click on cover art or album info to order online

a secure order form is available for credit card purchases.
we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 219 Medford Street / Malden, MA 02148 / USA

for more information about shipping or ordering
please refer to our FAQ:

direct any questions to

ASUN 2010.01LP DISCO BLAZE: Jump Back! LP (ASUN 2010.01LP) 28.00
“Superb funk rock rarity from Nigeria, mid-’70s, with some good electric guitar. Absolutely unknown album. Remastered, but not in pristine sound quality as the few located copies are all trashed, but much more than enjoyable.”
SITS 003EP MILLS, JEFF: Something In The Sky 3 12″ (SITS 003EP) 9.00
The latest installament in the mysterious UFO-themed “Something In The Sky” project. Tracklist: A1. Residue; A2. Without A Sound; B1. Roswell; B2. No Trace.
BC 302LP SINGH, CHARANJIT: Ten Ragas To A Disco Beat 2LP (BC 302LP) 25.50
Gatefold 2LP version. Until recently it wasn’t much more than some rumors on the web: an LP called Ten Ragas To A Disco Beat featuring acid house avant la lettre, that was recorded in 1982 in India, 5 years before the first acid house record, Acid Trax by Phuture. It was even rumored to be a prank spawned by Richard D. James (Aphex Twin). So it turns out, the record was no rumor. Only a few hundred copies of the LP were ever pressed, and only a handful seem to have survived. Moreover, the LP outdoes all expectations. Performed on the synths that would later define acid house, the Roland TB-303 and TR-808, the album sounds light years ahead of its time with its repetitive beats and hypnotic electronic melodies. Its maker, Bollywood session musician Charanjit Singh (featured on Sublime Frequencies’ Bollywood Steel Guitar compilation), set out to translate ancient Indian classical ragas to the modern synthesizer and in doing so invented house music along the way. The 10 tracks make a consistent listen from A to Z. Its restrained minimalism and lack of cheesiness makes it incredibly contemporary, sounding animated, fluid and unabashedly alive. Includes extended liner notes on Charanjit Singh and the context in which the album was recorded. “…a haunting, exotic prefiguration of acid’s steely futurism, a bit like Kraftwerk live at the Taj Mahal, somehow summoned from the past but envisioning the future at the same time.” — Resident Advisor
BPC 216EP ALLIEN, ELLEN: Flashy Flashy 12″ (BPC 216EP) 12.00
Ellen Allien gives you a taste of her album Dust (BPC 217CD/LP). “Flashy Flashy” prances along with a light heart and a vague sense of bewilderment, perfectly content and probably a little bit nuts. The bass line dips, the beat scuttles along, and the synth glistens nervously between all kinds of curious crackling and fizzling. Alexi Delano’s take keeps the kick drums taut and the ARP ready for battle. Also includes a remix by Nicolas Jaar.
CADENZA 049EP LUCIEN-N-LUCIANO: Cuidad De Luz 2×12″ (CADENZA 049EP) 25.50
Swiss-Chilean hero Luciano returns with a major double-pack for Cadenza proper, featuring four more remarkable tracks that capture his many versatile talents, from driving house tools to psychedelic anthems to bright, melodic electronica. Making the release even more significant is the fact that this is Luciano’s first release under his Lucien-N-Luciano alias since 2004. Put together, these two EPs add up to 79 minutes of music — that’s more than most albums!
CVAN 012LP MAIOVVI, ANTONI: The Thorns Of Love 2LP (CVAN 012LP) 18.00
2LP version. This is the third album by Berlin’s Anton Maiof aka Antoni Maiovvi. The Thorns Of Love is an ode to a broken heart that embraces Italian drama and euphoric fear. His music exists somewhere between Patrick Cowley’s Hi-NRG epics, Arthur Russell’s melancholic beauty and John Carpenter’s traumatizing soundtracks. Antoni Maiovvi is the name by which Anton Maiof unleashes his bastard offspring of disco and psychotronic horror, and here with The Thorns Of Love he has produced a deeply personal symphony to love lost and the sanctifying power of the dancefloor. Antoni Maiovvi is a nefarious creature of the night, a figure of twilight opulence and the love child of Evelyn Thomas and Lucio Fulci conceived in the lurid backrooms of the Boccaccio Club. The sweatbox is in his DNA, throbbing analog circuitry courses through his flesh like rivers of blood and where his heart once lived there is now only yearning for the alchemical marriage of sex, death and technology. From Naples to Frankfurt, he has stalked the dancefloors of Europe, planning this moment — and at last, in this compendium of unbridled fist-clenchers, his time has come. Now he will stop at nothing to bring his arpeggiated talisman down onto the souls of men, squeezing out that last breath of humanity in a pulsing, Dantean dance-macabre. The Thorns Of Love takes a unique, muscular and cerebral approach to electronic dance music, bringing together the Italo love explosion, spine-tingling Euro-horror and the melancholic proto-techno musings of early Model 500 and “Sharevari.” Maiovvi takes the helm of this noir-tinged Trojan horse, carving out a dancefloor machine with commanding synth-work, operatic drums and mind-bending atmospherics. As the album climaxes and the smoke pours across a crowded room, he steps out from the shadows and delivers his final eulogy to 20th century hedonism, preaching with the unhinged vocals of a coked-up Brian Ferry. Love may be the drug, but for Maiovvi, death can be the only future.
Z 30580LP PAUL, BILLY: Going East LP (Z 30580LP) 14.00
Exact repro reissue of Billy Paul’s first album, the 1971 spiritual jazz classic. Lesser known but superior than his follow-up 360 Degrees of Billy Paul, this album opens with the fantastic “East” and was produced by song-writing duo Kenny Gamble and Leon Huff.
SNAX 615CD 13TH FLOOR ELEVATORS: Headstone: The Contact Sessions CD (SNAX 615CD) 17.00
“The first studio recordings by the 13th Floor Elevators from January and February 1966 made in Texas for an album which never saw the light of day in those heady drug-filled days. Mono versions of the eleven original tracks, including the groundbreaking ‘You’re Gonna Miss Me’ and ‘Fire Engine’ plus four remastered stereo alternative takes. In addition to the studio material this package includes four previously unreleased live recordings from La Maison in 1966, including ‘We’ve Gotta Get Out Of This Place’ and two other previously unreleased tracks. Recordings remastered and remixed in 2007 by the original producer Walt Andrus. Presented in a luxury digibook with a detailed 16-page booklet written by band expert Paul Drummond.”
CLR 031EP SPEEDY J/MONOLOC: Armstrong/Pumpkin 10″ (CLR 031EP) 12.00
This is the 3rd release for the label’s 10 year anniversary release cycle. Mixed and edited by Chris Liebing himself, these releases are taken exclusively, and are released individually, as a five-part set. The first track to drop on the A-side is by none other than Chris Liebing’s closest friend Speedy J. This track is called “Armstrong” and it originally was intended for release on Speedy’s own label Electric Deluxe. The B-side track “Pumpkin” is by Monoloc.
COR 074EP SIS: Sceam/Break Down 12″ (COR 074EP) 12.50
The mixture of hypnotic reduction and the high recognition value of Sis’ sound fit perfectly with Cocoon Recordings. “Sceam” is a trip through vocal-like echo chambers that lose themselves within the depth of reverb — its Oriental aesthetics being similarly credible as the tidy bass beat is. “Break Down” is a little more hesitant — a dazzling and percussive dub-house sensuality from the infinite loop that makes you look forward to the debut album.
C 32284LP BROWN, CLIFFORD: The Beginning And The End LP (C 32284LP) 17.00
Exact repro reissue, originally released in 1973. Featuring Clifford Brown (trumpet), Vance Wilson (alto and tenor sax), Duke Wells (piano), Eddie Lambert (guitar), James Johnson (bass), Osie Johnson (drums) and Chris Powell (vocals, percussion). Tracks include “I Come From Jamaica,” “Donna Lee” and “Night In Tunisia.” “The first and last recorded performances of one of the greatest soloists in the history of jazz.”
CG 30450LP SMITH, BESSIE: Empty Bed Blues 2LP (CG 30450LP) 21.00
Gatefold exact repro reissue of the 1971 collection of recordings by the “empress of the blues.” One of the most popular female blues singers of the 1920s-30s, Smith recorded alongside the likes of Louis Armstrong, Bob Fuller, Benny Goodman, Coleman Hawkins and Fletcher Henderson. Songs include “Me And My Gin,” ” I’d Rather Be Dead And Buried In My Grave,” “Devil’s Gonna Get You” and “Poor Man’s Blues.”
CL 2589LP CRYAN SHAMES, THE: Sugar And Spice LP (CL 2589LP) 14.00
Exact repro reissue, originally released in 1967. Razor-sharp harmony-fueled ’60s pop, including hits like “We Could Be Happy,” “We’ll Meet Again,” “Ben Franklin’s Almanac,” “Hey Joe” and “We Gotta Get Out Of This Place.”
CS 8607LP HAMILTON QUINTET, CHICO: Drumfusion LP (CS 8607LP) 14.00
Exact repro reissue, originally released in 1962. Featuring Chico Hamilton (drums), Charles Lloyd (tenor & flute), Garnett Brown (trombone), Albert Stinson (bass) and legendary Hungarian guitarist Gabor Szabo on guitar. “…a fascinating document… This group’s sound was much harder and bluesier than Hamilton’s previous quintets, and Lloyd’s heated, Coltrane-inspired tenor sax was its most prominent voice. Szabo’s cool, well-paced soloing is reminiscent of Jim Hall’s, and Brown proves to be a far more interesting soloist that I would have ever expected. Hamilton’s playing is remarkably aggressive, and his crisp, taut, nervy solo on ‘Tales’ reveals that he had much more going on, chops-wise, than most jazz drummers. However, the real hero of this recording is the bassist, Albert Stinson, whose supple, probing lines weave a graceful counterpoint to Hamilton’s crackling drums.” — Jazz Weekly
CS 9432LP CYRKLE, THE: Neon LP (CS 9432LP) 17.00
Exact repro reissue, originally released in 1967. “…fans of typically ’60s harmonies, artful production, and crafty integration of acoustic and electric dynamics with a wide range of instruments will find much to enjoy…. It does include a Paul Simon-Bruce Woodley collaboration, ‘I Wish You Could Be Here,’ that Simon & Garfunkel never put out on release, though Woodley’s group, the Seekers, did put out a version. About the best of the lot are ‘Our Love Affair’s in Question,’ which (whether intentionally or not) sounds quite a bit like 1966 Simon & Garfunkel, and ‘Don’t Cry, No Fears, No Tears Comin’ Your Way,’ which is tougher than most of their output. There’s also a rather wacky cover of the Beatles’ ‘I’m Happy Just to Dance With You,’ complete with the cheesy twanging sitar that decorated several of the Cyrkle’s songs.” — All Music Guide
KC 32063LP BATTEAUX: Batteaux LP (KC 32063LP) 14.00
Brothers David (Buskin) and Robin Batteau had careers writing songs for TV, film and numerous Top 40 entertainers, but this 1973 album inspired by their father’s dolphin/human communication project (which, according to the cover, apparently involved swimming naked with them), is a lost gem, featuring the hit-that-never-was, “High Tide,” a free soul aquatic space groover that was later sampled on Ghostface Killah’s track “Underwater,” from the album Fishscale. Exact repro reissue.
