tricks out of the bag. “The Curle In Me” is a driving, quirky drum and bass sort of track that works with a disturbing deepness and melancholy. “A Former Curse” is a short interlude which sounds like a falling star, tumbling and spinning around its own axis until it is burned out. “Dialeague” is a heavy and mighty grinding caterpillar of a track, and “The Key Of Genes” features a superbly-composed melody with unearthly, Aphex Twin-like attachment. “MC Iron” feels like a trip through an impenetrable jungle, full of beauty and tension, while “IB OK” is full of droning noises, engine-like, heavily spinning until it gives up its life. “Roofs Of Heaven” is a piece of heavy, Detroit-touched psychedelic rock with great organ parts and feedback. “The Flop” feels like a hard and edgy piece of metal and its beat is like a smack in the face. Hard to imagine that it it turns to Krautrock after that. “Black Spirals” is almost a piece of easy listening with very sweet moments and hilarious changes of patterns and dynamics. “Door Weer En Wind” has a cinematic soundtrack feel — almost classic electronica a la Terry Riley. A Mishmash Of Changing Moods has the fresh and lively spirit of handcrafted electronica, with an incredible analog sound.
| || BJERRING, THOMAS: Stratus 12″ (TRAUM 123EP) 12.00|
The debut from Thomas Bjerring sees a sound evolving that is emotionally deep to the heart, masterfully produced and unique. “Stratus” moves like fog over woods and landscapes. It is rich and mighty in texture but light as well. It is somehow detached and at the same time very touching… a masterpiece of techno. One could say this is the Scandinavian ghost of early Detroit techno-soul — listen to the magic of this epic.
| || CARY, TRISTRAM: It’s Time For Tristram Cary LP (JBH 035LP) 17.00|
LP version; 2nd press on clear vinyl. Subtitled: Works For Film, Television, Exhibition & Sculpture. The Trunk label presents one of the most important, innovative, influential and almost-forgotten artists of all time, British/Australian electroacoustic composer, Tristram Cary. Without Tristram’s inventions and musical experiments, Dr. Who would sound very different. We’d have no VCS3 synthesizers, no Brian Eno, no crazy electronics for Pink Floyd, etc. This is a retrospective of the composer’s work, including some of his unreleased experimental music as well. The third son of famed novelist Joyce Cary, he had a keen interest in music, science and electronics. He studied at Trinity College and served as a radar operator in the Royal Navy as war broke out. After the war, he began building an electronic music studio (the first of its kind in the UK), experimenting with discarded military equipment. By 1954, he was earning a living as a composer, and in 1955 got the job of writing all the music for a new Ealing movie, The Ladykillers. He worked for the BBC on many occasions, most infamously creating the music and otherworldly effects for the Dr. Who Daleks seven part series in 1963. In 1967, he founded the Royal College Of Music Electronic Studio, wrote the groundbreaking music for Hammer’s Quatermass And The Pit, and in 1969 along with Peter Zinovieff and David Cockerell founded EMS (Electronic Music Studios), the UK’s first ever synthesizer company. Their first major products included the VCS3 synthesizer, the suitcase Synthi and the Delaware, equipment that became the modern musical tools of their times. On demonstration tour in Australia he was offered further work, and moved to Adelaide in 1974 where he worked at the University under a number of different musical titles. He left in 1986 and returned to composing, and in 1991 received the Medal Of The Order Of Australia for services to Australian music. He carried on developing sound, consulting and composing for the rest of his life. This is the first time much of Tristram Cary’s musical output has been issued, and it includes his music made for sculpture, for the 1969 Expo, compositions he made for Olivetti using their office equipment and a choir, electronics he devised for Casino Royale, classical music he produced for documentaries and curious effects he developed for films about money and design. It shows he was equally comfortable working in classical compositions, with electronics or working in a concrète style.
