order from our NEW! beta site and receive 10% off your first order:

you can also click on cover art or album info to order online
from our old site

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

TFS 4211LP VA: Beyond The Valley Of The Dolls OST LP (TFS 4211LP) 11.50
Exact repro of the soundtrack to Russ Meyer’s 1970 film, featuring tracks by The Strawberry Alarm Clock (“Girl From The City,” “I’m Comin’ Home”), The Sandpipers (“Beyond The Valley Of The Dolls,” title track) and the fake act Carrie Nations and the score is produced by Stu Phillips. Russ Meyer appears to be credited with writing the notes on the back cover, which is retarded because he writes about himself — “He filled his film with a driving power and knew that the music would have to match it, beat for beat” — but this record still sounds as switched on as when it came out.
8MM 011CD BLUE ANGEL LOUNGE, THE: Narcotica CD (8MM 011CD) 16.50
“While staying true to their Nico and Velvet Underground inspired colors, broader timeless inspiration of new wave, post-punk, and shoegaze are accentuated throughout Blue Angel Lounge’s release Narcotica. The band present a strong balance between relatively up-tempo songs such as ‘Caught Crow’ or ‘Delete My Ideals’ and the atmospheric and psychedelic in tracks ‘I Will Never’ and ‘Son Of The Ocean.’ Narcotica was self-produced with the assistance of Anton Newcombe (The Brian Jonestown Massacre). Mr. Newcombe can be heard singing backing vocals on ‘Delete My Ideals.'”
AUKDS 001EP DEAD SKELETONS, THE: Dead Mantra 10″ (AUKDS 001EP) 15.50
“Released on Anton Newcombe’s own record label, this ten-minute, one-sided etched 10″ has already been receiving airplay on BBC Radio 6 & Dead TV to name a few places. The Dead Skeletons are a Velvet Underground for the 21st century: idiosyncratic and forever skating on the edge of the void; scared of nothing and appreciative of everything. The Dead Skeletons are of many worlds but currently — luckily for us — they camp out on planet earth.”
ARTLESS 2200-AB REEL BY REAL: 20 Years Surkit Part A/B 12″ (ARTLESS 2200-AB) 14.00
A.r.t.less presents a retrospective by Detroit techno veteran Martin Bonds aka Reel By Real in two parts. Some of these tracks are now seeing a proper release for the first time, due to the fact that they had been only released as a limited white-label on Interface Records in 1990 and 1991. This first 12″ is packaged in a limited handmade artwork cover to house both records. All tracks restored by Don Williams and remastered by Redshape.
ARTLESS 2200-CD REEL BY REAL: 20 Years Surkit Part C/D 12″ (ARTLESS 2200-CD) 14.00
This the second part of a two-part retrospective by Detroit techno veteran Martin Bonds aka Reel By Real. Some of these tracks are now seeing a proper release for the first time, due to the fact that they had been only released as a limited white-label on Interface Records in 1990 and 1991. This 12″ features a very rare collaboration with the legendary Anthony “Shake” Shakir called “Serene.” All tracks restored by Don Williams and remastered by Redshape. Artwork by Abdul Haqq.
SD 33379LP BEGINNING OF THE END, THE: Funky Nassau LP (SD 33379LP) 11.50
One of the most instantly recognizable soul/funk records, originally released in 1971. Sampled, covered & revered by many — heavily rotated by the likes of Kool Herc, Jazzy Jay, Afrika Bambaataa, David Mancuso, Walter Gibbons, Nicky Siano and more. Exact repro, manufactured by Rhino.
AMS 027LP J.E.T.: Fede Speranza Caritá LP (AMS 027LP) 50.00
“Jet (or J.E.T. as their name was usually written) were formed in Genova at the beginning of the ’70s from a previous band of the same name that also included later members of another pop band, Ricchi e Poveri. Their first album, Fede speranza carità, released in 1972, derives from a radical turn in their musical style, to the then-popular progressive rock, and is a very good album, with strong hard rock influences and falsetto vocals but with nice use of organ and a solid rhythm section, as in the long ‘Sinfonia per un re’ that sometimes reminds of New Trolls’ multi-vocal parts and ‘Il prete e il peccatore.’ Fede speranza carità is a very rare album, and due to the small pressing and the delicate cover it’s almost impossible to find mint copies. The gatefold cover has a cutout on the front for a thick glued-on shaped glass that’s in the inner. This deluxe reissue is a faithful replica of the gorgeous original, limited to 400 copies and entirely handmade.”
AMS 031LP GOBLIN: Zombi LP (AMS 031LP) 34.00
“In exchange for Dario Argento’s help on Dawn of the Dead, George Romero allowed Argento to release a different (more explicit) cut of the movie in Europe. This version was called Zombi. Instead of the library music score that Romero had used, Argento enlisted the help of his pals Goblin to record a new soundtrack. The result is a brilliant score; menacing, thrilling and totally suited to the movie. There’s even a sleazy lounge-esque track ‘Zombi (Supermarket).’ Faithful replica of the original 1978 release, on new stunning 180 gram audiophile vinyl. Contains a fold-open four-color poster, printed on both sides, analyzing the soundtrack, Goblin’s discography and the pictures of all reissues related to Zombi as well as the rare movie postcards of the original movie, realized by Roberto Attanasio, one of the biggest Goblin collectors ever.”
APE 6005LP VA: Wild Style OST LP (APE 6005LP) 11.50
Exact repro reissue of the soundtrack from the 1983 film. Featuring DJ Grand Wizard Theodore, Busy Bee Starski, Rodney Cee, Cold Crush Brothers, Fantastic Freaks, Double Trouble (Rodney Cee & KK Rockwell), Grandmaster Caz, Rammellzee and Shock Dell.
CPSSP 002CD UP: Rising CD+DVD (CPSSP 002CD) 24.50
“It’s common to name the MC5 and the Stooges among the forefathers of what they call ‘punk rock,’ but it was their associates in a third band, the Up, who could more accurately be identified as the real precursors of punk. In fact, if you trace the punk rock lineage back to the Ramones — and many do — the connection is even clearer, because the Ramones were really little more than a watered-down, cheapened clone of the once-mighty Up of Detroit and Ann Arbor. This determined quartet of ‘killer skinnies from the Murder City’ were not as skilled in music and stagecraft as their stablemates in the MC5, nor as charismatic as their colleague Jim Osterberg (Iggy Pop) and his band The Stooges, but they dedicated every fiber of their being to playing high-energy rock ‘n’ roll that was designed to inspire their audiences to leave the square world behind and come and join the revolution. This complete Up recordings/deluxe packaging includes a DVD of unseen footage plus a set of facsimile gig flyers/booklet that includes extensive liner notes by American Michigan Rock specialist Ken Shimamoto, with involvement from original bassist Gary Rasmussen. The 16-page booklet includes never-before-seen photographs of the band.”
ALAP 001 AS LOUD AS POSSIBLE: The Noise Culture Magazine Issue One MAG (ALAP 001) 10.00
“Contents: Runzelstirn & Gurgelstock: ‘Artuad, Aktionkunst, Abreaction and’ : texts by Alice Kemp, accompanied by new drawings from Rudolf, and a detailed ‘Aktiongraphy’.The Broken Flag Story: An extensive indepth interview with Gary Mundy, covering the career of Ramleh, the complete output of his legendary Broken Flag record label, and also featuring new interviews with the artists responsible for those releases, including: Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo ( M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang and many more, plus unseen artwork and photographs.No Fun: Festival curator Carlos Giffoni talk about the New York festival’s past, present and future, and covers his work with the No Fun Productions label. The Politics of HNW: The Rita’s Sam McKinlay talks about the obsessive nature of the harsh-head. Includes a list of Sam’s essential Wall Noise picks spanning the past two decades. An excellent introduction to wall-riding.30 Years of The Haters: G.X. Jupitter – Larsen provides a personal history, as well as a delineation of his ideas, methods, and tricks accrued over three decades. The inside story from the man who has made entropy his life’s work.Putrefier: An interview with Mark Durgan, covering his twenty years in the UK’s wilderness, from Birthbiter’s heyday to the present-day. Includes reminiscences from Andy Bolus about their infamous duo project, Olympic Shit Man!Sewer Election: Sweden’s loudest, Dan Johansson talks about his music, ideas, art and running a tape label. Interview by Mikko Aspa of Grunt.Zone Nord: An album -by- album look at the discography of this retired French noise legend, including brief commentary from Mr Zone Nord himself, Jean-Luc Angles.Apraxia: An interview with Patrick Barber, the man behind the label. Covers the output of this legendary label who released Blowhole, Prick Decay, Small Cruel Party and others in the early ’90s.Cheapmachines: An interview with London sound-sculpter and all-’round sonic chameleon Phil Julian.Climax Denial: An interview with this Milwaukee-based Power Electronics lecher, including an album-by-album analysis.Alien Brains, Storm Bugs and Anti-Messthetics: A study of the non-careers of two early eighties UK outfits that were very much connected. Includes input from some of the key players, plus lots of vintage artwork.Interchange: A look at this influential UK fanzine from the mid-80s, plus an interview with its creator, John Smith.Tunnel Canary: G. X. Jupitter – Larsen tells us about his first memories in Vancouver of this volatile bunch.IDES: An overview of the primary output of this American tape label, and an interview with its owner, Nicole Chambers.Classic Albums: A regular feature dedicated to both in-depth analysis and memories of overlooked but not forgotten gems from yesteryear. Issue #1 features articles on The Lemon Kittens (We Buy A Hammer For Daddy), XX Committee (Network) and RJF (Greater Success In Apprehensions & Convictions). A collection of thoughts and interviews, including an exclusive interview with ex- XX front-man, Scott Foust.Opinion Columns: A regular feature from a rotating pool of participatory players with the music they ponder. Includes John Olson (Wolf Eyes), Andy Ortmann (Panicsville), Mikko Aspa (Grunt), Steve Underwood (Harbinger Sound), Hicham Chadly (Nashazphone), Jonas Kellagher (Segerhuva), C. Spencer Yeh (Burning Star Core) and Mark Wharton (Idwal Fisher) amongst others. Covering artists including Masonna, Vomir, and The Black Phelgm, and ranging from Bizarre Uproar all the way to Christian bluegrass music!Extensive reviews section. Back cover artwork by Richard Rupenus ( The New Blockaders ).” 8″x11″, 166 pages, perfect bound.
ATL 1353LP COLEMAN QUARTET, ORNETTE: This Is Our Music LP (ATL 1353LP) 11.50
Exact repro reissue, manufactured by Rhino. Originally released in 1961. With Don Cherry, Ed Blackwell and Charlie Haden.
ATL 1394LP COLEMAN, ORNETTE: Ornette On Tenor LP (ATL 1394LP) 11.50
Exact repro reissue, manufactured by Rhino. Originally released in 1962. “It’s an understatement to say that Ornette Coleman’s stint with Atlantic altered the jazz world forever, and Ornette On Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history.” — All Music Guide
ATL 8104LP COVAY & THE GOODTIMERS, DON: Mercy! LP (ATL 8104LP) 11.50
Don Covay was a master of storyline-soul songs and this album, originally released in 1964, opens with his hit single “Mercy, Mercy,” featuring Jimi Hendrix on guitar. Exact repro reissue, manufactured by Rhino.
SC 8181LP BELL & THE DRELLS, ARCHIE: Tighten Up LP (SC 8181LP) 11.50
Originally released in 1968, the debut album by the Houston outfit that left its mark on the soul/funk canon with the title track. Exact repro reissue, manufactured by Rhino.
SD 1572LP COLEMAN, ORNETTE: The Art Of The Improvisers LP (SD 1572LP) 11.50
Exact repro reissue, manufactured by Rhino. Originally released in 1961. “Like many of Ornette Coleman’s Atlantic sides, The Art of the Improvisers was recorded in numerous sessions from 1959-1961 and assembled for the purpose of creating a cohesive recorded statement. Its opening track, ‘The Circle with the Hole in the Middle,’ from 1959, with the classic quartet of Don Cherry, Ed Blackwell, and Charlie Haden, is one of Coleman’s recognizable pieces of music.” — All Music Guide
SD 8120LP COVAY, DON: See-Saw LP (SD 8120LP) 11.50
Don Covay’s 1966 follow-up to Mercy!, featuring the hit title track, recorded at Stax with Steve Cropper. Other tracks include “The Boomerang,” “The Usual Place,” “Fat Man” and, appearing again, “Mercy, Mercy.” Exact repro reissue, manufactured by Rhino.
BRG 009CD FUN YEARS, THE: God Was Like, No CD (BRG 009CD) 12.00
“With God Was Like, No The Fun Years continue to experiment with turntable and guitar while retaining a sound that listeners have grown to recognize as an infectious, memorable style. God Was Like, No is not dissimilar from what you would expect from Cambridge/Madison-based The Fun Years, although upon deeper listening, the subtleties of a well-seasoned group further developing their sound begins to take hold. Ben and Isaac haven’t lived in the same city for several years, so their recording sessions have necessarily become less frequent yet more focused. Splitting time between Ben’s makeshift recording studios and Isaac’s bedroom tomb, The Fun Years spent marathon recording sessions constructing, blurring and honing their sound. These sessions, coupled with some adventurous road tests performing the pieces in such uncharted venues as an air traffic control tower and the guts of a Richard Serra sculpture, gives God Was Like, No a rich patina seldom heard in new experimental recordings. Refining an already exceptional formula is a tough thing to do and The Fun Years — masters at their craft — tread these waters with ease.”
BRG 009LP FUN YEARS, THE: God Was Like, No LP (BRG 009LP) 18.00
Ben & Isaac began The Fun Years in 2004. In the intervening years, they have made some of the most memorable and distinctive drone-pop albums to have come our way, evolving from layered ambience to a hybrid sound that’s impossible to pigeonhole. Their setup of synths, turntables and guitar has lent their music a quality that’s halfway between the haunted loops of Philip Jeck and the porous wall of sound so typical of My Bloody Valentine, without really sounding like either. Their drones are forever engaging and never quite follow the trajectory you’d assume or expect, often bursting into violent shards of sound. After 2008’s critically-acclaimed Baby, It’s Cold Inside, several festival appearances and contributions to Kompakt’s Pop Ambient series, The Fun Years now return with a new album, their finest to date. Ben and Isaac haven’t lived in the same city for several years, so their recording sessions have necessarily become less frequent and more intense. Splitting time between Ben’s makeshift recording studios and Isaac’s bedroom tomb, The Fun Years spent marathon recording sessions constructing, blurring and honing their sound. These sessions, coupled with some adventurous road tests performing the pieces in such uncharted venues as an air traffic control tower and the guts of a Richard Serra sculpture, imbues the album with a rich patina seldom heard in new drone experiments. This is most visibly displayed in the first half of the record, where shorter songs fizz with melodic repetition and almost traditional structures. The second half, by contrast, showcases a more harsh and artificial tone, offsetting the serenity of the opening with a more aggressive sound palette punctured with slow and dense skittering decaying into sparse passages and layered synth meditations, acting as a visceral yet cathartic fade-out for this wonderful album. Limited one-time only vinyl pressing of 500 copies for the world. Unique artwork and labels for the LP version.
BF 19811EP PLUNKY & ONENESS OF JUJU: Every Way But Loose/Run Away Baby 12″ (BF 19811EP) 7.00
Originally released in 1980. Way better than Plunky’s soundtrack work for The Cosby Show.