Exact repro reissue, originally released in 1957. This is French composer/arranger André Popp working under a pseudonym: Utilizing half-speed, double speed and backwards recording techniques, for trombones, vocals, vibraphones, flutes, saxes, trumpets, tape delay, accordion, etc. Following swiped from the pen of Johan Kugelberg!: “This record is the créme de la créme of fucked up musique concrete/easy listening records. Any avant garde tape manipulation technique to known to man in the late 50s is utilized to the fullest extent of the law of ridiculousness.” CD released on Basta.
CRM 060EP METRIKA: Paradox 12″ (CRM 060EP) 12.00
Metrika returns for his second Crosstown Rebels release, Paradox, complete with a Spencer Parker mix that morphs the original into a slow-burning dancefloor bomb. “Paradox” is a driving monster of a track, charged up with an off-kilter, psychedelic vocal and unremitting melodic bass lines. The acid-tinged sounds are reminiscent of the early energy in dance music, while the grand production brings it up-to-date. Metrika delivers a fine example of his skills once again, sure to light up dancefloors worldwide.
CRM 061EP GLIMPSE: Runner 12″ (CRM 061EP) 12.00
This is the 4-track vinyl sampler of Glimpse’s album Runner (CRM 010CD), touching on the experimental improvisation of jazz, with the spiraling loops and fluid instrumentation of “I Know I Show It,” and the marimba-driven monster of “Walk Tall.” “Things To Do In Denver” has a rougher urban edge, while “Enjoyable Employable” has a dubby, electronica feel. Christopher Spero (aka Glimpse) has been bubbling gently amidst the waves of the underground dance scene for a while now, with more to come.
RUNE 301/02CD MATS/MORGAN BAND: The Music Or The Money? 2CD (RUNE 301/02CD) 21.00
“Keyboardist/vocalist Mats Öberg and drummer Morgan Ågren have been playing together for nearly 30 years, since Mats was 10 and Morgan was 14! They were ‘discovered’ at a very young age by Frank Zappa, who invited them to join his band (Zappa’s ill health ultimately cancelled these tour plans) and they are musical legends in their native Sweden and beyond, known for their wild and funny musical performances. The Music Or The Money is their second album and was originally released in 1997 and has never been available other than at the group’s shows. This adds over 45 minutes of unreleased material. For fans of: Bruford, Allan Holdsworth, Mahavishnu Orchestra, National Health, Return To Forever and Frank Zappa.”
RUNE 303/04CD CURLEW: A Beautiful Western Saddle/The Hardwood CD/DVD (RUNE 303/04CD) 16.00
“For about five years in the mid 80s/early 90s, not enough people seemed to realize that the best live band in the USA was Curlew. Their heyday featured the classic line-up of leader George Cartwright (saxes), Tom Cora(cello) (who also played with Holland’s well known art-punk band, The Ex), Davey Williams (guitar), Ann Rupel (bass) and Pippin Barnett(drums). Curlew packed the clubs (CBGBs, The Knitting Factory, etc), toured hard, and thrilled audiences and critics alike with their unique, infectious blend of punk-jazz/downtown sound, roadhouse blues & a distinctly Southern aesthetic, leading The New York Times to call them, ‘The best of the unsigned, genre-busting downtown groups’. One of Cuneiform’s early successes, but out of print for years, this reissues A Beautiful Western Saddle, coupled with the band’s never- before-on-DVD concert film The Hardwood, as well as an hour of unreleased concert footage from the Beautiful Western Saddle tour with Amy. All at a very special price!” NTSC/all-region DVD format.
“Royal Toast is the long-awaited fifth release by this sensational ‘jazz and beyond’ ensemble. Led by twice Grammy-nominated drummer/ composer John Hollenbeck, who The Village Voice called, ‘…superb, technically ingenious… passionate and serious, but also playful and funny…’, the band features four other versatile and acclaimed players: Drew Gress (bass), Matt Moran (vibes), Ted Reichman (accordion) and Chris Speed (tenor sax, clarinet), all of whom are bandleaders in their own right in addition to their work with Claudia. The quintet is here supplemented by pianist Gary Versace, a longtime collaborator of Hollenbeck’s (including the composer’s Large Ensemble and in the Refuge Trio along with vocalist Theo Bleckmann). The addition of Versace means that half of the band is now essentially playing percussive instruments, giving Hollenbeck more opportunity than ever to follow his polyrhythmic muse.”
DAIS 013LP BIANCHI, MAURIZIO: Endometrio LP (DAIS 013LP) 19.00
“First ever vinyl reissue of the highly coveted classic LP by Italian noise composer/ sound visionary Maurizio Bianchi. Originally released in an extremely limited private press quantity in Italy in 1983, Endometrio showcased M.B. at his most crucial turning point, delving into the uncharted waters he aptly titled ‘bionic music’, blending organic electronics with contorted sounds of the human body to compose one of the most interesting ambient records to date. Copies of the original LP are practically non-existent and hard to come by, therefore making this reissue an important addition to any experimental aficionado’s audio library. Complete with current liners and artwork insert from Maurizio Bianchi, limited to 500 hand numbered editions.”
DKR 014EP MANKIND: These Three Girls/Country Life 12″ (DKR 014EP) 11.00
“Double-sided late ’80s digital monster, from longtime collaborators Sydney ‘Mankind’ Francis and Dennis ‘Jah D’ Fearon! Jah D is one of the unsung heroes of reggae music – uncredited session player and arranger on countless classic sides, including many from Studio One, much of Joe Gibbs’ classic roots material, Junior Dan’s tunes, as well as piano tuner extraordinaire at just about every legendary studio in Jamaica. Jah D continues to arrange and produce music regularly at his Grant’s Pen studio, along with his son, on their own Builder’s Music label. Sydney ‘Mankind’ Francis began as the singer in Jah D’s former band Food Clothes & Shelter, while voicing tunes for early ’80s labels such as Music Ambassador. By the time of the full-on digital explosion of the late ’80s, Mankind was honing his skills as a solo artist, voicing tunes for big labels of the day, such as the wicked ‘Hot Number’ for Stereo One. It was around this same time that Mankind and Jah D entered Aquarius studio, to work on making some tunes intended for Mankind’s debut album, and to be voiced over some wicked new digital riddims freshly built by Jah D on the new digital keyboards and drum-machines which had fast become the standard bearers in dancehall production. Two tunes from this session were given to an upstart UK producer for issue on his new label, and there you have ‘These Three Girls’ and ‘Country Life’, originally issued on 12″ via the Jah Man label, only in UK. Over twenty-years later, these tunes have been rightfully recognized by astute listeners as classics of their era – the riddims sharp and crisp, the vocals a sweet match, the dubs…heavy! Digikiller humbly re-presents this great music of our friends, these two tunes are one in the world!”
LP version. This is Heather Woods Broderick’s debut album — >From The Ground is built around warm, reverberating atmospheres and familiar yet striking melodies, gently wrapping around the listener and finding magic in subtlety. Her soft voice matches the delicate neo-classical arrangements that are as light as a feather. Careful attention has been paid to the album’s understated production, giving the feeling that these are lullabies pulled straight from the still morning air. Broderick’s songs make the case that sometimes starting out somewhere simple is often better. At the core is Heather and her guitar and throughout From The Ground that combination is its greatest strength. Plucked and strummed chords provide the foundation from which these songs take flight. The record is populated by lyrically-engaging songs and impressive instrumentals that take the listener into a world full of Indian summers and pink sunset skies. It’s inevitable that anytime From The Ground comes up, the fact that Heather Woods Broderick is, indeed, the older sister of everyone’s favorite ultra-talented multi-instrumentalist Peter Broderick is mentioned, but his string arrangements and production on the album cannot be overlooked. They add another layer to compositions that are already stunning, further making the case that From The Ground is an alluring yet subtle force to be reckoned with. From The Ground was originally released on CD by Preservation Records (Australia). This limited LP edition features new artwork and a previously-unreleased bonus track. Vinyl cut at Dubplates & Mastering, Berlin. Includes a hidden locked groove.
DOX 806LP MONK, THELONIOUS: Genius Of Modern Music: The Complete Two Record Set 2LP (DOX 806LP) 30.00
“Volumes 1 and 2 of Genius of Modern Music are finally available for the first time as one deluxe double LP set, featuring the original track listings from the first 12″ versions, originally released on Blue Note in 1956. Sides A & B, originally released as Genius Of Modern Music, Vol. 1 (BLP-1510), feature Monk’s recordings as a bandleader in 1947 and Sides C & D, originally released as Genius Of Modern Music, Vol. 2 (BLP-1511), feature his recordings as a bandleader for Blue Note in 1951-1952. The 1947 recordings, recorded when Monk was 30 years old, are Monk’s first as a bandleader and just a glance at the track listing makes one understand why Blue Note felt it appropriate to use that title for these albums. This was Monk’s first major recording, and many of the tracks here have become jazz standards.”
DOX 807LP EVANS, BILL: New Jazz Conceptions LP (DOX 807LP) 21.00
“1956 debut album by piano genius Bill Evans. His label, Riverside Records, agreed to record him after a friend played Evans’ demo tape over the telephone for one of the producers! Two years later the young Evans would already be playing in the legendary Miles Davis sextet!”
DOX 809LP VA: Pal Joey Original Motion Picture Soundtrack LP (DOX 809LP) 21.00
“Pal Joey was a Rodgers and Hart musical debuting on Broadway in 1941 and featuring Gene Kelly as Lounge Lizard Joey Evans. For the 1957 film adaptation Sinatra, of course, plays the male lead and Rita Hayworth and Kim Novak play his love interests. The soundtrack features Sinatra singing many of his best Rodgers and Hart material like, ‘The Lady Is A Tramp,’ ‘There’s A Small Hotel,’ and ‘I Didn’t Know What Time It Was,’ however, the female voices heard on several of the tracks are not the voices of Rita Hayworth or Kim Novak. Rita Hayworth almost never did her own singing in her films, and the voice on this soundtrack is actually the voice of Jo Ann Greer, while the voice of Kim Novak is actually the voice of Trudy Erwin (both professional singers used often by Hollywood to dub singing). Sinatra, of course, does his own singing, and in 1957 his singing and performing was at its peak, and this film and its soundtrack (the best Sinatra ever did) is a crystal clear snapshot of that.”