| || GRAHAM AND HIS SATELLITES, KENNY: Moondog And Suncat Suites LP (JBH 036LP) 15.50|
LP version. Trunk presents a very rare 1957 album featuring British jazz interpretations of Moondog originals. The exceptional jazz line-up includes Stan Tracey, and the recording is made all the more extraordinary because of the exotic instruments used. And to top it all off, this 1957 recording was also engineered by a very young Joe Meek. This is the first time this fabulous album has been issued since its release 53 years ago. By 1956, the early New York street recordings of the great Moondog had just reached British shores. His primitive percussive sounds struck a new nerve with many artists and musicians, none more so that fine London jazzman Kenny Graham. He was so inspired, that he decided to bring together a band of top-notch jazzers and pay his very own musical homage. The result is this exceptionally rare and unique 1957 album of Moondog cover versions (Moondog Suite) and Graham’s very own complimentary compositions (Suncat Suite). Engineered by a young Joe Meek and starring Stan Tracey, Phil Seamen, Danny Moss, Ivor Slaney, soaring vocalists and a host of strange instruments, this was a truly unique cocktail of sound and musical vision. There is no other recording that would ever bring together Moondog, British jazz and Joe Meek. And the result is an exotic, ethereal and timeless album that will inspire, haunt, beguile and charm for many years to come. Back cover comes complete with the original 1957 sleevenotes, and a biography of Kenny Graham.
| || TIGA: Overtime Remixes 12″ (TURBO 080EP) 12.00|
“Tiga continues his series of remix 12″s for songs from his 2009 album Ciao! The ambitious project features some of the most respected and sought after producers in dance music. ‘For these remixes, I looked to Titans. Standing on the roof of my greenhouse, I called out, ‘Hey you, get off of that impossible cloud and into my car. We’re gonna drive all night ’til we hit Remix City!” Overtime Remixes by Adam Beyer and Jesper Dahlback and Motor City Drum Ensemble. ‘These producers represent four sides of the commemorative dance coin. To me, variety is that spicy element that seasons the living of our very lives.’ Tiga could not be more excited about these vinyl releases, and wants nothing more than fans to share in his enthusiasm. ‘If you purchase all four, I will write your name and credit card information in a special leather-bound book. Also, one copy will include a silver ticket, which you can trade in for a golden ticket. Which does nothing. I’m a dreamer. I see the world through groove-colored glasses, ever watching the horizon for the whole world to come dancing into my arms.'”
| || MANCO, BARIS: 2023 LP (EU 004LP) 33.00|
Türküola’s fourth Bar?? Manço reissue, originally released in 1975. 150 gram vinyl. Tracklist: A1. Ac?h’da Baga Vir! .. A2. Kayalar?n Oglu A3. 2023 A4. Yolverin A?alar Beyler! .. A5. Uzun Ince Bir Yolday?m! .. B1. Yine Yol Göründü Gurbet … B2. Baykoca Destan? … – Gülme Ha Gülme! .. – Gelinlik K?zlar?n Dans? … – Kara Haber ~ Turnan?n Ölümü … – Vur Ha Vur! .. – Durma Ha Durma! .. B3. Tavuklara K????t De! .. B4. Kol Basti! ..
| || ZORN/FRED FRITH, JOHN: Late Works CD (TZ 7634) 14.50|
“Fred Frith and John Zorn have a close working relationship that has been fruitful since they first met in 1978. Close friends and cohorts, veterans of many ensembles and bands, they are two of the downtown scene’s founding fathers. Sharing a love for improvisation, composition and music from all over the map, they have developed a unique duo language that jumps from moment to moment with lightning speed and a near-endless imagination. Their yearly sold-out duo performances are some of the most anticipated events in New Music and while their previous releases have all been documents of these exciting concerts, here they enter the studio for the first time in a beautiful recording of improvisation at its very best. Two of the world’s greatest experimental instrumentalists in wild telepathic interplay.”
| || ROTHENBERG, NED: Quintet For Clarinet And Strings CD (TZ 8073) 14.50|
“A major new work by this imaginative musical mastermind! Born in 1956 in Boston and now residing in Brooklyn, Rothenberg has studied at Oberlin Conservatory and Berklee School of Music. Since 1979 his remarkable reed playing and compelling compositional strategem have played a central role in New York’s fertile downtown scene. This CD blends his brilliant classical writing with the polyphonic and microtonal woodwind techniques of his acclaimed solo music. A master of multiphonics, circular breathing and overtone control, Ned here uses his horn in both its standard melodic role and as rhythmic and harmonic engines to create rich new tapestries of sound in combination with the strings.”
| || AUTORYNO: Pastrami Bagel Social Club CD (TZ 8150) 14.50|
“A wild klezmer/rock fusion by this crazed band of Paris-born punk rockers. Led by the extraordinary young guitarist David Konopnicki, AutorYno hits with a hard-edged sound and an exciting musical imagination. Full of youthful energy, massive guitar and centered by a powerful beat, they present eight instrumentals that combine the power of rock with a taste of Jewish tradition. With Eyal Maoz, Jon Madof, Yoshie Fruchter and a handful of others, David is spearheading a new Jewish rock music that has passion, intensity, honesty and a fresh open sound.”