“Debut vinyl release for both of these great artists who collectively have had releases on a host of excellent underground labels such as Stunned Records, Housecraft, Sturmundrugs Records and Digitalis. Black Eagle Child is the musical project of Michael Jantz, and this release is his second outing for Blackest Rainbow. Here he presents us with 4 tracks of skillful guitar finger picking layered with glockenspiel, accordion and some perfectly timed field recordings giving the music a real autumnal glow. Donato Eprio’s side is made up of three tracks of superbly crafted guitar work recorded between winter 2008 and winter 2010 at various destinations in Italy. I think the second track is particularly impressive; ‘Il Primo Cerchio’ is an intense piece with a variety of guitar sounds and techniques used… loose string twangs, repetitive layered plucking and deep raga meditations, at times layered with whirring drones. Pressed on virgin vinyl and housed in a pro-printed high gloss sleeve featuring cover photography by Joe Blanchard, pressed in an edition of 250 copies.”
BRR 210LP MAKOTO, KAWABATA: White Summer Of Love Dreamer LP (BRR 210LP) 23.00
“Brand new LP from Kawabata Makoto, his second for Blackest Rainbow following on nicely from where 2008’s Rainbow Of Love left off. White Summer of Love Dreamer continues to develop Kawabata’s experimentation into psychedelic drone music using a variety of instruments. Across the two tracks on this LP, Kawabata seamlessly uses acoustic guitar, electric guitar, bouzouki, sarangi, tambura, organ, hurdy-gurdy, electronics, field recording, and his voice to create a stunning soundscape of hazy summer days with cascading repetitive acoustic guitars, swirling drones, channeled vocals. White Summer of Love Dreamer comes housed in a deluxe heavyweight tip on old style jacket adorned in photography by Joe Blanchard, and is pressed on heavyweight virgin vinyl. Limited to approx. 500 copies.”
BLP 1535LP DORHAM, KENNY: Afro-Cuban LP (BLP 1535LP) 11.50
Regarded as one of the earliest, most informed mergers of jazz and Afro-Cuban musical influences, trumpeter Kenny Dorham’s 1955 Blue Note release features the jazz recording debut of percussionist Carlos ‘Patato’ Valdés, as well as Cecil Payne, Hank Mobley, Oscar Pettiford and Percy Heath. Exact repro of the original release, featuring tracks “Afrodisia,” “Lotus Flower,” “Minor’s Holiday,” “Basheer’s Dream,” “K.D.’s Motion,” “The Villa” and “Venita’s Dance.”
BLP 4105LP QUEBEC, IKE: It Might As Well Be Spring LP (BLP 4105LP) 11.50
Exact repro reissue, originally released in 1961. Featuring Freddie Roach (organ), Milt Hinton (bass) and Al Harewood (drums) and Quebec (tenor sax).
BLP 4205LP LA ROCA, PETE: Basra LP (BLP 4205LP) 11.50
Exact repro reissue, originally released in 1965. “La Roca’s three originals (‘Basra,’ which holds one’s interest despite staying on one chord throughout, the blues ‘Candu,’ and the complex ‘Tears Come From Heaven’) are stimulating but it is the other three songs that really bring out the best playing in the quartet (which is comprised of tenor saxophonist Joe Henderson, pianist Steve Kuhn, and bassist Steve Swallow in addition to La Roca). ‘Malaguena’ is given a great deal of passion, Swallow’s ‘Eiderdown’ (heard in its initial recording) receives definitive treatment, and the ballad ‘Lazy Afternoon’ is both haunting and very memorable; Henderson’s tone perfectly fits that piece.” — All Music Guide
BNR 052EP BOYS NOIZE: Nott/Trooper 2×12″ (BNR 052EP) 20.00
In 2009, Boys Noize released Power (BNR 037LP) and here are two tracks from the album plus remixes by Robert Hood, Paul Chambers, Shadow Dancer, and Phon.O. Hood turns “Trooper” into a techno-machine, with big dry kick drums and static percussion. Phon.O makes it into an epic warehouse dub mix. “Nott” is a modern tech-rave track and Paul Chambers takes you on an adventure through bleeps and acid. Shadow Dancer reduces the important bits and makes it more house-y. Limited green vinyl version.
BB 059CD MOEBIUS: Blue Moon OST CD (BB 059CD) 17.00
By 1969 at the latest, Dieter Moebius was synonymous with the avant-garde electronic music scene in Germany. He and Hans-Joachim Roedelius formed Cluster, a seminal electronic/ambient duo, while Moebius was also a member of the so-called Krautrock supergroup Harmonia (with Michael Rother and Roedelius), as well as collaborating on various other projects with the likes of Brian Eno and Mani Neumeier from Guru Guru. This was the last solo album that Moebius delivered to Sky Records, originally released in 1986. Blue Moon was released at a time when electronically-created pop music was no longer perceived as exotic. It was new music, free of the ballast of the 1970s, minimalist and uncluttered. Moebius, a constant simplifier in the Cluster/Harmonia family, made a particular virtue of this simplicity on Blue Moon, resulting in 11 wonderfully measured miniatures, rhythmic, harmonic textures of exceptional aural transparency. Clarity, calm and an impression of unthreatening irreality run through all 11 pieces, which, to capture their full sense of musical and atmospheric development, would all need to be twice as long. Instead of which, regrettably, they break off abruptly, all too soon, all too often. Short isn’t always sweet. What an epochal flight of fancy Blue Moon could have been, had it extended to a double album format. But Moebius, his wings clipped in the service of film music, needed, of course, to match his compositions to the length of each scene — sometimes a blessing, other times a curse. Due to their soundtrack function, the 11 compositions on the album fell short of the glittering diamonds they could so easily have become, precious though they undoubtedly were. As previously on Tonspuren (BB 040CD/LP), Moebius structures his music with well defined, sharp contours, modestly elegant, simple yet rich in detail, thus never running the risk of lapsing into monotony. This is forceful electronic pop music and it works perfectly well without pictures. It has survived throughout the decades because Moebius — much like his Harmonia colleagues, Hans-Joachim Roedelius and Michael Rother — had formulated a musical language which, today, can be understood better than ever.
2006 release, repressed. 2 long collaborative tracks (total time: 26 minutes). “A few doors from Hardwax, Luciano’s studio: on any given afternoon half a dozen people might roll by, from the Exercise One guys in the studio next door to like-minded Berliners to whoever might be in town for a gig. Some people need to lock themselves away in a sealed bunker, but Luciano’s place isn’t like that: as I wrote in another story, it feels more like a salon. And with the speakers buzzing, the machines fired hot, and the hour growing fuzzier with each spliff, sometimes it can be quite an alchemical combination, the stuff of everyday life being spun into gold circuitry and filigreed beats. These two tracks are a lot like that. They’re the work of Luciano and Thomas Melchior, a longtime Playhouse and Perlon artist and wry-smiled philosopher who doubtless needs no introduction. These two tracks are 25 minutes of the purest wordless communication, like two Scuba divers trading hand signals 10 meters down, or a locked gaze on the dance floor. You can hear bits of each individual in the mix-Melchior’s characteristic skip and swing and his dexterity with vocal samples, Luciano’s gliding polyrhythms and soft, seamless ruptures-but here their signatures blur into a fluid scrawl all its own.” — Philip Sherbourne.
NBLP 7249LP PARLIAMENT: Trombipulation LP (NBLP 7249LP) 11.50
Gatefold exact repro reissue of the 1980 album. Tracks include “Crush It,” “Long Way Around,” “Body Language” and “Peek-A-Groove.”
CRP 108LP SCIENTISTS, THE: This Is My Happy Hour (Birth Of The Scientists) LP (CRP 108LP) 31.00
“Formed in the West Coast town of Perth, Australia in 1978, the sound of the Scientists contains the entire history of that other West Coast sound…grunge. Worshipped by the American indie scene of the early nineties and beyond, Kim Salmon actually allegedly coined the term ‘grunge’ to define the Scientists own sound — although the Scientists perhaps had more in common with the Cramps than Mudhoney. Although the band released their first single in 1979 (‘Frantic Romantic’), this compilation focuses on the period from 1982-1984, after the band had set up camp in Sydney and established their signature sound — beginning with their 1982 breakthrough single (‘This Is My Happy Hour’ b/w ‘Swampland’) and their influential Blood Red River EP, and ending with the band’s move to London in 1984.”
CIC 9665CD ZAKARY THAKS, THE: Passage To India CD (CIC 9665CD) 15.00
“The Zakary Thaks, were the penultimate ’60s garage band that reflected the ever-changing musical trends of the ’60s with stunning precision. Starting out as a surf band called The Riptides in 1964 they changed their name to the more British sounding, Zakary Thaks, when the British Invasion was in full swing. However, it wasn’t the pop sounding British bands like Herman’s Hermits, The Hollies, and Freddie and The Dreamers, which The Thaks molded their sound on, it was the raving, rocking blues oriented bands like The Rolling Stones, The Animals, and The Yardbirds. The Thaks grew their hair long and wore mod clothes, a brash statement of defiance in conservative Corpus Christi, Texas 1966, especially for a band whose lead singer was fifteen and whose oldest member was seventeen. However, the rough and tumble sound of The Zakary Thaks belied their adolescent age. In the summer of 1966, The Zakary Thaks’ first single ‘Bad Girl’, became a smash hit in Texas, reaching number one in San Antonio, Austin, Corpus Christi, and McAllen. A few months later Mercury Records signed the band for a national distribution deal and released the single, but failed to promote it properly and the band returned to their original record label, J-Beck. Subsequent singles by the band, such as ‘Face To Face’ moved in the direction of psychedelia with a full frontal assault of feedback and mind bending sound. This direction is the immediate focus of this album. Thus, for the first time ever, ‘Passage To India’ (a Raga Rock song), ‘I’ve Got Levitation’ (a cover of The 13th Floor Elevators’ psychedelic ode to tripping), the LSD lyrically laced ‘Green Crystal Ties’ and ‘My Door’, plus ‘Face To Face’ are presented in unreleased versions, along with all the band’s other recordings, thereby nullifying any previously released retrospectives. This album also comes with a twenty-page booklet of recollections by lead singer Chris Gerniottis plus rare band memorabilia, posters, and lyrics, which combine to make Passage To India a journey into the psychedelic realm of The Zakary Thanks that cannot be missed. “
CIC 977CD DEEP, THE: Psychedelic Moods- The Definitive Masters Edition CD (CIC 977CD) 15.00
“Issued in October 1966, Psychedelic Moods is the first album in the history of rock music to incorporate ‘psychedelic’ in its title, beating out The Psychedelic Sounds Of The 13th Floor Elevators and The Blues Magoo’s Psychedelic Lollipop by one month. The album sold in minute amounts, possibly due to the unforeseen smash success of The Deep’s label mates, Question Mark and The Mysterions whose hit ’96 Tears’ was number one on the charts. Since that time though, Psychedelic Moods has attained cult status as one of the definitive examples of the then newly emerging ‘psychedelic sound’. The album was intended to provide the listener with a simulated acid trip, replete with fuzz guitar, flute, backwards guitars, banjo, washboard, xylophone, wild sound effects, and love making. Songs such as ‘Trip #76’, ‘Psychedelic Moon’, ‘Pink Ether’, and ‘Color Dreams’ explored the hallucinatory agony and ecstasy of a 12 hour Technicolor dream. Now over 40 years later, this release of Psychedelic Moods contains never before heard masters of The Deep that reveal sonic qualities and nuances of their sound that have not been realized till now, because the source for these sounds are from the original four track tapes. In addition to the superlative masters there are previously unseen Deep memorabilia and liner notes detailing the mysterious rise and fall of this New York City band that included David Bromberg and Rusty Evans. The Deep’s sound, while similar to The Velvet Underground, pre-dates their first album, ‘The Velvet Underground and Nico’ by five months. With full co-operation of original Deep producers, Mark Barkan and Rusty Evans.”
CIC 983CD VA: Open Up Your Mind CD (CIC 983CD) 15.00
Subtitled:The Psych Pop World Of Rembrandt Records. “Open Up Your Mind covers the first two incredible years of Rembrandt Records, a Chicago based label. The first release in March 1966 was a bluesy garage-band novelty record titled ‘Boots Are Made For Talkin’ ‘. It was a parody of Nancy Sinatra’s, smash hit at the time, ‘These Boots Are Made For Walking’. When the single failed to chart Rembrandt Records’ owner Reggie Weiss moved in a different direction, merging pop with psychedelic music, for the next single, ‘Open Up Your Mind’. He wrote the song based on a LSD trip and response to the single was positive. Soon other psych-pop singles were issued featuring The Circus, The Nickel Bag, and Monday’s Children. Cash Box magazine began plugging Rembrandt Records during the fall of 1966. However, Weiss was unable to secure solid distribution and could not compete with the larger Chicago based record labels such as Dunwich, USA, and Destination. By 1967, Weiss devoted all of his time promoting a high-school band called The Lemon Drops. He wrote another LSD-inspired song titled ‘I Live In The Springtime’ for the band. Unfortunately, the single was unable to chart, even regionally. Over the ensuing decades though, the reputation of The Lemon Drops, The Nuchez, The Nite-Owls and other Rembrandt artists has grown immeasurably. This compilation contains all the singles issued on Rembrandt Records from 1966-1967, plus many previously unreleased versions and mixes that are appearing for the first time ever. The twenty-two recordings on this album make it apparent that Rembrandt Records was way ahead of its time when these treasures from the psychedelic ’60s were recorded.”
CTI 002LP CHRIS & COSEY: Trance LP (CTI 002LP) 19.50
Trance is the second in a series of four limited-edition Chris & Cosey vinyl re-releases. This seminal album, a long time favorite with DJs and fans alike, is often cited by many electronic musicians as being influential in contemporary electronic music. Primarily an instrumental album, Trance covers everything from minimal electro and polyrhythmic sequences to rhythm-heavy dance tracks. Unavailable on vinyl for more than 20 years, painstakingly remastered by Chris Carter from the original master tapes, Trance is among one of Chris & Cosey’s finest works from their eighties period. Presented on grey-colored vinyl, in a specially “remastered” sleeve, which also includes a 12″ B/W double-sided insert of archive photos, clippings and texts.
DAP 020CD BUDOS BAND, THE: The Budos Band III CD (DAP 020CD) 15.50
“Daptone Records is proud to present The Budos Band III, unleashing The Budos Band’s brazen sound and inspiring fervor among music lovers throughout the world. Produced by Bosco Mann and TNT at Daptone Records’ House of Soul Studios in Bushwick, Brooklyn, the band’s third full-length studio effort was conceived during weekly, beer-fueled Staten Island writing sessions as well as more than 150 live gigs over the last two years and recorded during a 48-hour period in January 2010. If the menacing album art, which features a cobra primed for the attack, is any indication of the music itself, we can expect an all-out assault of the senses, with a tendency towards the venomous and psychedelic. ‘The end result,’ as Pitchforkmedia states, ‘is something so hip it could kill you in large doses but in the right doses it just plain kills.'”
DAP 020LP BUDOS BAND, THE: The Budos Band III LP (DAP 020LP) 16.50
LP version.
DKR 028EP JEWELS: Love & Livity 7″ (DKR 028EP) 5.50
“”From 1979, two of our all-time favorite roots harmony tunes (‘Love & Livity’ and “Slave Trade’ on DKR 029EP), both from The Jewels. Originally released on Jamaican seven-inch, on Leggo’s Cash & Carry label, and distributed from his former Orange St. record shop of the same name. Near the top of the heap for hard roots harmony, no small feat.”
DKR 029EP JEWELS: Slave Trade 7″ (DKR 029EP) 5.50
“‘Slave Trade’ was originally released on Jamaican seven-inch, on Leggo’s Cash & Carry label, and distributed from his former Orange St. record shop of the same name.”