DOX 811LP TRISTANO, LENNIE: New York Improvisations LP (DOX 811LP) 21.00
“One of jazz music’s best kept secrets, Chicago born pianist Lennie Tristano was a major innovator in his field and is considered one of the greatest jazz pianists of all time. The blind pianist of Italian descent was also the first jazz musician to perform and record in the free jazz style. In 1949 (several years before Ornette Coleman), his quintet recorded what is widely considered the very first free jazz album. However, Tristano was suspicious of record labels and recorded very rarely, preferring to concentrate his efforts on teaching, opening one of the first jazz schools in NYC in 1951 (students included Charles Mingus, Lee Konitz, Wayne Marsh, among others), making the few records he did record all the more significant. This album, originally released on his own Jazz Records label (he was also one of the first jazz musicians to start his own record label) was recorded in 1955-56 in Tristano’s Manhattan studio and features Peter Ind on bass and Tom Weyburn on drums.”
DOX 817LP DAVIS, MILES: Milesin’ 3LP (DOX 817LP) 36.00
“On May 11 and October 26, 1956 the Miles Davis Quintet, featuring John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass and ‘Philly’ Joe Jones on drums, went into the studio to record two mammoth sessions in the Rudy Van Gelder studio. This studio time resulted in four legendary hard bop albums: Cookin’, Relaxin’, Workin’, and Steamin’ with the Miles Davis Quintet. For these sessions the quintet simply played their live set straight through, as if they were playing at a club. One take. That’s it. And as a result, these albums are as close as anyone (who wasn’t there) will ever come to knowing what one of the most memorable jazz combos in history must have sounded like live. The incredible tension between all five musicians shines through — Miles’ poised and sparing trumpet in stark contrast with Coltrane’s more urgent and note heavy sax, backed by one of the best rhythm sections in jazz — and the studio banter that can be heard makes it feel like you are in a stage-side seat. Interestingly, there is very little original material, but what we do have is a glimpse straight into the heart of what was popular in jazz music at the time. Because of the unique way in which these albums were recorded, it is only fitting that they be brought together in one package, and on vinyl as nature intended. Now they have also been remastered by the original sound engineer Rudy Van Gelder himself, who commented, ‘I remember those sessions well, I remember how the musicians wanted to sound…Today, I feel strongly that I am their messenger.'”
DOX 820LP EVANS, BILL: Everybody Digs Bill Evans LP (DOX 820LP) 21.00
“Recorded in 1958 for Riverside, this was Evans’ second album as leader, recorded shortly after he had officially left Miles Davis’ legendary sextet and just before he returned to the sextet to record the era-defining Kind Of Blue. Miles took a lot of flack for giving his piano slot to a white musician when there were plenty of talented black pianists out there, but Miles Davis was not interested in getting a good pianist, he wanted an exceptional pianist, and that is exactly what Evans was. Like Miles Davis, Evans became the standard by which other jazz musicians measured their own playing, and now there is hardly a jazz piano player around that can say that he has not in some way been influenced by ‘the Evans style of playing’. With fellow Davis sideman Philly Joe Jones on drums, and Dizzy Gillespie’s bass man, Sam Jones, on the bass, this trio album captures Evans at a critical moment in his career, having proven himself to peers and critics alike (as the cover testifies -with high praise from Davis, Ahmad Jamal, George Shearing and Cannonball Adderley), not only this is a much more confident and personal album than his first one, but it documents a totally new style of jazz piano playing that went on to influence generations to come. The album includes three originals, including the acclaimed ‘Peace Piece’, along with Sonny Rollins’ ‘Oleo’, also a favorite of Davis at the time, Cole Porter’s ‘Lucky to Be Me’, and Gigi Gryce’s ‘Minority’, among others. Also featured ‘Some Other Time’ as bonus track.”
DOX 822LP COLTRANE, JOHN: A Day In The Life Of John Coltrane 2LP (DOX 822LP) 30.00
“Recorded July 11, 1958 at Rudy Van Gelder’s Studio in Hackensack, New Jersey, this album is aptly named A Day In The Life Of John Coltrane because the entire contents of this double album w recorded in a single day. Originally available only on three separate LPs, this quintet session (featuring a hard-hitting Chambers-Cobb-Garland rhythm section) captures Coltrane at the top of his game, although he plays no original material. Coming to prominence in the mid-fifties as Miles Davis’ sideman, Coltrane’s own star quickly ascended (recorded just 9 months after his genre-busting Blue Train for Blue Note) and for a brief time burned brightly, hard to believe just 9 years later he’d be dead.”
“All star session recorded in NYC in the autumn of 1958, led by Cannonball Adderley on alto sax and Milt Jackson on vibes. The rhythm section is also no less noteworthy with Wynton Kelly on piano, Percy Heath on bass and Art Blakey on drums. This date represents an interesting and successful juxtaposition of the two sides of jazz at the time, with Adderley coming from the more improvisational and swinging side of downtown jazz and Jackson coming from the more cerebral side of jazz as ‘high art.’ But despite hailing from different sides of the scene, both men are considered venerable ‘practitioners of the blues’ and this is perhaps the tie that binds these men together on this memorable date. The group plays a range of tunes including two of Adderley’s own compositions: the title track ‘Things Are Getting Better’ and ‘Sounds For Sid’ (dedicated to a favorite disc jockey of the time). Jackson also contributes one of his own themes with the original ‘Blues Oriental,’ which leads off the disc. They also play Dizzy’s bop-era classic ‘Groovin’ High,’ while Adderley presents his own modern take on ‘The Sidewalks of New York.’ An important meeting of top-shelf jazz musicians in a critical year in jazz history.”
DOX 835LP DEARIE, BLOSSOM: Give Him The Ooh-La-La LP (DOX 835LP) 21.00
“In the era of the Marilyn Monroe blond bombshell, Blossom Dearie was quietly driving men just as wild by being the innocently sexy girl-next-door. Her almost childlike voice is both unforgettable and uniquely recognizable and she has a way of captivating listeners in a way that only truly great singers can. The aptly titled Give Him the Ooh-La-La, recorded in 1957 for Verve, was Dearie’s first release after returning home to NY after gaining popularity on the Paris vocal jazz scene, and is definitely one of her best. Here she sings standards like ‘Between the Devil and the Deep Blue Sea’ and Cole Porter’s ‘Just One of Those Things,’ as well as some more surprisingly obscure material from her day, like ‘They Say It’s Spring,’ ‘I Walk a Little Faster’ and ‘The Riviera,’ two Cy Coleman tunes. She also sings ‘Plus je T’Embrasse,’ in tribute to her days spent in Paris and also does her own piano accompaniment throughout.”
DC 425CD RANGDA: False Flag CD (DC 425CD) 13.50
“When witch-gods collide, it might sound something like this. Six Organs of Admittance…Richard Bishop…Chris Corsano. Riders of the apocalypse, it’s them vs. us. After absorbing their über-holy dynamo, you’ll be prepared to join up with these wraiths, making it all of us against…well, whomever’s fool enough to stand in our way. To evil! Rangda’s been building up behind the scenes for some time now. As label mates and members of an exclusive mutual admiration society, Sir Rick and Kid Chasny thirsted for a conflagration involving two electric guitars plus a drummer. In such an environment requiring excellent survival skills as well as composition and improvisation rhythms, who better than Chris Corsano to work the skins… On paper, this was colossal, but actually getting everyone together proved awesomely impossible, with each man in a different city sprawled across the vastness of the United States — not to mention each man’s diverse state of mind sprawled across the vastness of inner space. And so, time passed. Chuckling, the guitar men dreamed of visiting Rangda on our world, working figures on their necks in anticipation. Finally, with the desperate recklessness of the ancient witchsoul herself, they booked a live show, followed by a studio session with Seattle sound guru Scott Colburn. Beforehand, a mere ninety minutes was allotted for the three to further discuss ideas and play together for the very first time. What would happen… What do you think happened, stupid… Of course they planted a garden of lyricism seeded with several compositions and several improvisations! Placed end-to-end, the six pieces of the Rangda saga (part the first) rock from splintering onslaught to soulful meditation and back again with manifest precision — this was a planned attack. Unceasing battery slides suddenly into ritual form with elemental ease. The fretworks of Richard Bishop and Ben Chasny split time while Corsano shapes the air around them. Each players moves as part of the whole of Rangda, and whether surging, cycling, or in pastoral, they are never less than explosive. This initial foray flies under the banner of False Flag. Yet this is only the beginning, for Rangda is alive. To ensure your future in the endless cosmos, march forward with the forces of Rangda, heart and soul, now and forever.”
DC 425LP RANGDA: False Flag LP (DC 425LP) 15.00
LP version.
DC 431EP CAVE: Pure Moods 12″ (DC 431EP) 11.00
“Crusty – foul, upper crusty. What’s poking through? Ah yes, the collective middle finger. But wait. There it is, for all to see – that middle finger is sporting the peace-iest mood ring this side of the ’70s. It’s a warm mood — PURE, even. Yes, Pure Moods — the sound of Cave, the five-fingered CAVE to be exact, the quintet version of the band that toured the USA and Europe in 2009. Pure Moods was recorded in semi-written, semi-improvised fashion following the annihilation of mainland Europe last fall. Afternoon sessions faded into the night and tripped into morning, songs coalescing, jams extending, beer bellies expanding. Fine-tuned, clean guitar amps grew crunchier and crunchier the longer their tubes burned, increasing tonal density accordingly as mass pushed volume. Cave throbs as an entity. They core themselves around sickeningly tight drum and bass that drive like a thinline, curvy, armored-vehicle so that the sinewy, metaphysical guitar-work can punctuate, aggressive yet deceptively seamless, through any fleshy surface — be it human, water, or a wall of ‘Hot Bricks,’ the first nug on this here EP. All is surrounded by a glistening force-field of lake-misty keys and synths, like an unfurling cloak set to shroud and envelope a grungy beard or sixty. Hark! The group-chant vocals are singing — ‘Teenager,’ with its comeslither refrain, cuts through the before-mentioned mist and tickles the scrote (or the cute little six-pack space, if you got tits) between the delayed echoes of guitar. Hair-raising, if nothing else; of course, we know it’s probably not the only thing this track will raise.”