| || GOULDMAN, GRAHAM: The Graham Gouldman Thing LP (GRAGO 068LP) 30.00|
“Reissue of the debut album from 1968 by this legendary singer and songwriter, famous for composing hits for Herman’s Hermits, The Hollies, The Yardbirds and more. Produced by Graham Gouldman himself with help from John Paul Jones and Eddie Kramer, this is a baroque-pop, ’60s pop-syke masterpiece, containing superb renditions of famous Gouldman compositions like ‘No Milk Today’, ‘Bus Stop’, ‘For Your Love’ along with impressive cuts like ‘The Impossible Years’, ‘Upstairs, Downstairs’, ‘Panwnbroker’…A fantastic album which encapsulates the sound of swingin’ London and a must for anyone into British ’60s pop.” Originally released in BMG.
|UPSET THE RHYTHM (UK)|
| || KIT WITH MIKE WATT: Dreams Are Burned 7″ (UTR 026EP) 6.00|
“KIT are a super-melodic experimental rock band. They make very fast, short, defiant songs that play with and subvert pop music. Maybe they’ll start off playing a song straight (sweetness and light abounds), before you know it everything gets flipped on its head and chased into chaotic abstraction. KIT songs can typically embrace hardcore rush, pop verse, jagged noise and cheer rally, all within the same moment; raw positivity and instinctive song-writing holding it all together. KIT has written a batch of new songs that break past song-lengths and delve into structural experiments with the ferocity of past efforts. Vice Cooler hit on the idea of having Mike Watt guest on the tracks, and while George’s suggestion that we cover Jefferson Airplane’s psychedelic classic ‘White Rabbit’ with Watt on vocals was canned, they did re-visit one of Broken Voyage’s tracks, ‘Flat Earth’, a paean to the band’s home town of Oakland. Three others are filled out with melodic runs by the Minutemen and Stooges legend (the bass used on this jam has sadly since been stolen by some karmically cursed Canadians) while KIT’s Stove Touchstone holds down the official bass duties. Some horn overdubs with Jenna Thornhill of Silver Daggers and Mika Miko also find their way into the mix.” On heavyweight gray vinyl.
|VINYL LOVERS (RUSSIAN FEDERATION)|
| || PIXIES: Pixies LP (VL 9009080LP) 24.00|
180 gram LP, black vinyl version with full color glossy inner sleeve. “Before the indie rock scene was blown wide open by Nirvana in the early nineties, the Pixies loomed large on college radio. By taking standard pop formats and turning them inside out, the band spelled out the new commandments of alterna-rock to a new generation of would-be grunge rockers. In March 1987, as the Pixies were just beginning to gain a reputation around the Boston area, they recorded their first demo, known by Pixies fans as The PurpleTape. This demo landed the Pixies their first record deal with 4AD, and the eight songs that appear on their first album Come On Pilgrim were culled from this same demo. However, there were nine more songs that didn’t make the cut, and these are the songs that are found here. That original raw 1987 demo comes early versions of ‘Here Comes Your Man,’ ‘Down The Well’ and ‘Build High,’ as well as the hidden gem ‘Rock A My Soul.’ It is both musically satisfying and interesting to hear the Pixies at their very beginning, before they were influenced by the mighty Steve Albini.”
| || ONLY ONES, THE: The Big Sleep: Live In Europe 1980 LP (VL 900946LP) 24.00|
“Although The Only Ones officially disbanded in 1981 after the release of their third album, they have never been forgotten, influencing such bands as the Replacements, Blur, the Libertines, and countless others. In fact, the band has been so deeply influential that many of their songs feel as if they were written yesterday, and hits like ‘Another Girl, Another Planet’ have become genuine rock standards. Peter Perrett’s witty, but sincere lyrics of love lost, along with a unique musical style that flirted with power pop, new wave, punk, and hard rock made them one of a kind in the thickly populated undergrowth of 77 British punk. This album, recorded live in Europe in 1980, has it all: their best songs played while the band was at its peak, plus five songs never before heard on any other live recording.”