DIGI 029LP CONCERN: Truth & Distance LP (DIGI 029LP) 18.00
Gordon Ashworth is Concern and this is his manifesto. Truth & Distance, originally released on CD in 2009 is a mini-epic — a minor masterpiece. Within these sonic walls lies a stunning landscape, adrift in golden tones and silver siren songs. Ashworth creates beautiful, shimmering music that defies categorization. It stands on its own, droning away into the furthest reaches of the night. Using only acoustic instrumentation, Ashworth conceives pieces of music in which resonance and timbre mutate in the air and unfold naturally. Hints of piano glisten like night shadows whispering through the leaves. Strings are bowed and plucked into oblivion. Everything is turned into a pile of reverb. Everyone is a ghost. The title track starts with frayed edges and continually dials back, trying not to fall apart. Ashworth’s skill in wrangling discordant sounds out of his array of acoustics seems to grow as the piece flows along. Daunting as the seemingly endless layers of droning tones may be, it’s the all-enveloping nature of this music that makes it so engaging. Like hearing Basinski destroy and rework Peter Broderick’s deepest compositions, Truth & Distance feels familiar while sounding new. As the final, looping piano chords of “Heartsink” disintegrate into oblivion, Concern has gone all in. This is music that trades in immediacy for reservation and restraint. Ashworth is able to combine all these elements into towering aural monuments that he scatters through the air and down into the soil. This new vinyl edition features extended cuts of all three pieces from the original CD, adding 10 minutes of new music that pushes the album to another level. In addition, there is all new art and it is cut by Berlin’s D+M. Limited to 500 copies only.
DIRT 046EP DIRT CREW: Feels Good 12″ (DIRT 046EP) 12.00
Finally, it’s time once again for some new joints by Dirt Crew themselves! Here is some old school flavored house. These tracks praise the original early ’90s house spirit — the sound Dirt Crew so deeply loves themselves and keep on pushing in their DJ sets around the globe.
DR 1055LP NICKELS AND DIMES: Nickels And Dimes LP (DR 1055LP) 16.00
“Camden, New Jersey is best known for having the highest crime rate in the USA. What has remained unknown is that between the years 1967-1968, a garage band called Nickels And Dimes recorded a nine song 33 RPM acetate album of original, pure 60s garage rock tunes. Unheard of for over 40 years, the entire unreleased LP has been released for the first time on vinyl – the way it was originally intended. Included in the album is four additional songs of moody, reverbed originals from 1966 by the earlier incarnation of the band when they were known as the Savoys. This LP included 13 songs, liner notes, rare photos of the group and insert with detailed liner notes by garage-rock expert, David L Brown.”
DNT 056LP MCCANN, SEAN: Chances Are Staying LP (DNT 056LP) 14.00
“Debut vinyl release from Californian droniac Sean McCann. Recorded in the summer of 2009, this album was meant to be a continuation of the kaleidoscopic sound of his first albums, Phylum Sigh and Frame Of Mind. While still beaming with beauty and grace, this record demands a bit more from the listener than his other works. The first side of Chances Are Staying explores stringed melodic minimalism ala Tony Conrad, yet with much more poignant and somber motifs. The second side displays the ambit of his sound, from rapturous (and even … grooving?!) violin and saxophone blurs to ecstatic mind-warps. This record stands as a pillar in the dawn of this young man’s career. Guaranteed to make your heart shine with memories of affection and glimpses of an uncertain future. Full color matte jackets with insert — in a hand-numbered edition of 400 mastered by Pete Swanson.”
DC 371CD FAUN FABLES: Light Of A Vaster Dark CD (DC 371CD) 13.50
“Out of the glittering caverns of the soul crawls the newest album from Faun Fables. Light Of A Vaster Dark is a vibrant collection of songs and sounds excavated by songwriter Dawn McCarthy and supported by steadfast collaborator Nils Frykdahl of Sleepytime Gorilla Museum. Light Of A Vaster Dark sparkles with fear, wonder and playfulness, elements that have been part of the tapestry of Faun Fables’ music woven slowly over the course of five previous records. They have stood at the fork in the road where the myths of men and women meet the realities of their days, and with each album they go further down these paths. Light of A Vaster Dark meditates on the cyclical nature of light and darkness as revealed in the seasons of life, and in the beautiful power of steadfast and humble tales of housekeeping, immigrant pioneers and a civic parade. Sonically, the album is full of life, reflecting the new arrivals in the world of Dawn and Nils with fresh sounds. The sound of Faun Fables, always grounded in traditional instrumentation, bursts with color but stands smoothly united as a whole. Amidst the solid, elemental structure of McCarthy and Frykdahl’s guitars and eclectic percussion whirl the violins of Meredith Yayanos and the vocals and multi-instrumental touches of Kirana Peyton; a lush continuation of their collaborative work with them on the 2008 EP release A Table Forgotten.”
DC 371LP FAUN FABLES: Light Of A Vaster Dark LP (DC 371LP) 17.00
LP version.
DC 430CD STEREOLAB: Not Music CD (DC 430CD) 13.50
“Not Music is the first album from Stereolab since they announced their hiatus in Spring 2009. The twelfth album in an infamous career, Not Music is part of Tim Gane’s 2007 science experiment involving improvised chord sequences played on piano or vibraphone, over top of which were placed little drum loops. This was a new way of writing and it yielded a bumper crop of ‘compositions,’ nearly seventy of which were boiled down into thirty-two new songs, fourteen of which were cherry-picked to form Chemical Chords. Not Music features eleven more songs cut from this same futuristic material. Beyond their genesis, the albums have a shared focus: ‘Pop Molecules,’ and ‘Two Finger Symphony’ have at least titular antecedents on Chemical Chords and both ‘Silver Sands’ and ‘Neon Beanbag’ appear in remixed versions (courtesy of Emperor Machine and Atlas Sound, respectively). While still tautly played and tightly focused, Not Music is more varied than Chemical Chords, brimming with drums, classic O’Hagan pop-brass and string arrangements and a diversity of strong lead and background performances from Laetitia Sadier. A plethora of fresh sounds abound. Not Music represents a perfect microcosm for Stereolab. Their hiatus is a sort of limbo, locating them truly somewhere between the past and the future. Where is it? It’s not now, but it is Not Music.”
DC 430LP STEREOLAB: Not Music 2LP (DC 430LP) 21.00
2LP version, housed in two separate sleeves and on blue-colored vinyl.
DC 445LP BACHELORETTE: The End Of Things LP (DC 445LP) 12.00
“Drag City is representing for our crush on Bachelorette with vinyl-only reissues of her first two releases, The End of Things and Isolation Loops, the first time either of these records have appeared in analog form. Despite the clear superiority of the vinyl-based sound, both vinyl releases contain download codes for the listener’s digital convenience. The End of Things came from the void in 2005, a mini-LP that walked like an album of all great songs. Here, Bachelorette (aka Annabel Alpers of New Zealand) sketched out her basic design, a bedroom version of hi-tech dance pop with an elastic sense of style under the surface, its scope a vision of emotional landscapes where the intimate can become the infinite in a sudden flash. This new vinyl version features new cover artwork, a complete departure from the original The End of Things design.”
DC 446LP BACHELORETTE: Isolation Loops LP (DC 446LP) 17.00
“Isolation Loops was first released in 2007 on Mistletone Records. Bachelorette continued to fly over a full spectrum of popular music forms, from girl-group to psychedelic to torch to disco, always with an inventive ear for sounds and a soulbreaking gift for melody. Scored with the chilly sounds of drum machines and keyboards, Bachelorette’s music melts the ice of deep space as it taps essences. . . the celestial joy of like and love, the jubilation of selfhood, a wandering spirit, loneliness bordering on the cosmic. There’s only one first time to fall in love, but somehow every Bachelorette song is like the first time all over again.”
EMEGO 053LP DRUMM, KEVIN: Sheer Hellish Miasma 2LP (EMEGO 053LP) 25.00
At last, Kevin Drumm’s classic 2002 album sees a full vinyl release, including a bonus track. Crank it! Utilizing guitar, tapes, mics, pedals, analog synthesizer and some computer assistance, Chicago’s own Kevin Drumm concocted a sonic beast with Sheer Hellish Miasma. One is taken on an intense journey of storming feedback, open audio onslaught and somewhat savaged sonics. The extreme end of anarchic electronics and possibly a hint of musical violence is present throughout much of the disc. An essential release capturing Drumm at his most ferocious and most inventive. It’s an exhilarating, visceral test of endurance brimming with demonic humor and a tour of Drumm’s ever-expanding sonic palette. For seasoned noise veterans, Sheer Hellish Miasma offers a bracing soundscape filled with exquisitely abrasive textures and more than enough hidden detail to warrant repeated listening — a distinct voice in the increasingly same-sounding world of abstract electronic noise. For everyone else, Drumm’s journey through the noisy underworld is likely to inspire fear or, in an optimistic case, fearful admiration. This reissue comes with an additional track, “Impotent Hummer,” taken from the same period — a 13-minute drone piece that draws the listener into the forthcoming blizzard. In total? A din of arms, the fierce swell of damaged drone and the shriek of subtle, shifting sonic slaughter … for the seasoned, a bountiful sonic feast awaits, for the meek it’s intense and rewarding — noise rarely sounds this exhilarating. Cut at Dubplates & Mastering, Berlin, September 27, 2010 by Rashad Becker. Deluxe gatefold sleeve with gold foil lettering on the cover.
DL 74830LP TORRENS AND HIS EXCITING ORCHESTRA, OZZIE: Boogaloo In Apartment 41 LP (DL 74830LP) 11.50
Late ’60s Latin jazz and boogaloo. Featuring Louie Ramirez (vibes), Al Abreu (sax), Manny Duran (trumpet) and Charlie Palmieri (piano). Boogaloo-style versions of The Beatles’ “Day Tripper” and “Yesterday” and Lee Hazelwood’s “These Boots Are Made For Walkin’.” Exact repro reissue.
ERATP 024CD CODES IN THE CLOUDS: Paper Canyon Recycled CD (ERATP 024CD) 15.50
Codes In The Clouds, the quintet of Ciaran Morahan, Stephen Peeling, Rob Smith, Jack Major and Joe Power from Dartford, Kent have found a firm place in the vast growing instrumental rock scene. With their harmonious and blissful sound, they weave guitar melodies liable to explode any minute. If you still can’t imagine intense music without vocals then you will be surprised how easily these boys will let you forget this prejudice. Energetic and charming at once, surprising and unpredictable at all times. Codes In The Clouds signed to Erased Tapes Records in 2007 and quickly received critical acclaim from the likes of BBC Radio 1 DJ Huw Stephens and online portal Drowned In Sound for their first single Distant Street Lights/Fractures. With a sold-out label showcase at London’s Roundhouse in 2007, the band accompanied Texan band This Will Destroy You on a string of sold-out shows throughout 2008. Shows with Jeniferever, The Boxer Rebellion and 65daysofstatic ensued. Their debut album Paper Canyon, produced by Justin Lockey (Bloc Party, Yourcodenameis:milo) received a worldwide release in summer 2009. The band then embarked on a headline UK and Ireland tour before bringing the year to a close accompanying Sweden’s pg.lost on a European tour. This remix album features the likes of Paul Mullen (The Automatic), Tom Hodge, Iambic, The Soul’s Release, The Echelon Effect, A Dancing Beggar, Maybeshewill, Worriedaboutsatan, Machinefabriek and Library Tapes, not to mention contributions from label mates Rival Consoles and Nils Frahm.
EXPLP 013LP PIIPTSJILLING: Wurdskrieme LP (EXPLP 013LP) 20.00
“On their second full-length, experimental supergroup Piiptsjilling set out to both deepen and roughen up the pastoral and peaceful sound of their 2008 debut release. A coherent unit formed by guitar & poetry duo Jan and Romke Kleefstra as well as Machinefabriek’s Rutger Zuydervelt and Soccer Committee’s Mariska Baars, the band delineate increasingly dark lyrical textures resonating with nocturnal atmospheres and tactile sound-operations on guitar, pedals and various looping devices. Building on patient and immersive improvisations and working with both sonorous drones and ghostly micronoises, Wurdskrieme moves at a dream-pace, substituting linear logic with a brushwood of metaphors and emotional abstractions. The underlying feeling of a subcutaneous tension is further accentuated by Jan Kleefstra’s expressionist poetry delivered in the language of his native Friesland, a province in the far North of the Netherlands. Contrasting serene soundscapes like opener ‘Unkrud’ with more tranquil moments featuring acoustic instrumentation (‘Wurch’), the result spans up a sonic space that not only represents an evolution from their earlier work, but also takes them far beyond traditional categories and conventions.” 180 gram vinyl. Download code included.
FIRE 161CD GIANT SAND: Blurry Blue Mountain CD (FIRE 161CD) 15.50
The NEW Giant Sand album. Inaccurately yet affectionately-dubbed the Godfather of Alt. Country by the British press, Tucson, Arizona-based musician Howe Gelb has remained the sole epicenter and creative force behind the ever-fluid configurations of Giant Sand for over a quarter century. 2010 marks the 25th anniversary of the band’s 1985 debut long player Valley Of Rain, the point in which Howe’s music visions began — and will see the release of the complete works of Giant Sand, Howe Gelb, Arizona Amp and The Bands Of Blacky Ranchette — a collection of works that maintains its own genre-defying singularity, drawing on the not-so disparate threads of his Southwestern roots, lo-fi, country, jazz, and punk. “Giant Sand is a mood,” explained Howe, as if to simplify the dizzying breadth of his prolific output as an artist. 2010 welcomes the release of the new Giant Sand record Blurry Blue Mountain, the follow-up to the band’s critically-acclaimed 2008 album ProVisions. These recordings were done in the space between the waking world and the sleeping one. There exists a point there with a broad landscape that has seldom been loitered in. As with every previous album, none of this was planned. Every record has its own atmosphere. As Gelb illustrates, “On this album, it happened that every session we were able to record came between workloads that rendered us at that point of sleeping and waking. Like the poppy fields in The Wizard Of Oz, we went in and out of consciousness at various times during recording. This is not a bad thing. Nor does it make the record sound like we’re asleep. It has the momentum of that place between sleep and being awake, and in that narrow slip of existence lies a landscape of reason that most of us hurry past in our daily lives. This record is planted firmly there. Between the crystal-clear focus of your day-to-day and the luxury of sweet, fuzzy sleep, we welcome you to the blurry blue mountain.”
FF 162LP GIANT SAND: Valley Of Rain LP (FF 162LP) 31.00
“This HQ vinyl reissue on Fire Fidelity commemorates the 25th anniversary of Valley Of Rain – the debut album by Giant Sand, the ever-shifting alternative rock band overseen by ‘the ‘Godfather of Alt. Country’, Howe Gelb. ‘Giant Sand is a mood,’ says Howe of Giant Sand, as if trying to offer a low-key explanation for his dizzying array of artistic exploration that includes a back-catalogue of some 40 albums as a singer, band-leader and producer. After growing up in Pennsylvania in the 1970s, it wasn’t until he moved to Tucson, Arizona that he met his musical soul mate, the guitarist Rainer Ptaceck. The two formed Giant Sandworms and issued only a handful of recordings before the worms were put to rest: since then, Giant Sand have released 24 albums – an impressive haul when considering Howe’s equally prolific output under other projects including Black Ranchette and Arizona Amp & Alternator as well as his solo releases. Howe, though, is definitely not content to rest on his laurels. Giant Sand’s 2000 album Chore Of Enchantment has been declared one of the ‘Best 1000 Records Ever Made’ and scooped up plaudits from NME and The Guardian amongst others, with the former insisting the record cemented his reputation as ‘a founding father of modern Americana’. His most recent solo project, meanwhile – 2006’s Sno Angel Like You – earned a 5 star review in Mojo.”