DC 433LP EUBANK, JEFF: A Street Called Straight LP (DC 433LP) 15.00
“Welcome to A Street Called Straight, where the sounds echo from a time so long ago…well, it was like another lifetime ago. The street on which Jeff Eubank lived was already slipping away when this album was released in 1983. Those golden-hued ‘good vibes’ from the 60s and 70s seemed much more finite in the early days of the 1980s, encroached upon by the creeping darkness of changing times. A Street Called Straight was a cry into the darkness — man can live and flourish. A Street Called Straight is a beautiful slice of second-wave album-oriented rock, unfolding a series of peaceful, easy feelings, articulated with carefully crafted music and lyrics. How is it that a landlocked creature could come up with such beachy sounds, such cheerfully extraterrestrial visions? Jeff Eubank channeled the sunshine and moonlight of southern California via Kansas City, Missouri. He’d been playing music since the mid-70s and had finally gone out to L.A. and played music there before returning to lay his songs down in familiar lower-midwestern stomping grounds where studio rates were cheaper. You hear what you hear in the music. Some of the names that listeners have been so far reminded of include Fred Neil, Al Stewart, David Crosby, Kenny Rankin and a fellow traveler of the early 80s private press highway, Bobb Trimble.”
DC 434CD RANDAZZO, ELISA: Bruises & Butterflies CD (DC 434CD) 13.50
“Bruises & Butterflies is the debut solo album from Elisa Randazzo, a California musician, songwriter and clothing designer. Bruises & Butterflies is a personal work that stands outside the boundaries of her previous musical projects. Elisa begins the album with the line, ‘That’s not what I wanted,’ which should give an idea of the themes in effect here. Friendship lost is the main thrust, but fortunately, friendship found is at the other end of the long night/thrust. Friendship lost comes first, darn it. Underneath the elegiac California ennui of Bruises & Butterflies runs a bloody gurgling of rejection and outrage. Drawn from the bottom of the well of Randazzo’s broken marriage, Bruises & Butterflies uses a musical palette of British folk (like murder ballads, geddit?) and the mythic shadows of classic west coast rock to paint the portrait of a desecrated woman, attempting to understand her own heart. As we promised, there are glimmers of resignation and resolution for the future. And indeed, the process of making the album brought new people into Elisa’s orbit. Guitarist Aaron Robinson became a songwriting partner over the course of many late night recording sessions. Additionally, Elisa met legendary 1970s British folk singer Bridget St John (a hero of hers and ours) during the time the record was being made. They became fast friends and eventually co-writers of two songs on this album. And now, maybe Elisa Randazzo can get some proper sleep. Bruises and butterflies — two great things that you didn’t know go together! Here’s something else you don’t know but you should — Bruises & Butterflies, the new musical expression from Elisa Randazzo.”
DC 434LP RANDAZZO, ELISA: Bruises & Butterflies LP (DC 434LP) 17.00
LP version.
DO XYZ004LP DADAWAH: Peace And Love LP (DO XYZ004LP) 22.00
LP version. Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road. Pressed on super-fly vinyl and housed in old-school, hand-assembled sleeves.
DEMEGO 008LP MENCHE, DANIEL: Kataract {Alpha Mix} LP (DEMEGO 008LP) 19.50
This vinyl edition differs from the previous CD edition of Kataract (DEMEGO 008CD) and features the original Alpha Mix. Limited edition of 300. Portland, Oregon sound artist Daniel Menche: Waterfall recordings and electronics. All waterfall field recordings were captured around the Pacific Northwest of the USA, mixed and recorded throughout 2007-2009. Another sizzling power block from Menche, this time capturing the intense force of various Pacific Northwest waterfalls to create a mind-blowing audio sculpture. This single track slices its way through a sonic spectrum of over 39 minutes of high-end processing. One hell of a beauty and a beast! Packaged in stunning, almost disturbing artwork in an edition of 300.
EMEGO 101LP EMERALDS: Does It Look Like I’m Here? 2LP (EMEGO 101LP) 25.00
Gatefold double vinyl version. This is the third official album by Emeralds (after Solar Bridge on Hanson, and the self-titled LP on their own Wagon and Gneiss Things imprints, as well as countless small edition tapes and CD-Rs on a host of labels) and once again, it presents another radical new direction for this Cleveland trio. It sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrids as well as a great deal of guitar synthesizers, not to mention fine-tuning their skills as brilliant tunesmiths. Simply put, the results are outstanding. Comprising of a number of tracks from their ultra-limited 7″ vinyl series on Wagon, as well as new compositions exclusive to this release, this fine selection of tunes surpasses anything they have achieved in their 5-year career. Perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. Although most tracks cover new ground in that they follow a shortened “pop format,” more long-form cuts such as the towering “Genetic” and the title track will give fans of their earlier work something to grab onto, or totally let themselves go, depending on their state of mind. Having spent all their lives in the relative isolation of Cleveland means their music has developed into a vital, stunning unique hybrid that may not have been able to blossom in more active urban centers. Does It Look Like I’m Here? heralds a turning point for all those involved and is a perfect, vivid soundtrack to emerge out of a harsh, grey winter. Fresh, shiny and totally essential.
E 034CD YUGANAUT: Sharks CD (E 034CD) 13.00
“Calling the three members of Yuganaut ‘multi-instrumentalists’ is a little too easy. What is needed is some kind of word that would connote being multiple bands. Between them they could be a small brass group, an electric chamber ensemble or a straight-ahead jazz trio. But such formal confines may not leave room for the moments of playfulness or the passages of spacey psychedelia that sneak in between their evocative and highly original sounds. Between them, band members Stephen Rush, Tom Abbs and Geoff Mann play Fender Rhodes and Moog synthesizer; trumpet, trombone and tuba; bass, cello and violin; and drums, toys and didgeridoo. Does that sound streamlined? Their previous release also included mandolin, euphonium and vibes. More important than the listing of implements is the fact that the three gentlemen of Yuganaut are more than conscientious about leaving room in the music, not just for each other but to let the music grow. Between them they can boast of Reggie Workman’s tutelage, performance with the Warsaw National Symphony and membership in the Fela-inspired Antibalas Afrobeat Orchestra. Which is to say there is tradition, formalism, groove and a sense of fun at play. They are at core, perhaps, a jazz band; but being a jazz band means (or should mean) that anything is possible. There’s ritual, there’s storytelling, they’re contemplative, extrapolative, expressive, even impressive. Yuganaut is not here to be pigeon-holed. They’re just here to play for you.”
ESPDISK 1030CD SIMMONS, SONNY: Staying On The Watch CD (ESPDISK 1030CD) 13.00
“The noted west coast composer made his ESP debut accompanied by his then wife, Barbara Donald, on trumpet, Teddy Smith on bass, John Hicks on piano and Marvin Pattillo on percussion. Recorded August 1966, Staying On The Watch is an important infusion of straight-ahead and avant-jazz. Barbara Donald is a superb trumpeter who has made a strident contribution to the legacy of women performers and has been widely written about. Also, pianist John Hicks, who makes his New York debut on the record, went on to become one of the most prolific pianists in jazz.”
“Best known for his collaborations with people like Paul Flaherty, Michael Flower and Thurston Moore as well as a year-and-a-half stint as the drummer for Björk’s Volta tour, Chris Corsano is widely considered to be one of the best and most adaptive drummers of his generation. Equally adaptive is UK saxophone giant, Paul Dunmall, who has worked disparately with jazz greats like Alice Coltrane and Evan Parker as well as funk and folk acts like Johnny Guitar Watson and Dando Shaft. After a chance meeting in a taxi line at the Lisbon Airport, a surreal intertwining of tours emanated. In between the lasers, confetti and face-painted fans at Plymouth Pavillions and Wolverhampton Civic Hall, Chris left the Björk mega-tour to get down to business alongside the prolific and imaginative Dunmall for some vital improvisation at Slak Bar in Cheltenham, England. This wonderfully recorded live set begins with Dunmall swirling away on the border pipes (he may be the preeminent improvisor using bagpipes). What follows is an impulsive and lyrical improvisation, alternatingly sparse and impossibly textured. Corsano’s skittering marries perfectly with Dunmall’s rapid-fire lines. The melodies are expertly uncoiled so that they remain charged whether the tempo is at full speed or crawling. The set ends furiously and with the impression that this duo was fated to work together. Personnel: Paul Dunmall ( tenor saxophone, border pipes); Chris Corsano (drums).”
FABRIC 102CD DUKE DUMONT, THE: FabricLive.51 CD (FABRIC 102CD) 17.00
“The Duke Dumont, most commonly known for a series of pulsating remixes of indie acts including Late of the Pier and Bat for Lashes, as well as being named Diesel U:Music Champion in 2006 (an award given to the world’s best unsigned producer and previously won by Mylo and DJ Yoda), will soon be ever-more-widely appreciated for his expansive tastes and mastery of the turntables. Now working on a debut album that draws from his broad palette of influence, his DJ sets remain brilliantly unpredictable. On his FabricLive.51 mix he focuses on the most exciting artists from the house and techno sphere in 2010, but in deliberately eschewing flash-in-the-pan trends he has crafted an impeccable mix that has more than enough quality to truly stand the test of time. A selection that includes the likes of Bodycode, Floating Points, Scuba and Green Velvet, amongst a raft of other sparkling talent. The Duke Dumont marked himself out as a producer of extraordinary promise by becoming Diesel U:Music Champion in 2006 and announced himself to the club world with his debut release, an incendiary electro EP on Tiga’s Turbo imprint, Regality EP in 2007. He has since gone on to release on the incredible Dubsided, sometime home to the likes of Jesse Rose, Trevor Loveys and Herve, with another dancefloor destroying EP, The Dominion Dubs EP. He has also become renowned for his remixing ability. His epic reworking of Mystery Jets ‘Two Doors Down,’ the hypnotic re-rub of Late of the Pier’s ‘Bathroom Gurgle’ and the pitched-down but rave-y remix of Bat For Lashes ‘Daniel’ have marked him out as the indie world’s re-tweaker of choice and in possession of an extraordinary ability to retune any track to the demands of the dancefloor. Now working on a debut artist album that will encapsulate the full breadth of his studio repertoire, and on launching his own label, as well as touring the world non-stop, The Duke Dumont is firmly earmarked as one of the electronic music world’s most promising studio talents and explosive DJs.”