| || SMITH & ED BLANEY, MARK E.: The Train Part Three CD (VP 503CD) 18.00|
“Mark E. Smith has been called a maverick over the last thirty plus years that he has led the Fall. Many people have tried to bend Mark E. Smith to their will and failed time and time again. If being a maverick means making music under your own terms whenever and with whomever you want, then Mark E. Smith is a maverick. Ed Blaney was a member of the Fall during late 2000-2001, playing on the album Are You Are Missing Winner, released in late 2001. In 2008, Smith and Blaney embarked on what seemed like a spontaneous project recording and releasing a number of limited edition singles. These singles were then collected together and released on an album entitled The Fall’s Mark E. Smith and Ed Blaney. The Train Part Three is the second album recorded by the duo outside of the Fall activities. Recorded in October, November and December 2008, these are field recordings that have been edited in the studio. The recordings were made in Blackpool, Salford, York and shire, the midnight train from Sophia-Karnobat (Bulgaria) and finally edited in Blueprint Studios Salford by Gary Hadfield under the production supervision of both Mark E. Smith and Ed Blaney.”
| || SLAPP HAPPY: Ça Va CD (VP 509CD) 18.00|
“Slapp Happy were a British/German rock band featuring Anthony Moore, Peter Blegvad and Dagmar Krause. The band was formed in 1972 and moved to the UK in 1974, where they merged with the band Henry Cow, although this merger didn’t last long and the band subsequently split. There have been subsequent reunions alongside solo careers for the various members. This recording was, in effect, a reunion album originally released in 1998. The album contains 12 songs including ‘Scarred For Life’, ‘Moon Lovers’, ‘King Of Straw’ and Let’s Travel Light’. Whilst fitting in well with the bands previous work, Ça Va has a modern feel and was received well on its initial release in 1998. The album has been unavailable for some time and this reissue will be warmly received by this band’s dedicated and loyal fan base.”
| || SLAPP HAPPY: Live In Japan – May, 2000 CD (VP 523CD) 18.00|
“This recording was made in Japan in May 2000 at three concerts which took place in Tokyo, Sapporo and Kyoto. The material performed was drawn from four of the band’s albums (Sort Of, Slapp Happy/Acnalbasac Noom, Desperate Straights and Ça Va). The band chose to perform the concerts by playing all the instruments themselves without the aid of other auxiliary musicians. Tracks include ‘King Of Straw,’ ‘Riding Tigers,’ ‘Michelangelo,’ ‘Is It You?,’ ‘Casablanca Moon,’ Scarred For Life’ and ‘Let’s Travel Light.'”
|WAH WAH RECORDS (SPAIN)|
| || AMON DÜÜL: Paradieswärtz Düül LP (LPS 060LP) 26.00|
2010 repress. Nice, authorized reissue of one of our favorite albums of all time! With the 7″ bonus tracks. “Recorded in 1970, Amon Düül’s only album for Ohr was a visionary slice of acid-folk which has gained cult status as years passed by. Ritualistic folk-rock, pastoral hippie songs, stoned jams, Eastern flavors, mystical passages and heavy hypnotic riffing which are in fact very different from the early Amon Düül epic freaked-out improvisations (Psychedelic Underground) or Amon Düül II complex and psyched-up progressive works (Phallus Dei). These were in fact archival recordings done by a different incarnation of Amon Duul, one that combined members of both factions into a floating line up welcoming many a guest, and which were released by R.U. Kaiser without the musicians knowledge or authorization, most likely in order to catch up with Amon Düül II rising popularity. All in all, a mythical recording featuring such underground classics as ‘Love Is Peace,’ ‘Snow Your Thurst Sun Open Your Mouth’ and ‘Paramechanische Welt.’ Included also on our edition is their sought after Ohr single: ‘Paramechanical World’ / ‘Eternal Flow.’ Another legendary title from the Ohr catalogue rescued by Wah Wah for your listening pleasure. Strictly limited to 500 copies. Sleeve reproducing original artwork from the Ohr original issue. Featuring bonus tracks ‘Paramechanical World’ and ‘Eternal Flow’ (originally released as 7″ single).”