FF 164LP GIANT SAND: Storm LP (FF 164LP) 31.00
“Giant Sand’s third album, Storm, was originally released in 1988. It is now re-released on HQ vinyl on Fire Fidelity. Featuring the popular single ‘Uneven Light Of Day’ and a cover of Robbie Robertson’s ‘The Weight.'”
GHAS 009EP CALICO WALL, THE: I’m A Living Sickness/Flight Reaction 7″ (GHAS 009EP) 4.50
“One of the best ’60s psychedelic singles of all time! Raw, wild, trippy with haunting screaming vocals on side-A!”
GHAS 017EP LITTER, THE: Action Woman/Somebody Help Me 7″ (GHAS 017EP) 4.50
“’60s garage-punk monster! Great sleeve!”
GHAS 020EP LITTER, THE: I’m A Man/Hey Joe 7″ (GHAS 020EP) 4.50
“Great ’60s garage with cool original picture sleeve.”
GHAS 050EP FIFTY FOOT HOSE: Red The Sign Post/If Not This Time 7″ (GHAS 050EP) 4.50
“Color wax! Great obscure ’60s psych single with killer picture sleeve.”
GHAS 5018CD VA: Soulful Sounds From Soulville CD (GHAS 5018CD) 15.00
2001 release. “Massive and well-crafted collection of soul & funk from Pennsylvania’s Soulville & Jaywalking labels! Incl. liner notes, photos and more!” Artists: The Soulville All-Stars, Beverly Hills, The Continental Four, Ray Gant & The Arabian Knights, Bobby Fulton, Millie Mclaine, Lynn Martini & The Jolly Jax, Hank Sample, Watson & The Sherlocks, Donald Lee & The Executives, Hank Sample, Donald Lee Richardson, The Mastermen, The Sensational Cymbals, The Manigault Specials, Cha Cha Hogan and Wee Willie Mason.
GHAS 5018LP VA: Soulful Sounds From Soulville 2LP (GHAS 5018LP) 21.00
Gatefold double LP version.
GPH 002LP DJ SPINN & DJ RASHAD: 4 The Ghetto LP (GPH 002LP) 11.00
“The redundant phrase, it takes a village to raise a child, never rang more true than with DJ Spinn & DJ Rashad. At the ages of 10, DJ Spinn & DJ Rashad learned from Chicago ghetto house legends Paul Johnson, DJ Chip, DJ Thadz, and DJ Funk. Some say it was inevitable that these two were destined for greatness, but only now do we see what a lifetime of learning has produced. On Ghettophiles’ premier record, DJ Spinn & DJ Rashad release what may be their greatest album of all time, 4 The Ghetto. 4 The Ghetto features some of the hottest juke tracks, such as ‘Bob It Low,’ ‘4 The Ghetto,’ ‘Shawty Off Tha Chain,’ footwork tracks such as ‘She Goin,’ and ‘She Off A Yap,’ and the style of the next generation of house: Juktronik. Blending freestyle, ghetto house, juke, jit, and techno, Juktronik is taking over Chicago’s eardrums. Tracks such as ‘Daydreamin,’ ‘Space Juke,’ and ‘Transported’ are the premier tracks of the hottest new sounds coming out of Chicago!”
GM 535LP LEVY, O’DONEL: Everything I Do Gonna Be Funky LP (GM 535LP) 11.50
Exact butt-squeezing repro, originally released in 1973. Tight funk in more ways than one. Putting this record out in the shop window will really bring in a certain element to your record store.
PHC 003EP VLADISLAV DELAY (AS SISTOL): On The Brighter Side (Remixes Vol. 1) 12″ (PHC 003EP) 10.00
“Halo Cyan has taken Sasu’s new full-length album and asked some of electronic music’s biggest current names to have their hand at reimagining what the album’s ‘ur-disco patterns and textures’ might sound like when filtered through the lens of techno, dubstep, and hypnagogic pop. On this first of two collector-caliber, 180 gram, deluxe-pressed 12″ releases in Halo Cyan’s On the Brighter Side volumes of remixes, we’ve included two of Sasu’s original tracks (the only place one can hear them on vinyl) and paired them with re-workings by Redshape and Jori Hulkkonen. The first, Redshape’s remix of ‘(Permission to) Avalanche,’ has the German producer run the original’s synth lines through an exaggerated series of 4/4 kick-drum punches and break-beats. Sasu’s fellow Finland countryman Jori Hulkkonen takes ‘Contaminate Her’ and adds a slew of additional melodies and elastically thick bass elements.”
HIGH 085EP CAB DRIVERS: Welcome To The Club EP 12″ (HIGH 085EP) 12.00
Highgrade presents the comeback of Berlin techno legends Daniel Paul and DJ Zky, aka Cab Drivers. With their label, Cabinet Records, they contributed to the avant-garde with jacking beats that were uncompromising and groundbreaking during the ’90s techno blitz. Here are four tracks that instantly capture the hypnotic feeling of former times and prove that Cab Drivers have not lost any of their innovative standards. The sound is linear, fresh and technically mature. Includes an edit by Warten Borgmann.
HOEHE 016EP VA: Cabis/La Senora 12″ (HOEHE 016EP) 12.00
Here is the next Höhenregler with Italoboyz, Jens Zimmermann, Simon Wish and Mollan. Listen, play and dance.
Elegy is Norwegian bass player Mats Eilertsen’s fifth album under his own name, presenting a brand new trio with pianist Harmen Fraanje and drummer Thomas Strønen. Recorded at Galleri Festiviteten in Eidsvoll Verk, Norway, in October 2009, Elegy emerged as the result of a fantastic first meeting of three musicians who share their love of playing music with no boundaries, but with enthusiasm, drive and a sense of humour. Bass player, composer and bandleader Mats Eilertsen has toured extensively with the Tord Gustavsen Ensemble, played at festivals all over Norway with his own Radio Yonder (HUBRO 2501CD) quartet, and found time to perform at concerts in Europe and South America with artists such as Wolfert Brederode and Yuri Honing. The exciting pianist Harmen Fraanje plays in several of the most popular Dutch jazz groups, including Fugimundi, and is beginning to make a solid name for himself internationally. His piano style combines the lyrical, the virtuoso and the intuitive in a masterful way. There is no doubt about the contagious enthusiasm that Harmen’s playing generates. The inventive drummer Thomas Strønen has performed with Humcrush and the Espen Eriksen Trio, and his chemistry with Eilertsen is evident, having previously performed together in groups such as the Maria Kannegaard Trio, FOOD, and the Anders Aarum Trio. It is difficult to spot the dividing line between composed material and free improvisation here, and the sparks really fly when the three musicians get going. Their scope is broad, ranging from lyrical passages to improvised sections, but a spirit of playfulness permeates the album. Mixed by Jan Erik Kongshaug at Rainbow Studios.
HUBRO 2508CD JAE: Balls And Kittens, Draught And Strangling Rain CD (HUBRO 2508CD) 17.00
The Hubro label presents JAE’s stunning debut album Balls And Kittens, Draught And Strangling Rain. JAE is a solo project from the talented Dutch musician, songwriter and singer Jessica Sligter, who has divided her time between Oslo and Amsterdam in recent years. JAE’s music is an eclectic mix of influences from folk, pre-war blues, jazz, classical music, free improvisation and more. Ragged and windblown, seductive and captivating, always with something unexpected lurking right around the corner. Sligter is originally from Utrecht, The Netherlands, and was trained at the music conservatories in Utrecht and Amsterdam. She found a group of musicians who suited her project perfectly in Oslo’s young jazz and improvisation community. “When I studied music in Amsterdam I found myself moving more and more in an experimental direction. I didn’t see any possibility of doing what I wanted to do musically in Amsterdam, and couldn’t find a milieu that suited me. But I did find one in Norway! When I arrived in Oslo I booked a room at a hostel, took the underground up to the Norwegian Academy of Music, and asked people coming out of the building if they were studying jazz! It was fun, but I wouldn’t do the same thing now,” she says. “But that’s how I got to know some people from the young improv community, and then it was easy to make contact with many more.” She has a versatile group of musicians joining her on the record. They come from bands that include Splashgirl, Streifenjunko, the Christian Wallumrød Ensemble and Rockettothesky. Musicians include: Jan Martin Smørdal, Daniel Meyer Grønvold, Kyrre Laastad, Eivind Lønning, Martin Taxt, Ole Henrik Moe Jr., Kari Rønnekleiv, Juhani Silvola, Andreas Løwe, Andreas Lønmo Knudsrød, Espen Reinertsen, Viljam Nybacka, Jo Berger Myhre, and Håvard Skaset. Mixed by Mark Nevers (Lambchop, Bonnie Prince Billy) in Nashville.
HDH 197CD JESU: Heart Ache & Dethroned 2CD (HDH 197CD) 16.50
“Sixty-eight minutes of unreleased new/early Jesu on two CDs, including the band’s lost 2004 EP Dethroned. There are few artists operating at the fringes of popular music today whose sound has not been in some way or another informed or shaped by the works of Justin K. Broadrick.”
HDB 040EP DVA FEAT. FATIMA: Just Vybe (Soule:Power Mix)/Step 2 Funk 12″ (HDB 040EP) 12.50
“Scratcha DVA is back on Hyperdub for the second time this year. On the lead track here ‘Just Vybe,’ he has borrowed Fatima from Eglo Records to grace the tune with her distinctive vocals. ‘Just Vybe’ is a very ‘pop’ moment for Hyperdub. It combines the stuttering funky drums of Natty (DVA’s previous release for the label) as its template, and adds a big synth-y melody of which Stevie Wonder would be proud, plus Fatima’s rich, melodic and reflective lyrics. The retro musical depth plus Fatima’s soulful voice combine in an unexpectedly fresh and unusual way with the abstract house of DVA’s tough dance floor production.”
HDB 041EP LV & OKMALUMKOOLKAT: Boomslang/Zharp 12″ (HDB 041EP) 12.50
“LV made this tough Kwaito house-inspired 12″ after hooking up with Smiso Zwane, aka Okmalumkoolkat, from the Cape Town group Dirty Paraffin in South Africa at the end of last year. LV and Smiso played and recorded together and Smiso’s raps were taken back to LV’s musical lab in South London, dissected and reassembled, and these two tracks were the result. ‘Boomslang’ is possibly one of the most infectious tracks Hyperdub has ever released. Built around Smiso’s slurred, gravelly vocal raps, its tough galloping drums, sliding cartoonish melody, techy stabs and bubbling analogue riffs work together to give the whole thing a weightless, spacey energy. ‘Zharp’ is a stranger but still catchy track. Smiso’s vocals are chopped up, pitched up and down, repeated and stretched into weird melodies, with little synth interludes breaking them up, and sparse kicks and claps providing a persistent rhythm.”
IV 030EP DE SONG, CULOE: Webaba EP 12″ (IV 030EP) 14.00
In 2009, Innervisions introduced Culoe De Song for the first time outside of his home country South Africa with The Bright Forest. The new EP features Busi Mhlongo, an award-winning South African singer who sadly passed away in early 2010. Innervisions is proud to present the next big release by this young producer. Welcome back, Culoe. As usual from Innervisions, housed in a slick diecut sleeve with stunning artwork inside.
INT 017EP ULYSSES: Gibson In E/Love Hangover 12″ (INT 017EP) 12.00
Elliot is Ulysses, also known as half of Neurotic Drum Band together with John Selway on Wurst or as debuted for Internasjonal Spesial, Filipsson & Ulysses (together with Holmar Filipsson). “Gibson In E” played on Beats In Space radio in March 2010 to much positive feedback. Lovely Kraut-y doddlings on a spaceship. For the B-side, we’re treated to Ulysses’ personal rendition of Diana Ross ballad-goes-disco classic “Love Hangover.”
A major global player in all things futuristic disco, Prins Thomas’ Internasjonal imprint further branches out with its Internasjonal Spesial series. Holmar Filipson of Thugfucker and Crack & Speed fame and Ulysees (one-half of Neurotic Drum Band) push the agenda with the soon-to-be-classic emotive electronic disco cut “Escape From New York.” Valentinoland (Holmar Filipsson with Arni Runar Hlodversson of FM Belfast) is nothing short of truly exceptional with a gut-wrenching string lead melody in classic Balearic sunset-style.
KK 056CD WELLS & STEFAN SCHNEIDER, BILL: Pianotapes CD (KK 056CD) 15.50
Glasgow’s Bill Wells is a bassist, guitarist and pianist who has worked with the likes of The Pastels and the BMX Bandits, as well as recording an album with Isobel Campbell, formerly singer/cellist in Belle & Sebastian. Wells has always been interested in areas of the avant-garde that flourish on the borderline between electronica, folk, jazz and new music. His album Osaka Bridge, which he recorded with the Japanese amateur ensemble Maher Shalal Hash Baz, is legendary. And with his own trio and octet, he also creates a truly inspiring sound. He produced the album Pick Up Sticks in 2003, which was the first time he worked with Stefan Schneider (To Rococo Rot, Mapstation). Schneider and Wells developed the idea for Pianotapes together and presented it live for the first time at the piano festival Approximation, at Salon des Amateurs in Düsseldorf. Actually, what Bill Wells and Stefan Schneider are doing on Pianotapes is chamber music. Wells plays fragile scales on the Bechstein grand piano, while Schneider records them on two old reel-to-reel tape machines and plays the recordings back at altered speeds. This real-time recording process is reflected in Well’s piano playing, who replies with modulation and key changes, building the sounds and ideas into his improvisation, playing with them and developing them. For the recordings, the two musicians only rehearsed the technical set-up, everything else came about through improvisation. And the result is a rich tapestry of sound. Occasionally, Schneider and Wells add synthesizer sounds into this counterplay of original and copy. The atmosphere has something of a fairytale quality to it, but it is never too eccentric. This is music that has been arranged with great clarity to make for something atmospheric and fascinatingly timeless. Cover design by André Niebur, part of the artist’s collective hobbypopMUSEUM.
KYE 008LP ROSSETTO, VANESSA: Mineral Orange LP (KYE 008LP) 16.00
“Vanessa Rossetto is a composer and painter living in Austin, Texas. She uses primarily chamber instrumentation, field recordings, electronics and a wide array of different objects, exploring them through extended and traditional techniques. In 2008, she launched her own CD-R label, Music Appreciation, and through this imprint has released four solo albums: Misafridal, Imperial Brick, Whoreson in the Wilderness and the award-winning Dogs in English Porcelain. Her most recent release, the PDD-NOS (Period Tapes) cassette was described by Byron Coley in The Wire as sounding like ‘being under attack from slow-moving dune worms’. Mineral Orange presents four new works, each showcasing Vanessa’s deep commitment to abstract sound situations. These pieces exist as precision-edited travelogs of Vanessa’s questing. Local sounds, audio verite and overlayed string interludes are scrambled into surreal matrices of time, place and event. Mineral Orange was recorded and produced in Austin, Texas in 2010, with additional production by Steven Flato and mastering by Jason Lescalleet at Glistening Labs, ME. Mineral Orange arrives in an elegant Rossetto-designed sleeve, in a hand-numbered edition of 300 copies.”
AGCG 004EP A GUY CALLED GERALD: Tronic Jazz: The Berlin Sessions Vol. 4 12″ (AGCG 004EP) 12.00
This is part 4 in a 4-part series of limited edition 12″s from A Guy Called Gerald’s Tronic Jazz: The Berlin Sessions (LI 017CD). Tronic Jazz takes the foundations of house and techno as though they were a kind of language, and speaks volumes with them. These three tracks include “Dirty Trix,” “Indi Vibe,” and “Merfted.”