FOF 019EP BLM: Step To This 12″ (FOF 019EP) 12.00
“BLM releases on home soil on his own FOF label. ‘Garage is Back’ keeps things silky smooth — simplicity is the key here, the percussive elements building slowly before the evocative vocal of ‘Suz’ brings a hypnotic sexiness to the whole affair. ‘Step to This’ is the logical progression from his last FOF release (Believe In Love) with its skippy beats and uplifting stabs being a sure winner for the coming summer. Mulletover promoter/DJ/all-around sexual dynamo Geddes provides a rather splendid dub remix of ‘Garage is Back’ on the flip. Cleverly using key elements of the original to keep the flava’ but dipping the tempo to give it more of a groove based feel. We think it’s a high watermark for the man – check it! Finally — we have ‘Priority Remix’ which started life as a straight up remix to our Leif — Priority EP. Liking it as much as he did, BLM asked Leif if he could take it as his own track and now you lucky people have the chance to listen to the results.”
GAARD 004LP TONY, CARO & JOHN: All On The First Day LP (GAARD 004LP) 16.00
“Gaarden Records is proud to present our latest vinyl release, a reissue of the obscure, yet classic psyche folk gemAll On The First Day by Tony, Caro and John. Originally released in 1972, this album was somehow buried in the ‘stuff drawer’ of time to be recently rediscovered by those inclined to look. The inclusion of a few tracks on the British Love Peace and Poetry LP compilation was what first caught the ear of we that tend the Gaarden. Baltimore friends Beach House also chose to include a cover of the first track ‘Snowdon Song’ on their debut album, retitling it ‘Lovelier Girl’. Somewhere between the whimsy of The Incredible String Band and the stark beauty of Vashti Bunyan lie Tony, Caro and John. But it is better when Tony tells it. Fans of Fairport Convention, Incredible String Band, Pentangle, Bert Jansch, Espers, Vashti Bunyan… enjoy.” “All On The First Day by Tony, Caro and John was first issued in 1972, the result of a one year burst of creativity triggered by a lucky encounter between us — three hippy folkie musicians and our first decent tape recorder… A lot has been written about the sixties and seventies as a social phenomenon, as a time of upheaval of values. However, at the time we had no idea that we were in some kind of historical transition. We were just being there. For all we knew, the eighties and nineties were going to be equally radical, or maybe there was not going to be any eighties and nineties at all. Vietnam was still raging, the Cold War was at its height, and nuclear destruction was just around the corner. But man, did we have a lot of fun. The only rule was anything goes, everything is equally valid. The songs were recorded by John on a Ferrograph tape recorder with track-to-track facility — quite low tech even for the time, but the best we could do with almost no budget. The machine allowed us to overdub in mono but only by rerecording the backing track each time. That meant you had to play the part right and mix the backing track in at the right level all in one go — tricky even on a good day. Luckily we didn’t know the rules or we probably never would have started… After a while we figured enough people had told us they liked the tracks, and that we had enough outlets through friends, clubs etc., to put it out on a record, so we saved up our cash, chose our favorite tracks at the time and had them mastered at Eden Studios in South London. We pressed 100 copies, we sold them quite quickly, then moved on…” — Tony Dorè. On green-vinyl with insert.
GEM 003EP SECRET CINEMA: Glad Chord EP 12″ (GEM 003EP) 12.00
Label front man Secret Cinema presents his first EP on Gem. “Glad Chord” builds tension with repetitive synth jabs, unfolding into pure euphoria before diving back into the groove. “Basically” is a deep, hypnotic tech-bomb with funky percussion over a complex bass line combined with quirky synths. The remix is provided by Belfast-based duo Paul Hamill and Dave Oost Lievense aka Psycatron, who treated “Glad Chord” with added strings and a more varied sequence, giving the track an extra dancefloor friendliness.
JSP 77130CD VA: Gennett Old Time Music: Classic Country Recordings 1927-1934 4CD (JSP 77130CD) 28.00
“In the 1920s and 1930s, Gennett may have been small in comparison to labels like Victor and Columbia but they recorded some of the most important slices of American music. Although their catalogue is best known for jazz, they also recorded many rural performers and string bands. Here are some of the rarest and best. Gennett were ahead of the game. Just three months after Victor had an initial session with Robertson and Gilliland, they themselves had fiddle player William B. Houchins cut three sides. Then they recorded John D. Foster a month before Jimmy Rodgers’ debut for the Victor label. Foster was not a `singing brakeman’ or a `blue yodeller’, but he was nonetheless a fine vocalist and guitar player whose recording career would continue after Rodger’s death. On this anthology we feature nineteen of Foster’s best recordings. Also featured are sizeable helpings of fine talents like Ernest Stoneman, the Red Fox Chasers, Fiddlin’ Doc Roberts and Da Costa Woltz’s Southern Broadcasters among many others. This is genuine `country’ music, performed by artists who had first-hand experience of the triumphs and troubles they describe – a far cry, arguably, from the sounds of today. But most important, this was music that was designed to help hard-pressed folks to forget their cares for an hour or two. Even if it doesn’t have you leaping up with a hoot and a holler, you’ll find your feet tapping along.”
LAID 006EP VA: Laidrec 006 12″ (LAID 006EP) 12.00
Laid presents a three track compilation featuring core artist John Roberts, producer Fred P. as Black Jazz Consortium and Christopher Rau. Rau’s debut track on Laid is a deep, exploratory house tune. Fred P.’s complicated construction is a logical continuation of his work with the plus of a warm Rhodes chord to give you the feeling you need, and Roberts delivers one of his high quality, high energy club tunes with a twist. This is the shit.
LR 305LP BEATLES, THE: This Is… The Savage Young Beatles LP+CD (LR 305LP) 23.00
“Riding the wave of the German beat craze of the early sixties, British singer Tony Sheridan became a regular on the Hamburg club circuit, recruiting an ever-changing roster of back-up musicians that included, in 1961, a nascent Beatles featuring John Lennon, Paul McCartney, George Harrison and Pete Best. Although still very much on the scene, bassist Stu Sutcliffe did not appear on these sessions. While most of the songs here are covers sung by Sheridan, Lennon and Harrison did write the instrumental ‘Cry For A Shadow.’ Hamburg is also where the Beatles first picked up the mop-top. Special gatefold edition.”
MAR 001CD BUCCI, PIER: Amigo CD (MAR 001CD) 17.00
This is the first full-length album for Pier Bucci on the Maruca label. Recorded during 2009 in Pier’s new studio in Berlin, Amigo is not your average club record. This is the sound of friendly nature — deeply-rooted in the music of Latin America, and at the same incorporating the latest recording technologies — prime music for both extensive club use and advanced home-listening. A few minutes into its gentle, shimmering aura and it becomes clear that this is the most precise record by any Latino-techno artist. Submerged in warm, mid-tempo percussion arrangements, Pier’s tracks leave a lot of room to breathe and let go of one’s imagination, forming a soundtrack to virtually any activity an open mind can undertake. Amigo is also a vocal album, incorporating the talents of Armelle Pioline of Paris-based band Holden, Chilean vocalist Washingtone Miranda or Jorge Gonzales, one of Chilean pop music’s finest exports. Amigo reads like a songbook from a completely new time and place, a songbook for a parallel universe where the very roots of music meet exotic sounds from the future. This is the music of feelings, glimpses of memories, half-forgotten songs played through radio static, warm and deeply humane. Channeling Latino folk through the experiments of ethnically-inclined artists of yesteryear, digitalizing ethnic rhythms in a far more sophisticated manner than any other producer, blending together individual feelings with digital machines, Amigo clearly is a new step in electronic music and a firm statement of a conscious, living, loving artist.
MDG 6131607CD CAGE, JOHN: Violin & Piano CD (MDG 6131607CD) 19.00
“Steffen Schleiermacher’s recording of the complete piano works of John Cage has brought him his international breakthrough. These recordings earned the pianist numerous prizes, including three ECHO Klassik awards. Schleiermacher, teaming up with Andreas Seidel (violin), returns to Cage’s music, in a recording of the composer’s complete oeuvre for piano and violin. These four pieces spanning five decades in Cage’s life are also a perfect fit for the CD format. Seidel, the former first violinist of the Leipzig String Quartet and a member of Schleiermacher’s Ensemble Avantgarde, is a musician who with his joy of performance and technical brilliance today enriches the Gewandhaus Orchestra in Leipzig.”
MO 019CD QUANTIC: Addis To Axum: Music, Words & Arrangements Of Ethiopia CD (MO 019CD) 12.00
“The Timeless Concert Series wasn’t just a series of stunning performances. All the shows were framed by our favorite DJs. From Madlib to J.Rocc to DJ Nuts and more. Cut Chemist even raised the bar with a one turntable romp! For the Mulatu show, Quantic brought along something very special: In 2004 Quantic, Miles Cleret and B+ went to Addis Ababa, the capital of Ethiopia to find records and meet with Mulatu Astatke. It was there and then the first thoughts of bringing Mulatu to LA were hatched. So it was fitting that Quantic came to LA to DJ for Mulatu and brought with him records almost all found on that first unique trip. Ethiopia has many musical traditions indeed not all of them have made it to vinyl. But those chunks of plastic contain some secrets that you really have to go to Addis to find. Trawling ebay is never the same as a trip to East Africa. Quantic made that trip. And at the Luckman Theater on February 1st, 2009 he buckled everyone in, and took us on a one hour flight back. Here is his DJ set in its entirety. Don’t be alarmed by the crackle, that’s what 30 plus year old records sound like.”
MO 020CD DJ NUTS: Arranjos E Composicoes: A Mix By DJ Nuts CD (MO 020CD) 12.00
“So much of Mochilla’s dealings in Brasil would not have been possible without Rodrigo Teixera (known to the world as DJ Nuts). The Verocai concert surely would never have happened without him. His role in helping with the pre and post co-ordination was enormous. DJ Nuts is an astute and rigorous historian of Brasil’s vast and varied musical culture. His record collection is legendary; his skills as a DJ are world class. We commissioned him to make this mix to help people understand the extraordinary legacy of Verocai. Many by now know Verocai’s self-titled album, some even know the more popular compositions and arrangements, but none have dug as hard as Nuts. Years of collecting and a strong friendship with Verocai himself have made this historic mix possible. 78 minutes of all Verocai compositions and arrangements is a dream come true. For such a mix to be made, only a true Brasilian music aficionado could have created this, and we are honored to be able to share it with you.”