|WARP RECORDS (UK)|
| || FLYING LOTUS: Cosmogramma CD (WARP 195CD) 15.50|
“Limited edition first pressing comes in gold foil block slipcase. When global bass music matriarch Mary Anne Hobbs told The Fader ‘Flying Lotus, for me, is like the Hendrix of his generation,’ it seemed more than an audacious opinion, and with the arrival of Cosmogramma, it’s revealed as a revelation. In the past couple of years since his debut album, Los Angeles, Flying Lotus has grown into the position of being far more than a producer; he has helped materialize a far-reaching strain of musical ideology that has encompassed not only a global family of like-minded artists, but also a nearly infinite palate of planetary (and interplanetary) sonics. No longer simply an outgrowth of Ellison’s machines, the music here is also the product of live instrumentalists from the worlds that Cosmogramma engages. There’s the constant bass presence of ‘Thundercat,’ a cornerstone of Sa-Ra Creative; there’s Rebekah Raff’s harp connecting the dots between the music of Harry Partch and Ghostface Killah (both of which she’s performed); there’s an appearance by the tenor sax of Steven’s cousin and jazz royalty, Ravi Coltrane, and by the voice of one Thom Yorke, an Oxford bloke taking respite from singing in the most influential rock band of the 21st century.”
|WHEEL & DEAL (UK)|
| || FLUX PAVILION/J SWEET: Meathead/Bass Abuse 12″ (WHEELY 006EP) 11.50|
“Massive 12″ from N-Type’s label featuring two ultra hot producers, Flux Pavilion & J Sweet. Flux Pavilion’s ‘Meathead’ is a complete rave smash. J-Sweet has been a massive part of the grime scene from the very beginning. His track fills the gap between dubstep and grime. ‘Bass Abuse’ is big, bassy and grimey in all the right places. Two A-sides on one vinyl, miss at your peril.”
|WHITE NOISE (GERMANY)|
| || FIXMER, TERENCE: Let’s Take A Ride 12″ (WHITE 008EP) 12.00|
“Terence’s 2nd release for White Noise provides some dark and menacing grooves that will easily bring a crowd to an emotional crescendo. Fixmer is the man.” On white vinyl.
|WOLFSKUIL LIMITED (GERMANY)|
| || GATZIGRISTOS, GIORGOS: Broomientje 12″ (WLTD 009EP) 12.00|
Giorgos Gatzigristos has been a regular Wolfskuil artist ever since the label started. The title track is a deep, freaked-out techno masterpiece combining old school sounds with a new school approach. Unbelievably heavy, without losing warmth or dynamics. “Gulp” takes the title track’s deepness to big-room proportions as synth patterns swirl out of control. Big breaks, big climaxes, big sound. On volcanic ash cloud-colored vinyl.
|WOLFSKUIL RECORDS (GERMANY)|
| || ESSER, DARKO: Balans Remixes Part 2 12″ (WOLF 017.2EP) 12.00|
Wolfskuil Records presents part 2 of a 4-part series of remixes from Darko Esser’s debut album Balans. Claro Intelecto makes “The Return” a square bass extravaganza and more house-oriented than ever. Benny Rodrigues’ re-rub of “The Goodbye Song” is a slow, hypnotic builder that has been causing mayhem. There are also two remixes from Stephen Brown — mix #1 of “Fix” is a jacking Chicago dancefloor tool, whereas mix #2 goes deep into the Detroit realms for some proper emo techno.
|WORLD PSYCHEDELIC FUNK CLASSICS|
| || VA: Brazilian Guitar Fuzz Bananas 2LP (WPFC 102LP) 19.00|
Repressed. Deluxe gatefold 2LP version; 2nd pressing, no longer contains the (marginally viable) 3CD glasses. “The giant 24 page full color booklet contains a wealth of imagery and detailed annotation and liner notes in both English and Portuguese.” Artists: Celio Balona, Loyce E Os Gnomes, The Youngsters, Serguei, Fabio, Tony E Som Colorido, 14 Bis, Banda De 7 Legues, Ton E Sergio, Ely, Com Os Falcoes Reais, Marisa Rossi, The Pops, Loyce E Os Gnomes, Piry and Mac Rybell.
|WURST MUSIC CO|
| || NEUROTIC DRUM BAND: Robotic Hypnotic Adventure Remixes 12″ (WET 1011EP) 12.00|
Neurotic Drum Band’s monster opus, “Robotic Hypnotic Adventure” has been hammered the world over. Here are three takes on this anthem from three excellent producers. Abe Duque employs the original’s strings and synths to great effect before finally letting loose the huge piano hook a full 5 ½ minutes in. And lest we forget those cheeky baby samples. Runaway’s “Brooklyn Club Jam” gives the original a run for its money, while Harkin & Raney turn in an adrenalized, bouncy rub.
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