LITA 055LP BIRKIN, JANE: Di Doo Dah LP (LITA 055LP) 21.00
Deluxe gatefold LP version. “Di Doo Dah is the first true solo album from British-born actress, model, singer, mother, and French national treasure, Jane Birkin. Emerging as a creative and beatific force in London’s swinging ’60s, she met Parisian provocateur Serge Gainsbourg in 1968 on the film set of Slogan and birthed one of the most fantastic creative collaborations the world has ever known. After the 1969 duet album Je T’Aime…Moi Non Plus (LITA 048) and the landmark L’Histoire De Melody Nelson (LITA 040) Jane was ready for her own namesake debut. Di Doo Dah sees Birkin, Gainsbourg, and co-conspirator Jean-Claude Vannier (L’Enfant Assassin Des Mouches) meld Jane’s fragile vocals with jazz, rock, and lush orchestral textures: a perfect album for living and loving. With full cooperation and insight from Birkin herself — not to mention French lyrics and English translations — this reissue truly allows listeners to delve into the album’s witty and frank world of sex, sin, voyeurism, motorcycles, Brighton, and banana boats. So what exactly does Di Doo Dah mean? ‘Nothing at all!’ replied Birkin in a BBC interview from 1973. But this album is far from a throwaway, showing a maturity and musical understanding from all parties involved. By the early ’70s, this lady was already a mother and very much aware of traditional gender roles as well as the sexual revolution — clearly able to plumb the necessary emotional depths required to translate Serge’s madcap lyrics and songs. It is true that in Birkin, Serge had finally found his match and most transcendent muse. And although the couple eventually went their separate ways, they left us all whistling much more than ‘Zipp-a-Dee-Doo-Dah’ in the process. LP features 180 gram wax, old school tip-on jacket, and gatefold providing English/French lyrics as well as a new interview with Jane.”
LR 314LP CHROME: Alien Soundtracks LP+CD (LR 314LP) 27.00
“1978’s Alien Soundtracks was the second album by the sci-fi obsessed San Francisco experimental rock band, Chrome, formed in 1977 by Damon Edge. A brilliant combination of punk rock aesthetic, with Iggy-esque vocals, jangly guitar, primitive electronics, tape manipulation and sampling, this was also the first album to feature the mad guitar stylings of Helios Creed. Often credited as being the precursors to the industrial metal sound, the band are also akin to experimental punk/noise bands like Pere Ubu and Suicide. Featuring ‘The Manifestation (Of The Idea)’ originally released simultaneously on the 1982 Chrome Box and on an Italian Chrome compilation, No Humans Allowed.” 180 gram vinyl.
LR 315LP CHROME: Half Machine Lip Moves LP+CD (LR 315LP) 27.00
“When Chrome first came on the SF punk scene in the late seventies, they were called ‘acid punk’, due to their penchant for both, but also because their music came from a ‘far-out’ place — a place most people could only get to while in a drug-altered state. The sci-fi obsessed Creed and Edge, however, claimed to channel their music directly from the beyond, and when 1979’s groundbreaking Half Machine Lip Moves was released — an angular and metallic sounding album interspersed with electric violin, apocalyptic tape loops, moog, atonal droning distorted guitar and a wall of metallic sounding percussion — it certainly sounded that way. For the next five years Creed and Edge were a force to be reckoned with, laying the groundwork for the industrial music scene and directly influencing almost every guitar-toting punk ever since. Featuring three bonus tracks–‘Anti-Fade’, ‘I Left My Heart In San Francisco’ and ‘Meet You In The Subway’ — which originally appeared on the Subterranean Modern compilation, released in 1979 on Ralph Records.” 180 gram vinyl.
LR 316LP CHROME: Red Exposure LP+CD (LR 316LP) 27.00
“Humans are the cancer of the planet…all people have untapped psychic powers…acid is good…aliens exist…these are just some of the ideas that the pioneering San Francisco band Chrome was grappling with in its music, labeled ‘acid punk’ by the press in a desperate attempt to categorize them. Comparing them to everyone from Pere Ubu, to the Residents, to Devo, to Can, to Eno, the reality was that no one knew really knew where they fit in…perhaps because they really were channeling their music from some distant alien planet. In fact, Chrome’s founder, Damon Edge, described himself as having something he called ‘clairaudient syndrome’, a condition that allows you to ‘hear something before it happens’…meaning that he would first hear the music in his head, and then ‘channel’ it onto tape…. and perhaps that explains the music in this LP. For Chrome aficionados this album is more ambient and droning than previous albums, except for the Devo-esque ‘Electric Chair’- and one wonders if they didn’t write this song to poke fun at the band. Featuring three bonus tracks: ‘In A Dream’ and ‘Danger Zone’ both taken from their 1981 12″ Inworlds single… and ‘Informations’, taken from the b-side of their rare New Age 7″ released in 1980.”
LOAD 131CD DAILY LIFE: Necessary & Pathetic CD (LOAD 131CD) 14.00
“Daily Life are a two piece from Providence, RI & have emerged with a sugar glazed classic of monstrous icy proportions. Necessary & Pathetic sketches out a sputtering romantic vision replete with horny armies emerging from the darkness set to a lush trash strewn landscape equipped with sputtering drumbot rhythms & croon power set to 10 to ensure moist thongs. This is not a lo-fidelity stab at synth-pop but a fully formed set of songs executed with maximum vision.”
LOAD 131LP DAILY LIFE: Necessary & Pathetic LP (LOAD 131LP) 14.00
LP version. Limited edition of 500 copies.
LODUBS 1018EP MEESHA: Clack/Block 12″ + CD (LODUBS 1018EP) 8.50
“…and once again, with regards to music with the cojones and the cerebellum intact, we can thank Starkey for the Connect. As LoDubs was working through material with Starkey for his mix CD on LoDubs, Starkbass (which also features tracks from Wonder, Joker, Rafertie, and a host of others), Meesha happened to be one of those who ended up in, and stayed in the pile for the mix. Once you hear the tunes, it’s easy to see why. For one thing, and unlike a lot of peak of the night, big drop dubstep tunes, the drums on both Clack and Block are not secondary to big wobbles, but remain as the runnin’ force in each, and are pushed out of the woofer like some entirely new structure that has yet been undiscovered in a largely unknown territory somewhere between the break, the 2, and the dubstep. For the other, the bassline is in its own right a horse of a different color, which interweaves subharmonics and midrange into a pliable frequency, which Meesha then expands and contracts over the framework of the drums, much like a massive, synth driven accordion. All in all, everything the sound is in its most base description, yet so much more, and thus, more of what you have come to expect from LoDubs.”
LODUBS 1019EP PACHEKO/DJ 100MADO: Figure 8/Trance 8 12″ + CD (LODUBS 1019EP) 8.50
“Strangely enough, if you want to get much of the bass music coming out of Venezuela, you have to go to Japan, and the primary source once there would be Murder Channel, a long running club night, which has played host to artists as diverse as Melt Banana to Goth Trad, and also a label, based in Tokyo. Amongst the releases featuring Venezuelan artists, like the Cardopusher full length Unity Means Power came the Pacheko/DJ 100mado collab CD, which was released near the end of 2009. LoDubs, having a long running relationship with both the VZ and JP cultures, has taken up the charge to spread a bit of this material in the other hemisphere. ‘Figure 8’ is the quintessential builder, with percussion quite stiff and pronounced, and bass weight to challenge any soundsystem, but the melody and rhythm married to these elements is remarkably light, full of interplay, and one could even say elegant, in a way all its own. ‘Trance 8’ while not a complete departure, does give one an idea of where the anthemic sound of dubstep could go in years to come. An almost overwhelming arpeggiated melody, with dry snares that play cadence to the progression, and a throbbing underbelly of sub that lets loose like an invisible wobble beneath it all.” The included CD features the 12″, plus 2 extra tracks.
LSF 016EP SAVIO, DANIEL: Nightmare Food/Sleeping Wit’ Fish 7″ (LSF 016EP) 6.00
“Rustie and Joker know Skweee. It’s obvious in their basslines. To spell it out, the mental picture that would work for most who have not heard the funk from the far North would be that skweee is that flavor blown up big in the purple wow form of dubstep, typically at around hip hop pace, crossed with a bit of ’80s electro rap. Of course, at the same time, this would do nothing in the way of defining 70% of the records released in the Skweeediverse. Yes, it often possesses bits of R&B, electro, disco rap, techno, and boogie, but in a way that can only be called skweee. You kinda know it when you hear it. Which is much the same with Daniel Savio, the man who coined the phrase, and has consistently worked inside (and outside) the style since then, both as the aforementioned non de plume, and with his more cosmic disco tinged/ b boy edit tinged productions under the name Kool DJ Dust, which garners just as much love in its own circles. Each of the tracks here offer a form of this new funk called Skweee thus unheard from the lands of Nord. If a member of Trilamb happened to also have the last name Mantronix, maybe the song to win the greek council at the end of Revenge of the Nerds would have been ‘Nightmare Food’. On the B Side, we have ‘Sleeping wit’ Fish’, a bubbly squelch of synth skweeedom, spelled as such because, as Daniel says (and Jamie Lee Curtis too) ‘I from Sveden’.”
LSF 017EP SPARTAN LOVER, THE: Eye Drop/Silk Smooth Skin 7″ (LSF 017EP) 6.00
“The second in losonofono’s Skweee releases comes from Helsinki’s own Spartan Lover. Lover of Spartans (or a lover of Spartan caliber?!), and owner of the two release deep label Mesak. Although the aforementioned artist has, in gangsta rap talk, been ‘Down Since Day One’, with tracks featured on the seminal Museum of Future Sound and Skweee Tooth comps on Flogsta Danshall and Ramp recordings respectively, and has prepared remixes for the other two strong suits in the sound, Dodpop and Harmonia, this release symbolizes his first release all to himself… and one thing is for certain: When it comes to being a Spartan, he is more enamored with the helmets and muscles than what could be a simile for austere simplicity, which is the last thing you could call either ‘Eye Drop’ or ‘Silk Smooth Skin’. While definitely of the hard to categorize stripe, other than to call it ‘Funky’ in much the same way as a lot of the genre, each seems to possess a hint of the sounds in the parallel universe where Mr. Oizo kept with the hip hop breaks after ‘Analog Worms…’ rather than switching to his more electro persona. Each is a funky builder of bass and drums, of a variety almost too abstract, but somehow all the bits play together to make for some funky business indeed.”
LSF 018LP SAVIO, DANIEL: Nekropolis LP+CD (LSF 018LP) 12.00
“The end is coming. We all know it. Could be the end of the world, or just the end of that bag of chips you’re eating, but rest assured, it is coming. And to harken its arrival is Daniel Savio, and his Armageddon themed opus Nekropolis. A point of personal pride in the Savio catalog of production (and among his earliest) is that fact that he contributed material to the production of the second Britney Spears record, which in its own way has surely helped contribute to the decay of society, and thus bring about the end days. The 9 tracks spread amongst the LP (and also included on the bundled CD) are just as menacing as the idea of having to listen to that whole record ten times over, but in a thrilling way, as yet unheard in the Skweeediverse. This is Daniel Savio’s second full length, and a continuation of the blast that erupted from the Flogsta Danshall LP of 2009 known as Dirty Bomb. In a world of little records, like that of the Skweee, and its ubiquitious 45s, two massive bombs are now unleashed by that rogue state Sweden, and no amount of diplomacy can stop them!!”
SRM 4011HLP MOTORHEAD: Ace Of Spades LP (SRM 4011HLP) 14.00
Motörhead’s fourth album, originally released in 1980 on Bronze Records. According to the information age, there were over 30 different reissues of this album. This appears to be an exact repro of the Mercury edition released in 1980, with a different (superior by all accounts) track running order than the original. One of the best metal albums ever, bite the bullet. 180 gram vinyl.
MIA 013CD FJELLSTROM, MARCUS: Schattenspieler CD (MIA 013CD) 14.50
Swedish composer and multimedia artist Marcus Fjellström’s debut Miasmah release follows two critically-acclaimed full length albums on Lampse. In addition, Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers. Currently based in Berlin, Fjellström’s compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic. Schattenspieler (which translates as “Shadowplayer”) takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral, instrument-based audio constructions flow from one moment to the next — the fleeting ghosts of Fjellström’s melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you’re listening to something more implied than obviously stated, as if Fjellström wants only to expose his listeners to the shadow of the music — the implication being perhaps a more terrifying experience than to be confronted outright. The undeniably Angelo Badalamenti-esque descending synth strings of opening track “The Disjointed” lay the foundations for this album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label-mates Kreng and Jacaszek. Marcus’ wide-ranging abilities in composition and his willingness to let go of accepted form and function makes Schattenspieler a perfect choice of release for the Miasmah label. The suspense-laden “Antichrist Architect Management,” with its harrowing and tense undertones, weaving synth lines and washes of static hiss and flicker, is a particular stand-out track. Schattenspieler also includes a four-part suite “House Without A Door,” which was originally commissioned for the Bernd Behr film of the same name. “Uncanny Valleys,” reflective in some ways of the opening track, is a haze of descending synth and organ tones. The imperfections in these often scratchy recordings makes for an alluring, almost drug-induced state of mind where all that is real is unreal.
MINUS 099EP PLASTIKMAN: Slinky 12″ (MINUS 099EP) 11.00
Richie Hawtin sneaks up with a new Plastikman single. If you heard Hawtin spin in the summer of 2010, you’re going to recognize “Slinky” as one of the highlights of his set: a blistering acid track that immediately stands out from today’s standard-issue bass line techno hits. “Monkee” is a properly minimalist jungle-drum groove made of dizzily syncopated toms and clean, linear 808 patter. It’s a trip into the darkest recesses of the rainforest, complete with the screeching of unknown beasts.
MONKEY 006CD MODESELEKTOR: Modeselektion Vol. 01 CD (MONKEY 006CD) 15.50
There is no need to write a long introduction about Berlin-based artists Modeselektor (Gernot Bronsert and Sebastian Szary). The albums Hello Mom! (BPC 115CD/LP) and Happy Birthday! (BPC 159CD/LP), the stadium world tour with Radiohead, collaborations and remixes with and for Thom Yorke, Björk, Maxïmo Park, Miss Kittin, Boys Noize, Roots Manuva, and many others are impressive milestones of their career. After the festival season of 2010 ends, it’s time to show a sign of life as Modeselektor. So it happens impressively with the kickstart of a new album series called Modeselektions. Accompanied by carefully-selected events around the globe, Modeselektor invited 20 of their current favorite electronic music artists to participate with unreleased and exclusive tracks, of which 18 are to be found on this CD. Names like 2562 (A Made Up Sound), Robag Wruhme (Wighnomy Brothers), Marcel Dettmann, Shed, Mala (Digital Mystikz), Tadd Mulinix (Dabrye, James T. Cotton), Feadz, Siriusmo, Apparat, Ramadanman, Ikonika, Cylob, and many more sound impressive not only to hipsters and specialists, DJs and journalists, but also to the “normal” fan of electronic music. Other artists include: SBTRKT, Daniel Meteo, eLan, Cosmic TRG, Bok Bok, Housemeister, and Cylob.