ML 025CD MONOLAKE: Silence CD (ML 025CD) 17.00
Restocked. This is the first Monolake album since the highly-acclaimed Polygon_Cities album from 2006. Monolake is an open project dedicated to computer-generated music, founded in 1995 by Berlin-based Robert Henke and Gerhard Behles. Impressed and influenced by minimal techno music and drum ‘n bass, and infused with the sonic richness and sophistication of academic computer music, these poles became the source and inspiration for Monolake’s own creations. Silence was composed, mixed and produced by Robert Henke from November 2008-September 2009. Design by snc based on photos captured by Robert Henke. Production notes: Sound sources include field recordings of airport announcements, hammering on metal plates at the former Kabelwerk Oberspree, Berlin, several sounds captured inside the large radio antenna dome at Teufelsberg, Berlin, dripping water at the Botanical Garden Florence, air condition systems and turbines in Las Vegas, Frankfurt and Tokyo, walking on rocks in Joshua Tree National Park, wind from the Grand Canyon, a friend’s answering machine, a printer, conversations via mobile phones, typing on an old Macintosh keyboard and recordings from tunnel works in Switzerland. Synthetic sounds exclusively created with the software instruments Operator, Tension, Analog and the build-in effects inside Ableton Live. Additional sound design and sequencing using MAXMSP/MaxForLive. Additional reverb: various impulse responses via Altiverb. Composed, edited and mixed entirely in Live on a MacBook Pro with a pair of Genelec 8040s. Mastering by Rashad Becker at Audioanwendungen, September 2009. Note: there is no compression on this album whatsoever. “Blending elements of techno, dubstep, and ambient into an hour of suggestive, idiosyncratic drift, Silence presents programmed electronic music at its most sensually expressive.” — Pitchfork (7.8)
MHR 049EP LUNA CITY EXPRESS: Hello From Planet Earth Remixes Vol. 2 12″ (MHR 049EP) 12.50
This is the second volume of remixes from Luna City Express’ Hello From Planet Earth (MHR 011CD). Robag Wruhme’s version of “Mr. Jack” is a mix of funk and darkness that has an overwhelming effect on the dancefloor. Reboot stripped the strong percussion of “Parish Fair” down to the basics, focusing more on an elaborate development of the break. Martinez’ remix of “Time & Space” fuses organic beats with the original theme, as if they were made for each other.
MD 2010CD VA: IV Festival De Músiques Folk CD (MD 2010CD) 0.01
This is a promotional sampler of this concert series in Spain. It is free and can be added to orders at no cost. “Our Músiques Disperses festival started in 2007 and is home for all kinds of folk music. We’re slightly oriented to the rock side of folk though, so we usually have folk-rock, psychedelic or progressive folk, but also singer-songwriters, traditional music from anywhere, or any kind of neo-folk.” Artists: Lovely Luna, Brian Caffrey & The Others, Enfado, Circulus, Oliva Trencada, Renaldo & Clara, Anni B Sweet, Lisa O Piu, El Petit De Cal Eril.
CED 318CD FULLER, BOBBY: El Paso Rock: Early Recordings Volume 3 CD (CED 318CD) 13.00
“The long awaited third volume of Texas-era recordings from Bobby Fuller & the Fanatics, including a mess of sensational unissued live recordings and rarities!”
CED 357CD DING-DONGS, THE: The Ding-Dongs CD (CED 357CD) 13.00
“Introducing the modern day Rat Fink and Boo Boo (yes, they are THAT great!), Montreal mega-monster talents BBQ and Bloodshot Bill, each the greatest young vocalists to erupt from the City of Smoked Meats! Snap the shackles of your mind with this unparalleled debut album!”
ED 357LP DING-DONGS, THE: The Ding-Dongs LP (ED 357LP) 13.00
LP version.
PHILE 2010EP JACKMATE: Carrier 12″ (PHILE 2010EP) 12.00
Jackmate returns with two more killer tracks for Phil E. Both are straight out of his current live set, showing demanded, typical “Jacker” style as well as some kind of a new Jackmate vibe: even more warm and analog pressure combined with charming Detroitish harmonies.
LP 1150LP DELFONICS, THE: La La Means I Love You LP (LP 1150LP) 11.50
Exact repro reissue of the Delfonics’ 1968 debut. Produced by Philly soul legend Thom Bell. “The effectiveness of Bell’s innovative arrangements is perhaps most evident on the cover tunes. Astute listeners will inevitably note the influence of another highly regarded and successful songwriting/arranging team. The inclusion of two Bacharach/David classics — ‘The Look of Love’ and ‘Alfie’ — gives listeners more than just a hint at where much of Bell’s fresh and distinct ideas may have taken root.” — All Music Guide
PHONICA 004EP HECTOR: Orale 12″ (PHONICA 004EP) 12.00
Phonica Records presents the second platter from Hector, complete with two outstanding remixes from SIS and Alex Picone. “Orale” is a slow burner of a track, starting off with a smooth, chuggy groove, a pulsating bass line and carefully-placed vocal snippets. A tantalizingly long breakdown later, we’re treated to a killer drop and then ushered into about 7 minutes of dancefloor nirvana. Simple as that.
PIR 2337CD VA: Egypt Noir: Nubian Soul Treasures CD (PIR 2337CD) 23.00
“In the last decades, Western archaeologists unearthed the remains of Nubia — an advanced Black African civilization thousands of years older than Egypt’s. But they could have just as easily discovered the funky echoes of this lost world at certain Cairo hotspots of today. This doubly lost and found culture shows its stuff on Egypt Noir, a collection featuring the icons and innovators of Nubian music. The album brings together decades of Nubian urban song, giving an unprecedented overview of the neglected musical achievements of this unsung people. Piranha’s enhanced CD also offers a visual tour of the great ‘Orientalist’ paintings of the nineteenth century — images reflecting European artists’ sensual vision of Egypt and Nubia.”
PROTEZ 016EP NOON(AT: Chase/Watch Your Step 12″ (PROTEZ 016EP) 11.00
“After so much waiting Noon(at is back with his new 12″ on Pro-Tez! ‘Chase’ on the A-side is a state-of-the-art deep techno piece with a powerful and straight drive. ‘Watch Your Step’ on the flip is a deep style tune with a sophisticated groove and a fat analog sound — Russian deep par excellence in a modern shape.”
LPM 1423HLP POWELL TRIO, THE BUD: Strictly Powell LP (LPM 1423HLP) 14.00
180 gram exact repro reissue, originally released in 1957. Featuring Bud Powell (piano), George Duvivier (bass) and Art Taylor (drums). Featuring five Powell originals — including the spontaneous improv fury of “Blues For Bessie,” the boppish “Coscrane” and the beautifully melodic “Topsy Truvy” — sessions for this record took place a whole 12 years after Powell suffered a nervous breakdown and still show his original and dynamic phrasing at its peak.
SAFER 001EP DAVIS, RICHARD: What You Are 12″ (SAFER 001EP) 12.00
Richard Davis presents Safer, his own platform to publish what has always characterized the artist himself — somehow house, somehow pop, somehow indefinable. Somewhere between ’80s inspiration, ’90s house culture and a commitment to detail, Davis puts little rhythmic hooks in the right places and weaves samples into tracks without quoting at will. This is house music that has grown up, with vocals that make you want to shout “pop!” and carry a groove in the heart.
SED 056CD BULLOCK, LINDA AUBRY: Ray Of Dark CD (SED 056CD) 14.00
“Linda Aubry Bullock’s subtle emergence on to the Boston experimental music scene in 2002 was a smile inducing surprise for those of us who knew her solely as a visual artist. It was quickly apparent however, that this was no novelty as she excelled in a range of projects with her unyielding analog electronic contributions. After seeing Bullock perform many times over the years and then hearing the menacing piece ‘Ray of Dark’ on the Rare Frequency radio program in August of 2008, we were inspired to commission her to submit a full length’s disc of material for a long overdue debut release. While LAB does fly solo, she truly thrives in collaborative settings, several with her partner, the composer Mike Bullock, who appears here with Twilight of the Century. What we love about her work is its directness and purity. Her electronics recall certain bleak atmospheres and sensibilities of many mid-80s post-industrial artists: menacing, pulsating, and droning. Her work is not overt or obvious though, instead inserting its way into your system like a deadly parasite or virus. The order of material on the disc was skillfully assembled to work as a whole in this way and we recommend listening to it rather loudly with the shades drawn.” artist statement: “‘Twilight of the Century’ is a collaboration between Century Plants (Eric Hardiman and Ray Hare) and rise set twilight (Linda Aubry Bullock and Michael T. Bullock). The first 4 tracks are our reaction pieces to this performance — material taken from ‘Twilight of the Century”s performance on July 31, 2008 in Albany, NY. The other two pieces on this album, while not directly involving ‘TotC’ are related to the time that the group was forming. I feel that A Specific Gravity is the shadow self of ‘TotC.’ It was recorded by Michael T.Bullock during a residency at STEIM in Amsterdam, NL in June 2009. If I drew a Venn Diagram, the center would contain The Story of Mike, the sets being friendship, family, and places. It was inspired by a recording of Seth Cluett and Jennifer Eberhart as they were conjecturing on the origins of MTB.”
SG 037DVD VELVET UNDERGROUND, THE: Vanishing Point DVD (SG 037DVD) 19.00
“Forged in the white light, white heat of the New York avant-garde scene in the mid 1960s, The Velvet Underground blazed a trail so far ahead of their contemporaries they often appear to have dropped fully formed into the history of popular music. Aside from the image and iconography, so perfectly designed by maverick manager Andy Warhol, the experiments with form and sound that worked in tandem with crucial melodies and outrageous lyrics, moved infamous music writer Lester Bangs to declare that the Velvets ‘started modern music’. Vanishing Point is the finest documentary film about the group yet to emerge and features a wealth of material, including rare musical performances, rarely seen promo films, material from Andy Warhol’s private film collection, obscure interviews with and footage of Lou Reed, Andy Warhol, Sterling Morrison and John Cale, interviews made exclusively for this film with Moe Tucker, Doug Yule and Billy Name, commentary and criticism from such luminaries as ex-Village Voice music editor Robert Christgau, author of From The Velvets To The Voidoids, Clinton Heylin, DJ, author and journalist Malcolm Dome, Luna main man Dean Wareham, and many others. DVD extras include extended interviews, the special feature Velvet Reflections, interactive Velvets quiz and full contributor biographies.” All-region DVD format; running time: 85 minutes; aspect ratio: 4:3; stereo.