NEOS 10906CD FUENTES, ARTURO: Chamber Music CD/SACD (NEOS 10906CD) 21.00
Performed by ensemble Intégrales. “Arturo Fuentes composes instrumental works with live electronics and literary, visual and scenic elements. In Paris he earned a doctorate in composition and a master in philosophy under the direction of Horacio Vaggione and Antonia Soulez respectively. He attended the IRCAM-Cursus in Composition and Computer Music. He received the diplomas on guitar and music theory by the Associate Board of the Royal Schools of Music of London. In Milan he studied with Franco Donatoni and in Mexico he earned a bachelor’s degree from CIEM and attended the composition workshops of Juan Trigos. His articles about composition, computer music and philosophy have been published in Mexico, Denmark, Spain, Austria and Germany.” Stereo/multichannel hybrid SACD that can be played on any CD player.
NEOS 11035CD GOURZI, KONSTANTIA: Conjunctions – Synápsies CD (NEOS 11035CD) 21.00
“Konstantia Gourzi is one of the most important mentors of contemporary music. As a prize-winner of the Christoph and Stephan Kaske Foundation she stands alongside Pierre Boulez and György Ligeti, and she has founded or directed a number of contemporary music organizations. Her compositions bridge traditional music with contemporary sources of expression.” Performed by: Vassilis Agrokostas, psalmist; Michalis Cholevas, tarhu, saz, ney; Christian Elsässer, piano; Konstantia Gourzi, piano and conductor; Appolon Musagète Quartett: Pawel Zalejski, Bartosz Zachlod, violins; Piotr Szumiel, viola; Piotr Skweres, cello.
NEOS 11043CD CAGE, JOHN: One – One2 – One5 CD (NEOS 11043CD) 21.00
Featured works: One for piano solo (1987); One2 for 1-4 pianos (1989); One5 for piano solo (1990). “Sabine Liebner is active primarily as a performer of new music. Numerous recordings for radio, television, and CDs as well as invitations to international festivals, both as chamber musician and as soloist, document her work as an artist. She has collaborated on projects with the composers Olga Neuwirth, Jörg Widmann, Franco Donatoni, and Christian Wolff, among others, and given numerous world and national premieres. In recent years Sabine Liebner’s interests have focused on American composers of the twentieth century. Her repertoire of American music includes Henry Cowell, Earle Brown, Christian Wolff, Pauline Oliveros, and Tom Johnson. She plays nearly all of the piano works of John Cage, and her recording of Cage’s Music for Piano 1-84 is legendary.”
NEOS 11060CD VA: Darmstadt Aural Documents Box 1 6CD BOX (NEOS 11060CD) 105.00
Subtitled: Composers – Conductors: Composers conducting their own works. “We do not ordinarily associate the terms ‘cultural heritage’ or ‘cultural legacy’ with works, objects and materials of recent vintage, but rather with things unearthed from bygone ages. However, a closer look at the archive of the Darmstadt International Institute of Music (Internationales Musikinstitut Darmstadt, IMD), the organiser of the International Summer Courses for New Music held in Darmstadt since 1946, reveals that these terms are perfectly apt. The IMD’s archive preserves the history of one of the central institutions of post-war music, making it both a German and an international cultural legacy. The boxed set of CDs Composers — Conductors, which opens the Darmstadt Aural Documents series, presents a counterpoint of voices, artistic and practical, from the history of the International Summer Courses for New Music. These courses, launched in Darmstadt in 1946, have proved to be an ongoing ‘Bauhaus’ for contemporary music — a house of many workshops that has uniquely promoted the potential and needs of New Music and new ways of thinking about music. Here the suspension of the customary division of labour has been and remains (at least temporarily) of great importance.”Contents: Earle Brown (1926 – 2002): Available Forms No 1; Gerhard Müller-Hornbach (B. 1951): Innere Spuren; René Leibowitz (1913 – 1972): Chamber Symphonie For 12 Instruments, Op. 16; Johannes Kalitzke (B. 1959): Cruxification No 2; Mauricio Kagel (1931 – 2008): Orchestrion-Straat; 1898; Sonant; Wolfgang Fortner (1907 – 1987): Mitte Des Lebens; Beat Furrer (B. 1954): À Un Moment De Terre Perdu; Ernst Krenek (1900 – 1991): Cantata For Wartime, Op. 95; Michael Finnissy (B. 1946): Piano Concerto No 3; Bruno Maderna (1920 – 1973): Concerto For Piano And Orchestra; Concertos For Oboe No 1 & 2; Dimensioni No 4; Robert Hp Platz (B. 1951): From Fear Of Thunder, Dreams…; Carmen Maria Cârneci (B. 1957): The Mado Songs; Manfred Trojahn (B. 1949): Chamber Concerto; Ernstalbrecht Stiebler (B. 1934): Continuo; András Mihály (1917 – 1993): 3 Pieces For Chamber Ensemble; Herbert Brün (1918 – 2000): Sonoriferous Loops, Op. 32; Pierre Boulez (1918 – 2000): Doubles; Henri Pousseur (1929 – 2009): Répons For 7 Miusicians; Hans Otte (1926 – 2007): Tasso-Concetti; Karlheinz Stockhausen (1928 – 2007): Kreuzspiel Part 3.
“Episode two in season one of the LA Vampires Collab Chronicles finds her joining forces with elusive alien discotech-head Matrix Metals of the nomadic Outer Limits Recordings cabal. Blurry ornate cassette-loop architectures groove and grind under jazzy Casio canopies while Ms. LA Vamps screws it all down and layers in additional square wave keyboard lines, echo chamber FX, drum machine detailing, low-end throbs, and sings lead on a gold spraypainted microphone. The entire LP’s got that ‘melting-on-the-dashboard’ warped-world tonality of all the best Outer Limits tracks, and the fried radio-rhythm Matrix beats definitely coax out a cool hidden sunbleached LA V faux-pop vocal style not evident on any of her previous vinyl. Elaborately 4-tracked over the summer and microscopically mixed by M. Geddes Gengras, So Unreal is exactly that, and a rad synergistic statement by both parties. Black vinyl LPs in jackets with glamour-style Nagelized portrait/collage artwork by recent LA transplant/BFF Spencer Longo, plus a full-color insert. Edition of 600.”
NNF 213LP SEX WORKER: Waving Goodbye LP (NNF 213LP) 14.00
“In a weird case of life imitating art imitating life, Daniel Martin-McCormick’s sophomore Sex Worker full length, Waving Goodbye, coincidentally gets released on the very day he embarks on his transamerican relocation road trip from the Bay to Brooklyn. Waving goodbye indeed. Sad times for California, but at least his parting gift/LP is as haunting and poignant and vivid as these six dance-damaged life/love/loss anthems. A huge evolutionary pole-vault upwards from 2009’s The Labor Of Love, here the SW art-pulse echo-anguish aesthetic has been refined and reborn into fresh neon-smeared street grime crooner ballads (‘Cool Boy,’ ‘Tough Love’), sprawling forlorn trancefloor fantasias (‘Next To You,’ ‘Honeymoon Babylon’), plus a killer loner-ized Corona cover. Recorded over several months in SF and mastered in Berlin, WG is clearly his peak achievement to date and we’ve been jamming the shit out of it. Live, he brings a bizarro entertainer/MC vibe to the proceedings so for sure go see him when he’s passing through yr zip code. Black vinyl LPs in jackets designed by Mr. DMM himself. Edition of 500.”
NA 5077EP JORGE AND ALMAZ, SEU: The Model 12″ (NA 5077EP) 8.00
“Now-Again announces the second single from Brazilian singer/actor Seu Jorge’s Seu Jorge and Almaz album, a sultry take on Kraftwerk’s ‘The Model.’ The record is mixed by Mario C and includes instrumentals and remixes of ‘The Model’ and ‘Everybody Loves The Sunshine’, all of which are exclusive to this 12″. This dark, soulful approach to what was once a robotic ode to a runway idol intoxicates not only because of Jorge’s gruff baritone, but because of his backing band Almaz — drummer Pupillo and guitarist Lucio Maia from the stalwart Nação Zumbi; bassist and composer Antonio Pinto from the soundstages of movies like the Jorge vehicle City of God. The band came together naturally to record a song for a Walter Salles film; they enjoyed the experience so much that they recorded an entire album, free of convention, of music that inspired them.”
OSR 002LP RFD, THE: Lead Me Home LP (OSR 002LP) 29.00
“USA 1971 obscure Christian folk-rock album with an appealing, understated feel. Close male/female vocal harmonies and ringing guitars create a secular late ’60s California sound, with strong songwriting that reaches back to a Byrds / Simon & Garfunkel hook sensibility. Fully licensed, first ever vinyl reissue. Monster rarity going for $700+ when showing up. Limited reissue of 500 copies, printed in HQ 350g carton and 180g vinyl. Unbeatable 24bit remastered sound quality. Including an insert with liner notes by Patrick Lundborg.” CD version available on Riverman (BTR 018CD).
PLP 028LP FATBACK BAND, THE: Let’s Do It Again LP (PLP 028LP) 11.50
Exact repro reissue of the 1972 debut from “funk’s best-kept secret.” “‘We’re workers, primarily. We call ourselves construction men. We hustle. When we come into a hall, we demolish the place! If we don’t get ’em roarin’ then somebody’s not playing.” — Bill Curtis
PERMVAC 065CD VA: Right To Play CD (PERMVAC 065CD) 15.50
Permanent Vacation present an outstanding compilation providing an overview of the label’s catalogue, from modern disco music and sunny house to Balearic vibes and deeper electronic. With the support of the government of the Principality of Liechtenstein, the Munich-based music label has produced a CD with proceeds going towards supporting children involved in armed conflicts. Specifically, support is provided to the non-governmental organization Play31, which organizes soccer matches for former child soldiers. In countless armed conflicts throughout the world, the rights of children are violated in many ways on a daily basis. They are recruited as soldiers, abused as sex slaves and deployed as suicide bombers or spies. It is assumed that today more than 250,000 children are forced to serve as soldiers. Mixing label classics and exclusive brand new material, label heads Tom Bioly and Benjamin Fröhlich have strived to compile pieces of music that strike both first time listeners and long time followers of Permanent Vacation alike. They hope that they’ve created a unique record that is not only appealing, but also helps contribute to a better future for former child soldiers. The collaboration with the Principality of Liechtenstein came about during ceremonies celebrating the 20th anniversary of Liechtenstein’s membership to the United Nations. The safeguarding of human rights, especially the safeguarding of children’s rights, is one of the focal points of Liechtenstein’s mission with the UNO. Artists include Antena, Nouvelle Vague, 40 Thieves, Qzen, Brennan Green, Lauer, Mock & Toof, Walter Jones, Midnight Magic, Jacques Renault, The Embassy, Tensnake, Mirror People, Lullabies In The Dark, Woolfy vs Projections, John Talabot, Azari & III, Manuel Tur, Tevo Howard, Bostro Pesopeo and Invisible Conga People.
PLAIN 165CD ROYAL TRUX: Thank You CD (PLAIN 165CD) 13.00
“This is their 1995 Virgin label debut produced by long time Neil Young collaborator David Briggs. Thank You was recorded almost completely live in the studio and Briggs’ production and influence is readily apparent in this grimy piece of rock’n’roll. Neil Hagerty’s guitar playing is wandering into noiseland via unique and memorable solos but also transforming into something resembling ’70s riffs while Jennifer Herrema outdoes herself and actually sings. Thank You, giving way to some surprisingly catchy tunes, is as good as modern rock classics go. A great, greasy work of non-commercial alternative rock fueled by cigarettes and junk food.”
PRESTIGE 7237LP YOUNG, LARRY: Groove Street LP (PRESTIGE 7237LP) 11.50
Exact repro of this 1962 release, an early session by organist Larry Young, who restructured the DNA of the jazz organ on his classic Unity album, as well as recordings with Miles Davis (on Bitches Brew), Tony Williams on Lifetime. Young’s organ shook the foundation of the Nixon Whitehouse on the legendary Love Cry Want LP (reissued by Weird Forest). Featuring Thornel Schwartz (guitar), Bill Leslie (tenor sax) and Jimmy Smith (drums).
PM 9995CD NOTEKILLERS: We’re Here To Help CD (PM 9995CD) 10.00
“The Notekillers, who originally slugged it out during the punk wars of the late 1970s, continue their improbable reincarnation march with this barely-hinged celebration of rock & roll noise. Woefully under-documented back in the day, their only official recording — The Zipper, a self-released 7″ — was a favorite amongst the cognoscenti in the experimental underground and a secret influence on some of the most important avant-bands of the past 30 years. Now, following an acclaimed archival release on Thurston Moore’s Ecstatic Peace! label, the Notekillers complete their leap out of the shadows and land solidly in the present with We’re Here to Help — a brand new LP with material developed exclusively during their second life. This is the CD version which includes a bonus track not found on the vinyl. Rich with tuneful, neck-snapping hooks that explode at any and all times, this album will connect deeply with anyone who lives for the dizzying, defibrillating power of positive audio aggression.”
PM 9995LP NOTEKILLERS: We’re Here To Help LP (PM 9995LP) 23.00
Gatefold LP version on red vinyl, limited to 500 copies.
RY 031LP MARSHALL, LARRY: Queer And Wonder LP (RY 031LP) 16.00
“This album is a collection of songs from Larry Marshall, an elusive and mythic figure whose self-described ‘Gothic Folk…from the future’ is presented here for the first time in glowing, psychedelic stereo-surround, etched on black wax. Larry has been living in Rhode Island for his entire life, and has performed at many of the storied (and now defunct) venues in and around Providence, RI. Despite this long history, his music is barely known outside of a small circle of close friends and die-hard local fans. Queer And Wonder is a collection of songs from Larry’s catalog: three tracks were previously released on a small cassette edition from Unskilled Labor, and a track by the band Box Patrol (w/Larry on vocals and pitch-pipe), was previously released on a CDR by the legendary Fort Thunder Records. The LP is rounded off w/ a few live tracks from a solo gig in Manchester, England, a live radio session, and some collaborations unearthed from tapes found in Larry’s apartment in West Warwick, RI. Edition of 350, covers designed by CF, w/ inserts / lyric sheet.”
RER VF1 FAUST: 71 Minutes 2LP (RER VF1) 43.00
“With Magma, Faust was one of the most important of all the European groups of the ’70s. Compiled from ‘lost’ and unreleased material, originally released as Munich & Elsewhere on the 10th Anniversary of their disbandment (inc. prophetic pre-dub mixing) as well as most of the unreleased Faust Party 3 LP. Intense, eccentric, hypnotic, a true timeless classic.” 180 gram vinyl.
RER VHC2 HENRY COW: Unrest LP (RER VHC2) 31.00
“Dating from 1974, and following on from the re-release of Legend, this is the second in our series of vinyl reissues of the original Virgin albums. Geoff Leigh had left the group and Lindsay Cooper joined on bassoon, oboe, flute, soprano sax. The mix was more ‘live’ than Legend, with the drums much more up front. The first half is highly composed material, with some of the Cow’s best loved tunes, like ‘Half Asleep Half Awake’ and ‘Bittern Storm Over Ulm’. For the second half the material was all written in the studio, using loops, varispeed tapes and electronics, and superimposing live improvisation and composed passages. Classic, historic and still relevant.” Printed inner sleeve; 180 gram vinyl.
RLP 3104LP SCORCH TRIO: Melaza LP (RLP 3104LP) 22.00
LP version. Fourth album from the free-spirited power trio that should need no long introduction by now, apart from the significant fact that Frank Rosaly has taken over the drum stool from Paal Nilssen-Love. No mean feat, seeing how the hand-in-glove rhythm section of Nilssen-Love and Håker Flaten has graced a large number of recordings over the years and built a solid reputation as one of modern jazz and improv’s most reliable units. That said, the Chicago-based drummer is doing a remarkable job in both keeping the group sound intact while bringing new blood to the proceedings. As with the previous albums, Melaza was recorded live in the studio with a minimum of overdubs, this time by Robert Mussi at Bill Laswell’s New York studio. Raoul Björkenheim is from Finland and he recorded for ECM as a member of Finnish pioneers Krakatau as well as with Bill Laswell, Henry Kaiser, Jah Wobble, Peter Erskine, Paul Schütze, Mats Gustafsson, Nicky Skopelitis, and others. He has also written film scores and orchestral music. Norwegian Ingebrigt Håker Flaten is a member of The Thing, Atomic, School Days, Free Fall with Ken Vandermark and has his own quintet. He has toured with Trygve Seim, Joe McPhee, Chris Potter, Dave Liebman, Tony Oxley and many others. Drummer and composer Frank Rosaly has been an integral part of the Chicago music scene for 10 years, navigating between the improv, experimental, rock and jazz communities. As with the other Scorch Trio albums, all titles are local slang-words: this time, it’s Puerto Rican, with the album title translating as “pure sugar cane juice, something sweet, fantastic.” Members: Raoul Björkenheim (guitar), Ingebrigt Håker Flaten (bass), and Frank Rosaly (drums). Includes voucher for free mp3 download of the whole album.
RLP 3105LP ULTRALYD: Inertiadrome LP (RLP 3105LP) 22.00
LP version. Ultralyd are Kjetil Møster (saxophones/clarinet), Anders Hana (guitars), Kjetil Brandsdal (bass) and Morten J. Olsen (drums/electric vibraphone). Ultralyd can be said to operate in a sonic landscape that has as much in common with modern contemporary music as with heavy metal. While their vinyl-only release Renditions (TLRC 002LP) on The Last Record Company label in 2009 and their contribution to Rune Grammofon’s Twenty Centuries Of Stony Sleep (RCD 2100/RLP 3100LP) compilation can easily be described as belonging to the former, Inertiadrome introduces a more rhythm-based, rough-edged sound. What you get is an instrumental album of ensemble playing, practically free of soloing, largely driven by Olsen’s relentless drumming and Brandsdal’s monster heavy bass. Hana and Møster’s unorthodox instrument treatments are filling the gaps while the bleak and futuristic-sounding production brings a sense of doom. Includes voucher for free mp3 download of the whole album.
SAB 045LP PIGEONS: Liasons LP (SAB 045LP) 15.00
LP version, limited to 500 copies. “Bronx duo Pigeons wade closer to the edge of ambitious pop provocations with their third LP, Liasons. Here we find the band in the midst of an enormous creative leap; the psychedelic chanson moves of previous releases now cohabit with spacious west coast artblues & wistful cosmic folk tunes, invoking Catherine Ribeiro, Brigitte Fontaine, & Opal. Pigeons singular approach to structure, arrangements & production techniques — mirrored by the willful license in spelling Liasons — culminate with Wednesday Knudsen & Clark Griffin lacing their songs with flute, saxophone, echo, drum machines & languid guitar lines. Includes two songs in French, one of which is a take on ‘Laisse Tomber les Filles’ by Serge Gainsbourg.”
BADVC 054-PIC DEATH IN JUNE: Peaceful Snow 2×10″ PIC DISK (BADVC 054-PIC) 42.00
Limited 2×10″ picture disc version.
BADVC 054CD DEATH IN JUNE: Peaceful Snow/Lounge Corps 2CD (BADVC 054CD) 21.00
“Gone the Totenpop guitar, it’s now time to march to the 88 keys of the Lounge Corps Piano Bar; Peaceful Snow! The new album from Death In June features 13 new ‘Totenpop Torchsongs’, with the first 3,000 copies of the specially Runic whiphand 6 debossed softpak CD version also containing a limited edition CD of 17 Death In June classics instrumentally reinterpreted at Douglas P.’s request by Slovakian pianist Miro Snejdr at his favourite Dirty Martini Studios in Bratislava, Slovakia.”
BADVC 054LP DEATH IN JUNE: Peaceful Snow 2×10″ (BADVC 054LP) 36.00
“The vinyl version is presented in a lavishly printed Totenkopf 6 debossed gatefold 10 inch sleeve. The records include all the Peaceful Snow tracks save one, ‘The Maverick Chamber’. All copies of the vinyl come with a large folded poster.” White-vinyl version.
Repress, originally released in 2000. Surprise reissue of the most infamous and difficult to procure Sun Ra artifact; originally issued on Amiri Baraka (then LeRoi Jones)’s Jihad label (home of the original Sunny’s Time Now by Sunny Murray as well). This is the first release on the DC-based Sonboy label officially sanctioned by Baraka (and mastered from the original tapes that have been sitting in his basement all along). Other unreleased sessions from the Jihad library of tapes are still rumored to follow this release. Originally issued in 1968, A Black Mass was personally distributed by Baraka via a network of radical Black literature bookstores and was not commonly found in the channels that records of the time moved in. As a result, it has enjoyed a mystical status for the better part of its 30+ year existence, and many hard-core Ra completists have never seen a copy. A strange and revolutionary play by Baraka, with musical interludes by the Myth-Science Orchestra. Very, very historic. “The play A Black Mass was written in Harlem in 1965, much of it probably at my desk at The Black Arts Repertory Theater School at West 130th Street and Lenox (now Malcolm X. Blvd.). It was first performed at the RKO Proctors Theater, Newark as a companion piece to J-E-L-L-O, a satire on the Jack Benny show where Rochester turns militant. The reason it was Newark is because late in 1965, I decided to walk away from the BARTS because with the mounting internal strife, the phenomenon of ‘diminishing returns’ had set in so disruptively that the vision of bringing Black Art into the community and creating what we were later to understand as Cultural Revolution could no longer succeed at that venue. Black Mass shows the heavy influence of the Nation of Islam even though, after Malcolm’s murder, I became alienated from that Nation, essentially as a means of registering my allegiance to Malcolm. Even the Jacoub story I had gotten from Malcolm when he was still more directly motivated by Elijah Muhammad’s teachings. Sun Ra was one of the most consistent and supportive artists associated with the BARTS. He was there several days a week, teaching all who would listen. At any rate, when I conceived of doing Black Mass to music, Ra was the only musician in my mind. Not just because of the ‘otherworldliness’ of the tale, but the sensuous ‘outness’ I knew Ra, with his Myth-Science Arkestra, would bring, which I felt would give a material life to the text. The work was recorded in The Spirit House, on the first floor theater we had created by tearing down the walls of my rented one-family house, just as we had done at The Black Arts. With Sylvia Robinson (Amina Baraka, a Newark artist who would shortly become my wife), Yusef Iman (a BARTS original), Newark’s Marvin Camillo (he and Yusef are both gone now), and Barry Wynn (Amun Ankra), we tried to recreate the staged version which we had just done. And while there is something to be desired in our collaboration, the recording stands not only as a record of what The Black Arts was doing, but points I think into the future of the spoken word and the possibility of expanding what can be recorded and what kind of collaboration between word and music can come. The theme ‘The Satellites Are Spinning’ is the dramatic musical mise-en-scène throughout, though close listeners will hear some of the music which characterized the Myth-Science Arkestra rising and falling through the mainly improvised music-drama. In total, the music is rich and evocative by itself. Heard with the text of The Black Mass, both connect and extend each other with a dramatic gestalt of Myth-Science music and the mythologized history deepens our emotional perception of what is being told. For me, re-heard with the benefit of study and another kind of thoughtfulness, it even projects a rationale that’s more scientifically based, ‘search-lighting’ some evasive facts of human history as well as projecting the premise which I have long held, that art is creation, and that we must oppose the ‘creation of what does not need to be created.” –Amiri Baraka, 9/6/99
SNDW 12006EP HOOPER, EDDIE: Pass It On (Part 1)/Tomorrow’s Sun 12″ (SNDW 12006EP) 12.50
Out-there spiritual disco from South American soca artist Eddie Hooper. Recorded in 1980, Hooper delivers some of the most life-affirming and spaced-out disco soul you’re likely ever to hear, integrating Rhodes keys, orchestrations, the odd early keyboard synth and vocals that permeate the tracks and aptly spell out how to “set your spirit free.”
SOUVENIR 030EP TIEFSCHWARZ: Melted Chocolate 2 12″ (SOUVENIR 030EP) 12.00
Tiefschwarz present volume two remixes inspired by the candy world of their LP Chocolate (SOUVENIR 002CD). Penner+Muder alternate dark, stomping beats and melancholic piano-led parts. Amir (aka Rimah Khalouf) liquefies the original track with bubbling sound effects and turns the vocals into dizzying, futuristic chants. Kiki goes straight for the groove — his jazzy keyboard simmers with classic deep waves and frequency noises. “Home” (feat. David Wilde), is remixed by Soul Clap for a mental and anguished trip.
LP version, limited to 300 copies. Armchair Traveller was founded in Berlin in 1999 by Hella von Ploetz (glass harp), Silvia Ocougne (prepared and traditional guitars), Werner Durand (self-made wind instruments) and Sebastian Hilken (percussion and cello). Their pieces, structured improvisations, are based on the music of different continents, new music and minimal music, combining the special tuning of the instruments with unusual sounds. Armchair Traveller plays it inside out and twists notions of structured music, thus finally bringing forth perhaps the real, the authentic, the ethnic music of our time. It is real, because everything about it is unreal; it is authentic, since it has just been totally invented. But it sounds archaic because it has been created by musicians who have developed specific playing techniques, mostly on their own, for handmade instruments built from everyday materials and for conventional instruments they have specially prepared. It is ethnic because chance providentially brought these musicians together at the same time in a big city like Berlin — metropolitan centers have become homelands for quasi-ethnic groups. The individual pieces, imaginally located on various meridians of the globe, sound like tribal music that somehow is simultaneously experimental and (post-)industrial. Much of it sounds electronic, even though everything is acoustic. Travellers in their armchairs, at once alienated and fascinated, discover the foreignness in themselves.
LP version.
Cologne electronic musician Reuber (one half of the duo Klangwart, along with Markus Detmer) presents his fifth album on Staubgold. Ring is kosmische musik at its best that needs no comparison. Since 1998, Timo Reuber has pursued a solo career in electronic music, which resulted in four much-noted solo albums for the Staubgold label. In his solo performances, he combines archaic singing techniques with rhythmic, delicate, ecstatic sound collages. Apart from his work as a musician, he continues to work for television, writing and developing screenplays. Reuber on Ring: “The title track ‘Ring’ is a snapshot of an electronic collage in a state of permanent flux. It is a dynamic, energetic stream based on the Reuber-sound pool. The latter has accrued over a number of years and consists of countless sample snippets, loops and sequences. The track’s basic structures have evolved during live shows. However, ‘Ring’s’ individual elements react differently with each other in almost every performance, depending on room acoustics, audience and my frame of mind on the day of a performance. Therefore, no ‘Ring’ sounds like another. It does not have a final form. Its ideal impact is achieved live or loud. ‘Ring Ring,’ ‘Ringer,’ ‘Ring Frei’ and ‘Ringfest’ are rhythmic studies in sound with one or two instruments, respectively. Phraselab and Kaossilator are simple synthesizers with very limited, yet highly idiosyncratic sound and rhythm characteristics. My motivation to get a grip on these machines and fathom their possibilities was: Can I find and/or express the ‘Reuber principle’ (whatever it might be) with this restricted number of sounds? I came to the conclusion that it’s impossible to invent groundbreaking new forms of music with it, but that you can have a field day just rocking your socks off. Fuck the principle. This is my ‘motorbike album’.” Recording and mastering: Josef Suchy.
SF 031CD SOULEYMAN, OMAR: Highway to Hassake: Folk & Pop Sounds of Syria CD (SF 031CD) 15.00
2010 repress. Omar Souleyman is a Syrian musical legend. Since 1994, he and his musicians have emerged as a staple of folk-pop throughout Syria, but until now they have remained little known outside of the country. To date, they have issued more than five-hundred studio and live-recorded cassette albums which are easily spotted in the shops of any Syrian city. Born in rural northeastern Syria, he began his musical career in 1994 with a small group of local collaborators that remain with him today. The myriad musical traditions of the region are evident in their music. Here, classical Arabic mawal-style vocalization gives way to high-octane Syrian dabke (the regional folkloric dance and party music), Iraqi choubi and a host of Arabic, Kurdish and Turkish styles, among others. This amalgamation is truly the sound of Syria. The music often has an overdriven sound consisting of phase-shifted Arabic keyboard solos and frantic rhythms. At breakneck speeds, these shrill Syrian electronics play out like forbidden Morse-code, but the moods swing from coarse and urgent to dirgy and contemplative in the rugged anthems that comprise Souleyman’s repertoire. Oud, reeds, baglama saz, accompanying vocals and percussion fill out the sound from track to track. Mahmoud Harbi is a long-time collaborator and the man responsible for much of the poetry sung by Souleyman. Together, they commonly perform the “Ataba,” a traditional form of folk poetry used in Dabke. On stage, Harbi chain smokes cigarettes while standing shoulder to shoulder with Souleyman, periodically leaning over to whisper the material into his ear. Acting as a conduit, Souleyman struts into the audience with urgency, vocalizing the prose in song before returning for the next verse. Souleyman’s first hit in Syria was Jani (1996) which gained cassette-kiosk infamy and brought him recognition throughout the country. Sublime Frequencies is honored to present the Western debut of Omar Souleyman with this retrospective disc of studio and live recordings spanning 12 years of his career, culled from cassettes recorded between 1994 and 2006. This collection offers a rare glimpse into Syrian street-level folk-pop and Dabke — a phenomena seldom heard in the West, not previously deemed serious enough for export by the Syrians and rarely, if ever, included on the import agenda of worldwide academic musical committees.
SF 063LP GROUP DOUEH: Beatte Harab LP (SF 063LP) 22.00
Sublime Frequencies is honored to be releasing the third LP by the now legendary Group Doueh. Group Doueh have been playing in and around their native Dakhla, in the Western Sahara for over 27 years. Sublime Frequencies’ discovery of the group, via a song heard on a radio broadcast in Morocco in 2005 and an exploratory mission in 2006 that landed Hisham Mayet in the group’s compound after chasing an overland trail all the way to the Mauritanian border sealed the band’s relationship with the label. A successful European tour (with label-mate Omar Souleyman in 2009) ensued and Western audiences were finally able to witness the power of the group’s mighty live shows. Doueh’s guitar heroics and wife Halima Jakani and Bashiri Touballi’s soaring vocal interplay entranced all who were present. This LP showcases a different side to Group Doueh’s far-reaching arsenal of sounds. The songs represented on this album adhere to the roots of Saharoui music — drawing from the classical repertoire of ancestral Mauritanian musical modes. Using the traditional Moorish instruments such as the tinidit (three string Mauritanian lute), ardin (kora-like harp played traditionally by women), tbal (clay drum) and the kass (tea glasses) along with guitar and Korg synth, Group Doueh manage to attain heights of spiritual poetry that this music aspires to convey. Halima’s ardin playing and most importantly, her vocal prowess, take this music to blissful and exalted realms. Doueh’s tinidit and guitar overlays showcase the technical virtuosity and command that this master has over the region’s stringed instruments. This is the music of Group Doueh’s roots and the band truly takes these traditions to cosmic heights. Recorded by Group Doueh and Hisham Mayet on location in Dakhla, West Sahara in 2010. This limited edition vinyl LP comes in a beautiful full-color gatefold jacket.