STH 2243CD GUILTY SIMPSON: OJ Simpson CD (STH 2243CD) 15.00
“Producer Madlib (Otis Jackson) + MC Guilty Simpson = OJ Simpson. OJ Simpson. That’s the name of the album. No bloody gloves. No Ford Broncos. These are some 12 hard-hitting, straight-from-the-gutter hip hop tracks featuring Guilty’s inimitable baritone, and an equal number of Madlib’s signature album-as-soundtrack/radio/sideshow arrangements, where the beat and sequence is as important as the rap. This, with a couple no-nonsense guest appearances, some cuts by J.Rocc, and a whole bunch of attitude, makes up one of our favorite projects in a while. The charisma that Detroit’s heavy hitting MC Guilty Simpson and the Los Angeles-based Beat Konducta Madlib share testifies to a musical kinship that is rare in today’s rapper-as-an-accessory marketplace. Going back to Guilty’s first appearance on wax (Jaylib’s Strapped, 2003), Guilty over a Madlib beat to us is like hearing Guru over Premier circa Daily Operation, or CL over Pete around the time of Straighten It Out. Sometimes, a rapper and a producer just work well together.”
SF 056LP VA: Ecstatic Music of the Jemaa El Fna LP (SF 056LP) 22.00
For centuries, the Jemaa El Fna (Rendezvous of the Dead) has remained the stage for one of the most spectacular social forums on the planet. By day, this central square in the city of Marrakesh, one of Morocco’s great imperial cities, fosters a kaleidoscope of entertainment for its local inhabitants; storytellers, acrobats, magicians and snake charmers all create intriguing displays of bewitching spectacle. As the sun sets, the evening grows frantic with the pulse of the crowd; it is then that the night musicians set up. Free from the restrictions and expectations of light entertainment for a tourist crowd, these musicians manifest ecstatic performances that animate the audience and players alike. The groups represented on this album; Troupe Majidi, Amal Saha, and Mustapha Mahjoub, are working and carrying the torch of their musical heroes nightly in the square. These songs come from the repertoire of Morocco’s greatest musical exports: Nass El Ghiwane, Lemchaheb, Jil Jilala, Larssad, and many others from the Chaabi (Moroccan popular music) canon and are given a raw, emotional and fiery interpretation. Instruments are powered by car batteries and blown out through megaphone speakers. These recordings represent a rare opportunity to hear this music at such close proximity taking in all the power and passion of the performances. The raw fidelity captures an unflinching immersion of what is simply some of the greatest street music on earth. Recorded by Hisham Mayet in 2005, a few of these performances were featured in his film Musical Brotherhoods From The Trans-Saharan Highway (SF 041DVD). This collection also contains tracks not present in the film for a more potent snapshot of the ecstatic Jemaa El Fna. Limited edition LP comes in a beautiful full-color gatefold jacket with photos of the musicians and liner notes by Hisham Mayet.
TEMPA 049EP BENGA: Phaze One 2×12″ (TEMPA 049EP) 16.50
Phaze One is the first of a brand-new series by Benga. This double-pack arrives fully charged with six stand-out-in-the-mix jump-offs carved for peak-time raving. “Baltimore Clap” is a pulsing, sweating homage to B-more house. “eyeTunes” and “Mini Moto Cross” have been favorite mainstays in his sets and have also been beaten around the world by Toddla T, Plastician and Skream.
WIRE 316 WIRE, THE: #316 June 2010 MAG (WIRE 316) 8.50
“On the cover: Felix Kubin (The Hamburg cosmonaut repurposes dada, Neue Deutsche Welle, communist anthems and more for his music, films and radiophonic plays). Features: Actress (The techno-tinged sound producer and Werk label boss discusses his R&B concrète with Lisa Blanning); Rangers (David Keenan hops aboard for a hypnagogic tour of the suburbs with Californian guitarist Joe Knight); Demdike Stare (Folklore and tradition weigh heavily on the psyche of this Lancashire duo’s electronica); Global Ear: Fukuoka; Cross Platform: Carlos Casas; Invisible Jukebox: Hudson Mohawke; Carsten Nicolai (Rob Young draws out the latent Romanticism in the Raster-Noton man’s sound and visual art, and hears about his new vocal collaboration with Blixa Bargeld); Epiphanies (TV comedy writer Graham Duff takes a measure to the finaly calibrated pleasures of Wire’s 154).” 92 pages.
THR 012.43EP HIGH PLACES: Can’t Feel Born 12″ (THR 012.43EP) 12.00
“The I Was Born single demonstrated Rob Barber and Mary Pearson using a new guitar-centric instrumentation that would be featured on High Places vs. Mankind. A faster pace and darker tone also seem to permeate through the singles and this new 12″ collects these tracks as well as their unheard counterparts. As on the album, Mary Pearson’s vocal are less effected and more present, but many aspects of the High Places sound and aesthetic remain intact. One hears dance rhythms, stereo effects, accessible melodies, dub influence, and as always, a love of layering and of combining the unexpected into something cohesive and new.” On white vinyl.
THR 233CD PONTIAK: Living CD (THR 233CD) 14.00
“Van, Lain, and Jennings Carney share a mom, a dad, and a Virginia farm house studio. They record themselves, book themselves, hold complex day jobs, and know their way around a working farm as well as an instrument. They like it loud and for Living, their fifth release in two years, they like it dirty. Their fifth album (including Sea Voids the LP only tour record made for their tour with White Hills) was recorded on an old reel to reel in the band’s home studio using two track tape. Unlike Sea Voids, which was recorded in eight brief evening sessions, and Maker, which was recorded in mostly single takes, this album underwent a lengthy recording process over the course of four months. Just enough time for Isaiah Mitchell of Earthless to drop by and lay down some guitar. Living is connected to their previous recordings by the brothers’ affection for a thick as molasses guitar sound and a heavy bass that holds sway over the album, creating some delicious sludge.”
THR 233LP PONTIAK: Living LP (THR 233LP) 17.00
Gatefold LP version, on translucent orange vinyl.
THR 240CD HIGGS, DANIEL: Say God 2CD (THR 240CD) 15.00
“In recent years, Higgs has released a number of solo outings that can only be described as the ultimate in isolation, worlds away from the hypnotic, communal rock of his band, Lungfish. Higgs follows up the 2007 album/book release Atomic Yggdrasil Tarot with his new double album Say God. Say God is an album of gospel songs and poems as presently received by this Daniel Higgs. Recorded with the help and enthusiasm of David Andrew Sitek, who graciously provided this Daniel Higgs with an environment in which to prosper and enjoy the adventure of recording, or, if you will, the ensnaring of songs as they migrate through time and mind, that they might be heard many places at once, with the singer absent. Song seeds cast abroad, that their message, The Advent Of The Songway, the Way Across, might take root, twist and fruit, light for all. It is the simple hope of this Daniel Higgs that the album Say God may be of any use to the listener, may serve the listener, may accompany the listener in clairaudient fellowship.” 4-panel gatefold mini-LP style package with 8″x10″ insert.
THR 240LP HIGGS, DANIEL: Say God 2LP (THR 240LP) 17.00
Gatefold 2LP version with insert.
TREIB 092EP BABICZ VS. ROB ACID, ROBERT: Remember 12″ (TREIB 092EP) 12.00
Robert Babicz delivers fat sound for every occasion, particularly those meant to move a crowd. That certainly applies to his new EP Remember, where we watch Robert pulling all the available strings to create his highly-functional brand of funky techno. From the dark, erotic futurism of “Storm Lunch” to the relentless mobility of the title track, our hero never drops the ball and keeps the fire burning, satisfying every party’s needs.
TOL 026EP DIA: Tell You 12″ (TOL 026EP) 12.00
Dia presents a single for this limited one-sided series of 300 copies only for Twelveinchesoflove. Moody pads and a walking bass line simmer under sharp hi-hats and playful cymbals as serene chords steep the vibe in the ambiance of a hot, smoke-filled room. Jazz grooves drift on top, rounding out this versatile house stormer aimed squarely at those who don’t need to be told twice that it’s time to dance.
TYPE 056LP ALPS, THE: Le Voyage LP (TYPE 056LP) 18.00
LP version. Still comprised of the core threesome of Jefre Cantu-Ledesma (Tarentel), Alexis Georgopoulos (ARP) and Scott Hewicker (Troll), The Alps return to Type in full force for their fourth sprawling long-player. Buoyed by the praise lavished upon its predecessor III, the band were adamant that Le Voyage would be bigger, brighter and better than anything in their catalog to date, and Type reports that they have been successful in their quest. The sun-bleached European movie soundtrack sentiment that underpinned their previous records is still here in full force, but it comes rolled up in something defiantly more psychedelic, and in turn more unpredictable. Sewn together by vignettes which bring to mind Delia Derbyshire’s Radiophonic hiccups or Luc Ferrari’s tape collage, the band have put together an album which genuinely takes you on a journey. Surely it can’t be a mistake calling the album Le Voyage then, a title which simultaneously brings to mind the work of Serge Gainsbourg and Alejandro Jodorowsky — something deeply visual but effortlessly beautiful. With propulsive, break-heavy rhythms sure to appeal to any diggers out there and a blissful, sunny outlook to wipe the frown from the faces of all you dour experimental types, Le Voyage is a crack of light in a dark room. A mysterious record, it is punctuated by the same energy that gave us space rock and psychedelia, and while the band are quick to demonstrate their wide-ranging musical knowledge, there is something incredibly unique about their sound. This is not a lazy soundtrack to a film which might never be made, rather, Le Voyage is a journey for the listener and one you will want to take over and over again.
TZ 7268 KOICHI, MAKIGAMI: Tokyo Taiga CD (TZ 7268) 14.50
“Composer/producer/actor/director/vocalist extraordinaire Makigami Koichi is one of Japan’s most charismatic performers. His solo vocal pyrotechnics and dynamic band Hikashu have thrilled audiences the world over. Combining extended vocal techniques from around the world with the sounds of theremin, mouth harps, trumpet and more he has fashioned a musical language that is imaginative, adventurous and utterly charming. Here he collaborates with two Russian/Mongolian musicians in a varied program of songs, improvisations and compositions, again crossing borders and boundaries to fashion a uniquely new musical world.”
TZ 7382 ZORN, JOHN: Dictée/Liber Novus CD (TZ 7382) 14.50
“Radical in both conception and execution, Zorn’s studio compositions are among his most personal and unique creations. Owing as much to film as to any musical model, these evocative postmodern tone poems have been described as cinema for your ears. This CD presents two exciting new pieces. The first, Dictée, is a ritualistic homage to Korean/American writer and conceptual artist Theresa Hak-Kyung Cha, whose brilliant work about loss, memory, language and identity is finally receiving due respect. The second piece, Liber Novus is a mythic psychodrama inspired by the legendary Red Book of Carl Jung; scored for keyboards, percussion and sound effects, this is truly Zorn at his best. Two outrageous, intense and poetically beautiful pieces filled with dynamic moments of sonic drama and experimental lyricism on one CD.”