“Recorded April 3-4, 2006 at Jottem, Wormerveer, Netherlands. Getatchew Mekuria is the most revered veteran of Ethiopian saxophone. He is the inventor of Shellele, a musical style originating from a heroic war-chant, translated to saxophone. The Ex fell in love with Ethopia and its music while touring there. When Getatchew went to the Netherlands, he brought 10 solo saxophone versions of Ethiopian tunes with him. Here Getatchew’s melodies and solos mesh with The Ex’s rhythms, noise and vocals, supported by a guest horn section, like they we made for each other!” 36-page booklet with extensive notes and rare photos.
WIRE 322 WIRE, THE: #322 December 2010 MAG (WIRE 322) 8.50
“On the cover of this month’s issue: Shackleton (The Skull Disco co-founder has survived his Soundboy’s Suicide Note and moved to Berlin to craft his apocalyptic beat visions). Features: Jon Mueller (Inspired by the Shakers, the Milwaukee percussionist makes a virtue of simplicity); Shabazz Palaces (Lisa Blanning talks to the artist formerly known as Butterfly, of Digable Planets, about his new project); Vomir (Romain Perrot builds Harsh Noise Walls to protect himself from worldly temptations); Global Ear: Budapest & Pecs (Nathan Budzinski observes a festival’s attempts to forge links with Hungary’s outsider communities); Cross Platform: Charlie Morrow (The chemist turned musician and sound artist’s large-scale city works address the damage mankind has done to the planet); Invisible Jukebox: William Bennett (The Whitehouse founder comes under fire from The Wire’s mystery record selection); Name June Paik (On the eve of a major retrospective in Liverpool, Brian Morton draws on his unpublished interviews to portray the Korean video/TV artist as dada composer); Scientist (The expat Jamaican dub master distills four decades of sonic science into the data packets he chops into his dubstep collaborations); Epiphanies (John Szwed discovers a different kind of harmolodics at an Ornette Coleman week in Hartford, Connecticut).”
TSQ 2424CD TYLER, WILLIAM: Behold The Spirit CD (TSQ 2424CD) 13.00
“William Tyler is a native of Nashville, Tennessee and a guitarist who has spent the last several years recording and touring with Silver Jews and Lambchop among others. In addition he has contributed to albums by artists as diverse as Charlie Louvin, Candi Staton, and Wooden Wand, as well as taking part in a large ensemble piece by composer Rhys Chatham. He also contributed a track to Tompkins Square’s acoustic guitar compilation, Imaginational Anthem Volume 4 : New Possibilities. Behold The Spirit reveals an astounding array of talents. In addition to his beautiful playing, Tyler is also an ace arranger, augmenting complex textures and various instrumentation with his lyrical compositions. A stunning, beautiful and varied guitar album for the ages.”
TLS 001LP SCARCITY OF TANKS: No Endowments LP (TLS 001LP) 16.00
“Scarcity of Tanks is a band formed and totally negated in Cleveland, Ohio, United States of America. No endowments for defender. Cleveland, Ohio based wordsmith Matthew Wascovich leads this amorphous unit of avant-rockers in a noisy fusion of hardcore word choice and houserocking skronkitude. SST fans be warned! Raw, high energy tracks loaded with avant-rock jamming and intense lyrical explorations that will remind most snobs vaguely of a more straight-ahead rockin’, Stooges damaged Saccharine Trust, but SOT really has its own direction. Featuring Andrew Klimek (X-Blank-X, Johnny & The Dicks), Scott Pickering (My Dad Is Dead, Happy Flowers), Weasel Walter (The Flying Luttenbachers, XBXRX) and many others. The group met and recorded tracks during 2007-2008 in Cleveland, Ohio and Oakland, California. The album was mastered by Weasel Walter. The cover art is by Devendra Banhart.” Lyric insert.
TRESOR 10077CD HOOD, ROBERT: Internal Empire CD (TRESOR 10077CD) 12.50
Tresor represses the genre-defining minimalist classic from Robert Hood, Internal Empire. It is clear how much Robert Hood has characterized and impressed the electronic music scene with Internal Empire. The fact that in modern days techno is characterized by Detroit is a credit that is owed to this record in particular. Originally released in 1994 and long unavailable, Internal Empire is a Detroit classic of perfectly looping minimalist repetition. Hood has since released music for Cheap, his own Drama and later M-Plant, and countless other labels, but this is his defining moment and one of the heaviest, most abstract Detroit records — with near-perfect sound construction. Robert Hood’s official contribution to the music scene in Detroit at the end of 1990 was selling records made by other musicians. He was MCing and recording music cassettes until Jeff Mills and Mike Banks discovered the young talent and got Hood to work at their studio, forming the Underground Resistance label. His premier as a songwriter debuted on X-101 with “G-Force” and “Rave New World.” He received all kinds of support from the two masterminds Mills and Banks — Hood calls the two his mentors, who also promoted his idea to found his own label Hardwax, where he developed his very own unique musical signature. After UR split up, he still worked together with Jeff Mills and the two of them founded the Axis label. A little while later, the busy Robert Hood created yet another outlet of his creativity: M-Plant Records. With Internal Empire, he redefined techno, reducing sounds to their essentials, while continuing to develop in new, revolutionary directions.
TRESOR 10155CD MILLS, JEFF: Metropolis CD (TRESOR 10155CD) 12.50
Repress; originally released in 2000 on Tresor. The Man From Tomorrow aka Jeff Mills presents soundtrack music to Fritz Lang’s seminal silent film Metropolis, re-introducing the theories and ideologies of the 1926 masterpiece to the cyber-youth of today. As Mills himself contextualized: “It seems fitting that this movie, the movie that shaped the young minds in the ’20s, with its timeless message of solidarity and the romanticizing of its Utopian dream world be reiterated and reintegrated at the beginning of our new century. Through the advances made in technology and the acute sense of futurism felt by the youth of today, we hope to capture the minds and expand the imaginations of the ones that will soon forge and form our new world.” This concept album is an electronic composition. It is purposely designed to be heard while watching Fritz Lang’s masterpiece. Mills’ own mastery of the sound of the future excellently and equally matches Lang’s master vision of the Utopian Dream: narrative, passionate, and timeless. The future of electronic music is now. Listen to it and understand why Jeff Mills is known as the best techno producer in the world.
TRESOR 10157CD HERBERT, MATTHEW: Globus Mix Vol. 5: Letsallmakemistakes CD (TRESOR 10157CD) 12.50
Originally released in 2000, now repressed. The simple story behind this compilation project is to unite the finest minimalistic and most sophisticated music in techno/house today. Curator Matthew Herbert expands: “The title says it all. I’m tired of a perfect universe where DJs feed the latest records into a computer and perfectly beat-match them. I’m human, I’m flawed and was never supposed to be a DJ. That said, I have played about 300 DJ gigs in the last 4 years, in all sorts of amazing places, from Russia to Australia to Iceland. Increasingly people are wanting to hear new things on the dancefloor and consequently going crazy over the wobbly stuff. And this CD is supposed to be those tunes: From the consistently-overlooked brilliance of Green Velvet to the structurally-challenged records from Berlin. This really is my chance to play those records that make people either scream or leave dancefloors. This is what I think electronic music is about, challenging conventions, trying to make people dance to ever-increasingly weird sounds and rhythms. You have a captive audience, a big sound system and a Spanish-strength vodka and tonic. In the words of Samuel Beckett: fail again, fail better.” Tracks from: Lost Weight, Isolée, Nightmares On Wax, Wishmountain, Pantytec, Errorsmith, DBX, Theo Parrish, Moloko, Green Velvet, Herbert, Tube Jerk, Auto Repeat, Traktor, Si Begg, Mr. Oizo, DJ Deeon, Buckfunk3000, Plastikman, Radio Boy, and Hombre Ojo.
TRESOR 10181CD DREXCIYA: Harnessed The Storm CD (TRESOR 10181CD) 12.50
Classic repress of Drexciya’s Harnessed The Storm, originally released in 2002 — the armor-plated follow-up to 2001’s Neptune’s Lair (TRESOR 10129CD/LP). Detroit’s best-kept secret reloads the torpedo tubes with 10 tracks of deep water darkness to break up your frozen waters. Neptune’s Lair begins your journey underwater with the dream-like “Under Sea Disturbances” and the Kraftwerk-ian “Digital Tsunami,” before diving deeper into the classic Motor City elektro of “Aquatic Cataclysm,” “The Plankton Organization” and “Birth Of New Life.” The final and deepest stage of this dangerous sonic dive ends with the old-skool of “Dr. Blowfins’ Black Storm Stabilizing Spheres” and “Soul Of The Sea.”
UY 040EP VA: A Selection Of The Diary No. 1 12″ (UY 040EP) 12.00
Volume 1 of A Selection From The Diary is a special DJ gadget for those who still live for the sound, feel and touch of the black gold, because this compilation has so far only been available as a digital version. Channel X catch those wild horses with their galloping “Rodeo,” while Gunnar Stiller stuns with beautifully-drawn soundscapes. Marco Resmann rolls out the emotional carpet with his extended vinyl version of “This Song (feat. Soucie Six).” Lastly, Echonomist offers a hard-edged production.
VEEJAY 3013LP YOUNG LIONS, THE: The Young Lions LP (VEEJAY 3013LP) 11.50
Exact repro reissue, originally released in 1960. Featuring Lee Morgan (trumpet), Wayne Shorter (tenor), Frank Strozier (alto), Bob Cranshaw (bass), Bobby Timmons (piano), Louis Hayes (drums) and Albert ‘Tuttie’ Heath (drums).
WHBTR 002EP JACKMASTER HATER: Your Love/Passion 12″ (WHBTR 002EP) 10.00
“More unreleased and legendary tracks from the history of Chicago house, brought to you by our favorite hater. You can file this under Ron Hardy or not, we really don’t care. Suffice to say these are tracks you would have heard out, back in the day, and unless you had access to the original reels, you do not have these tracks. You may have heard them on the radio, you may be able to find them in mixes on the Deephousepage archives, but they have never been pressed and sold to the public. Hate on that, if you want, but don’t hate on us when they’re gone.”
WHBTR 003EP JACKMASTER HATER: Hiccup Track (Original ‘It’s House’)/Sensation 12″ (WHBTR 003EP) 8.50
“#3 of this well-received series unearthing ‘lost’ Chicago classics most often heard on legendary mixes. This one features the ‘Hiccup Track’ aka ‘the Original It’s House’ b/w an unreleased version of ‘Sensation’, both alleged to be Ron Hardy’s edits.”
WS 1883HLP ALICE COOPER: Love It To Death LP (WS 1883HLP) 14.00
180 gram exact repro reissue, manufactured by Rhino. Produced by Bob Ezrin and originally released on the Straight label in 1971. Tracks include “Second Coming,” “I’m Eighteen” and “Ballad Of Dwight Fry.” This version does feature the original, later-censored cover, in case you were wondering what Cooper’s thumb/penis looked like.
WS 1905HLP EARTH, WIND & FIRE: Earth, Wind & Fire LP (WS 1905HLP) 14.00
180 gram exact repro reissue of their 1971 debut. Tracks: “Help Somebody,” “Moment Of Truth,” “Love Is Life,” “Fan The Fire,” “C’mon Children,” “This World Today” and “Bad Tune.”
WG 007CD JONES, LEE: Watergate 07 CD (WG 007CD) 17.00
This is the seventh edition of the Watergate series, compiled and mixed by Lee Jones. Situated by the river Spree, known for its first-rate line-ups of international talent and, of course, its famous wall-to-wall LED dancefloor installation, the Watergate Club in Berlin has quickly become one of the world’s leading dance music clubs. Only 5 years after its official opening, the club went a step further and started a characteristic mix CD series delivering only the finest DJ mixes by some of club’s most exciting residents and guests like dOP, Ellen Allien and Sascha Funke. With the focus being put not only on the music but also on the packaging and design, this series quickly became a truly sought-after collector’s item and surely stands out in the flood of mediocre music and mixes that often dilute the market. Artists include: Flowers & Sea Creatures, Andri, MyMy, Matthias Meyer, Ray Okpara, The Cheapers, Daniel Dreier & Lee Jones, Brandt Brauer Frick, Alex James vs. Alif Tree, Los Updates, Patrice Bäumel & Lee Jones, Mark Henning, Acid Pauli, and Gregorythm And Greenbank.
WPR 009CD VA: Red Dead Redemption (Original Soundtrack) CD (WPR 009CD) 12.00
“Like all great music, the score to Red Dead Redemption is grounded in history but bold enough to reach beyond the limitations of style. An update on the classic Western soundtrack, and created specifically for the Rockstar game of the same name, Red Dead Redemption has expanded the palette founded by folks like Ennio Morricone and Bruno Nicolai to include reggae beats, booming rock bass lines, and guitars that cut like a knife. The Wild West has never sounded so wild. Composed by Bill Elm and Woody Jackson, who previously worked together in the band Friends of Dean Martinez, and produced by David Holmes (Out of Sight, the Ocean’s Eleven trilogy), Red Dead Redemption accompanies the exploits of one John Marston, a former outlaw on the trail of the same criminals he once ran with. The sounds of the early twentieth century American West are all in place — jaw harps, harmonicas, whistling, violins — but they’re enhanced by heavy, heavy drums, and Fender Rhodes piano. One thing’s for certain: this isn’t your father’s Western soundtrack. It’s yours. And it’s brought to life by a crew of daring West Coast musicians. Besides Jackson on guitars and Elm on keyboards, violinist Petra Haden, Beck drummer Joey Waronker, and actor/musician Jason Schwartzman are all along for the ride, among many others — including harmonica legend Tommy Morgan, who recorded on the soundtracks to classic Westerns like Hang ‘Em High and High Plains Drifter. So Red Dead Redemption is a mix of timely and timeless. A marriage of the old and the new.”
WPR 009LP VA: Red Dead Redemption (Original Soundtrack) 2LP (WPR 009LP) 19.00
Deluxe gatefold double LP version, featuring one exclusive vinyl-only track.
WPR 010CD MANN, CHICO: Analog Drift CD (WPR 010CD) 12.00
“The sounds of Africa have taken multi-instrumentalist Chico Mann — aka Marcos García — all over the world. So it’s fitting that on Analog Drift, his second album and first for Wax Poetics Records, he’s returning the favor. Over the course of twelve thumping, impossibly soulful songs, including a cover of Talking Heads’ ‘Once in a Lifetime,’ Chico Mann introduces the rhythms and guitarisms of Afrobeat to the music of Cuba, the Latin freestyle flavors of 1980s New York and Miami, and the synth-heavy electro beats of dance floors across the globe. ‘I’ve spent years learning to speak Afrobeat, albeit with a Cuban accent,’ García says. ‘What I do is engage Afrobeat in conversation with Afro-Cuban funk, while electro and freestyle set the stage. I’m employing several dialects to make a larger musical statement. They’re all branches of the same tree.’ And that’s exactly what Analog Drift is: a statement. It’s saying something. At a time when most artists are blowing smoke in your face, García is blowing soul in your face. Not to mention truth and feeling. Songs like the searching ‘Mentirosos’ and the reflective ‘Hay Que Correr’ are guaranteed to get right to the heart of your matter; plus, synthy rumpshakers like ‘Anima’ and ‘All That Is Rising’ have been proven to get you movin’. So García’s music is good for your mind and behind. And it’s always real. The total package. But García says it best himself, on ‘Go to that Place’: ‘If you want it you can have it / If you want it, you can take it, you can grab it.’ So go out and get what you want, and let Chico Mann provide the soundtrack.”
WPR 010LP MANN, CHICO: Analog Drift 2LP (WPR 010LP) 19.00
2LP version.
new releases are also viewable at

Leave a Reply