TZ 8074 JOHNSON, SCOTT: Americans CD (TZ 8074) 14.50
“A long awaited CD featuring a major new composition by one of America’s greatest and most elusive composers from the early days of postmodernism and postminimalism. A pioneering voice in the new relationship being forged between the classical tradition and popular culture, Scott’s influential infusion of the amplified sounds of rock into traditionally scored compositions is an approach that is rapidly spreading among today’s young composers. Drawing upon a decade of rarely heard music, Americans is yet another masterpiece by this exciting musical maverick.”
“African-American flute player Lloyd McNeill’s self-distributed record label ran from 1968-73. Lloyd McNeill is a multidisciplinary artist — a painter who lived in Paris in 1965 and was a friend of Picasso, a musician who has worked with Nina Simone, Nana Vasconceles, Ron Carter, Cecil McBee and many more and a music anthropologist, poet and teacher. In the 1960s, he was involved in the Civil Rights Movement and produced music for ballet, paintings and installations. His music mixes jazz with Latin, Brazilian and African rhythms that McNeill learnt while studying anthropology in his travels through much of Africa and Brazil (where he joined with Dom Salvador, Paulinho da Viola, Paulo Maura and Martinho da Vila). The album comes with extensive sleevenotes, an interview with Lloyd McNeill as well as exclusive photos and text. CD comes in a Soul Jazz box package.”
Gatefold heavyweight vinyl version. Limited to 1,000 copies.
US 033CD EIGHTIES LADIES: Ladies Of The Eighties CD (US 033CD) 19.00
“Seminal super-rare rare-groove album produced by Roy Ayers and originally released on his own Uno Melodic label in 1980. This amazing one-off album produced by Roy Ayers featured the group Eighties Ladies, made up of the singing talents of Susan Beaubian, Marva Hicks, Vivian Prince, Denie Corbett & Sylvia Striplin\, backed by an all-star line-up Roy Ayers band (including Rick James, who shares the production). The anthemic ‘Turned On To You’ and ‘Ladies Of The Eighties’ are both included in this absolutely classic boogie-funk-jazz-soul album from the start of the ’80s. Loved by soul boys and jazz heads alike, this is one of the rarest of all classic boogie albums, with original copies fetching upwards of hundreds of pounds for many years now. Soul Jazz Records are reissuing this remastered album in its entirety with original artwork, in Soul Jazz edition CD case.”
VALT 004EP PURMAN, NICO: All That Glitters Ain’t Gold 12″ (VALT 004EP) 12.00
Vakant continues its VALT series with Nico Purman after Dario Zenker’s excursion into Detroit techno. Nico, who relocated to Berlin, drops a dirty disco bomb that will be the soundtrack to your spring.
VALORD 2004LP INDEX: Index LP (VALORD 2004LP) 22.00
Last copies of this official reissue from 2004 of the first Index LP, originally released in 1967. All copies have a certain amount of edge-warp (as expected, I guess) and are sold as is. “Much has been written about this incredible band. Much of it isn’t true. I want to set the record straight. Index was formed in the early spring of 1967 in Grosse Pointe, Michigan. I was 18 years old when I met a chain-smoking 16-year-old named Gary Francis. Our conversation soon got around to rock and roll. He told me that he and his friend, John Ford, were forming a band. I told him that I played drums and we arranged a jam session at John’s home on Lakeshore Drive. Our first meeting was incredible. Our sound was full and powerful. John’s lead guitar techniques were fresh and innovative. After our first sessions we knew we had something special. Index was born. Soon we hit the local ‘sock hop’ circuit, playing at high schools and teen clubs in the area. We poured our unique sound out at The Hideout, Undercroft and G.P. War Memorial every weekend. One afternoon John pulled out a new album he had been listening to. It was a new band with a mind-shattering sound called ‘The Jimi Hendrix Experience.’ John played some songs he had written inspired by this ‘psychedelic’ sound. Over the next few days, ‘Fire Eyes,’ ‘Shock Wave’ and ‘Feedback’ were written. This album was recorded in December of 1967 at the Ford estate. It is recorded in mono sound with literally one microphone and with all instruments and vocals recorded at the same time. The cover photo is of ‘Orpheus and Bacus,’ founders of a singing group John joined at Yale. The stiff, board-like figures seem to characterize the exact opposite of this musical collection. This reissue is taken from the original recordings. Nothing has been added and all songs are in their original length. Over the years various bootleg copies of this album have surfaced but this is the original work.” — Jim Valice
VDI 005EP FLUEN: Guayaga EP 12″ (VDI 005EP) 12.00
Label boss Fluen delivers one for Vinyl Did It. “Guayaga” sports a clean-cut house vibe sure to sit well in a properly-constructed set. The youANDme edit gets dirtier with some pop-locking, stuttered snare hits, head-bobbing bass, and dramatic, fuzzed chord stabs. Vocals get snipped up and ripped reversals give way to a fierce main line. “Give Me More” is a classy house slab, with sleek, dubbed-out organ chords and an oldschool snare that lets the house heads know it’s about to get serious.
VL 900044LP VELVET UNDERGROUND, THE: White Light/White Heat LP (VL 900044LP) 23.00
“While 1967’s Velvet Underground & Nico was a part of Andy Warhol’s global artistic vision, 1968’s White Light / White Heat was free of all Warholian influence, so in a way it could be thought of as another debut album. Here the music was left to fester on its own, with no artistic visionary interfering or trying to create a soundtrack for his pop art, and the Velvets filled that void with an album that is an aural subway car full of drunkards, junkies and whores rumbling through the bowels of NYC with a one way ticket to oblivion.”
VL 900051LP VELVET UNDERGROUND & NICO, THE: The Velvet Underground & Nico LP (VL 900051LP) 23.00
“The Velvets’ legendary debut album with the original Warhol peeling banana cover art! Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land.” Gatefold sleeve, featuring bonus track “Chelsea Girls.”
WARP 195LP FLYING LOTUS: Cosmogramma 2LP (WARP 195LP) 23.50
Gatefold 2LP version. “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.”
WER 6686 SCELSI, GIACINTO: Canti Del Capricorno CD (WER 6686) 24.00
Performed by Michiko Hirayama (voice), Ulrich Krieger (saxophone), Mathias Bauer (double bass), Jürgen Grözinger (percussion), Roland Neff e (percussion). “Michiko Hirayama was the sole inspiration for Scelsi’s twenty-part cycle Canti del Capricorno, written between 1962 and 1972. To this day the Japanese singer is a unique performer of this spiritual yet energy-filled work for solo voice, with instrumental accompaniment for certain songs: This is Hirayama’s second recording of the work for Wergo and is the first of the complete version. Accompanied by Jürgen Grözinger and his ensemble, Hirayama claims, at age 82, to have found the ‘right’ path of interpretation.”
WER 6716 YUN, ISANG: Concertino, Duo, Intermezzo, Pezzo Fantasioso CD (WER 6716) 24.00
“There is a touch of the exotic in the music of Korean composer Isang Yun, rooted as it is in a fusion between Asian and European musical cultures. Although Yun is best known as a composer of orchestral works and operas, almost fifty chamber music works occupy a central position in his oeuvre. In addition to traditional genres such as the string quartet, he experimented with unusual combinations. His affinity for the accordion, whose capability for sound modulation strongly attracted the composer, is the focus of this disc, which feature the prodigious talents of accordionist Stefan Hussong.”
WER 6851 MUSIKFABRIK: Sprechgesänge (Speech Songs) CD (WER 6851) 24.00
“The contemporary music ensemble MusikFabrik, led by Diego Masson, is spotlighted in this new series from Wergo. Each release will have a theme and feature a selection of music by various composers to bring the theme to life. On Sprechgesänge (Speech Songs), music by Jonathan Harvey, Beat Furrer, Georges Aperghis and Unsuk Chin stretches instrumental possibilities and allows the players to savor their vocal potential.”
WER 6852 MUSIKFABRIK: Sichtbare Spuren (Visible Traces) CD (WER 6852) 24.00
“The theme of Sichtbare Spuren (Visible Traces) — is how visible things can leave audible traces. It features compositions by Rebecca Saunders, Mauro Lanza, Nicolaus Huber and Bernd Alois Zimmermann.”
WH 030CD AIRBUS: Test Flight CD (WH 030CD) 19.00
“West Coast Consortium spinoff Airbus never played live or even released a record during their 1970-1972 lifespan, instead spending their entire subterranean existence holed up in their self-owned Whitechapel studio, writing and performing innumerable high quality demos and then attempting to place those songs with major label acts. But, more by accident than design, they came to leave behind THE Great Lost Early ’70s British Pop Album – a jaw-dropping collision of superb songs, dazzling vocal harmonies, intelligent lyrics and hook-laden melodies that occupy the same studio überpop territory as the first two 10cc albums and even Paul McCartney’s Ram. Here, then, is the strange, previously untold story of a band that didn’t leave so much as a footprint in the musical sands, but recorded a greater number of three-minute pop nuggets than almost all of their contemporaries.”
WORLD 479043 KANZA, LOKUA: Nkolo CD (WORLD 479043) 19.00
“On his latest album, Nkolo, Congolese singer Lokua Kanza draws on sounds from his father’s village and his native Lingala tongue to give the African Diaspora a musical sense of place. Listening to the album is an unabashedly uplifting experience — the theme of love is ever-present. The title track ‘Nkolo’ translates as ‘God’ and the album is unashamedly spiritual. A devout Christian, Kanza cut his musical teeth aged eight singing in the church in Kinshasha. Kanza, who now lives mainly in Brazil, was known as ‘the Brazilian’ from an early age. The album’s tunes are a mixture of ndombolo [Congolese dance music] and samba, but Kanza also introduces instruments from outside these traditions, such as an ondes Martenot and a cristal Baschet (similar to a glass harmonica). Sung in Lingala, Portuguese and French, Nkolo is the embodiment of a perfect cross-cultural mix, a blend of beautiful melodies and radiant atmospheres. Its aesthetics simply defy categorization, touching at times on unseen spiritual forces.”
XLR8R 133 XLR8R: #133 May/June 2010 MAG (XLR8R 133) 4.99
“Cover: Ariel Pink (The lo-fi pop savant fleshes out his sound while Warpaint picks his brain.) The Q + A issue (Brackles vs. Shortstuff; Juan Maclean vs. Virgo; Ikonika vs. Flying Lotus; Deadbeat vs. Scuba; Jan Vormann vs. Sébastien Preschoux); James Blake; Trailer Trash Tracys; DaVinci; Reviews; Bubblin; In The Studio: Holy Fuck; Artist Tips: Christian Prommer; Components & Videogames; Outbox: Thomas Fehlmann.” 80 pages.
new releases are also viewable at


Please enter your comment!
Please enter your name here