|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 12/13/2010
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| MARTYN: Left Hander/Shook Up 12″ (3024 010EP) 11.50|
“After a year dominated with collaborations (the Great Lengths remix double pack), fresh blood and inveterate genre renegades (Illum Sphere’s Titan EP & Altered Natives The Bitch/Crop Duster respectively) we at 3024 came to the conclusion a new Martyn release was perhaps overdue. Not so much an album preview as a standalone document of a year spent expanding dance floor horizons over (a great many) seas. 3024’s milestone 10th release arrives with 2 brand new Martyn tracks as ‘Lefthander’ clatters in on heavily filtered drums, flickering high hats & garbled radio transmissions before a carousel synth melody breaks through the percussive murk accompanied by a roaming bass line that prioritizes restraint over bludgeon. Dubbed out ambience rapidly takes root in the gaps between concrete snares & dissonant brass stabs as bass and synths elevate themselves for one last round of call & response sparring before dissolving back into barely audible dialogue. Steam age industrial monolith ‘Shook Up’ swaps slink for haunted metronomic brutality, snapping quickly into focus first with relentless kicks before bass akin to an Atari2600 playing Berghain looms over the clouded horizon. Offsetting the claustrophobia is the first hints of melody as an impossibly slight piano phrase creeps in, countering rhythmical pummeling with ghost in the machine delicacy. Classically spastic 808 tendrils are underpinned by soaring synth strings as proceedings draw to a juddering close. Capturing 3024’s musical progress with typical accuracy Erosie’s latest sleeve design is perhaps his best yet, echoing the back to basics theme with beautifully austere monochrome geometry curdling into something altogether more volatile at the edges.”
| WRIGHT, BETTY: I Love The Way You Love LP (SD 33388LP) 11.50|
Second album from then-19 year old soul singer Betty Wright, originally released in 1972. Includes the hit single “Clean Up Woman.” Arrangements and production by Mike Lewis, Clarence Reid, Willie Clarke and Little Beaver. Exact repro reissue, manufactured by Rhino.
|ANN AIMEE (NETHERLANDS)|
| MOELLER, BRENDON: Close Up EP 12″ (ANN 012EP) 12.50|
New York-based South African, Brendon Moeller has been producing music since 1994. His compositions have been released on Deep Space Media, Third Ear Records, Echocord, Mule Musiq, Rekids and more. He records as Brendon Moeller, Beat Pharmacy and Echologist. Dub, techno, jazz, Afrobeat and psychedelia are inspirations that appear in most of his music. Whether it be serious dancefloor bizniz, or dubbed-out bass-scapes, his music always possesses a quality and signature that have helped him become the prolific force he is today.
| DELTA FUNKTIONEN: Setup Two: Fusion 12″ (ANN 013EP) 12.50|
Darker and more sinister than all his releases before. Beats getting tighter and rougher, there’s no chance to escape. Welcome to the world of Delta Funktionen. This second part of his Setup EPs brings three times dark, heavy, soaking techno tracks, with the otherworldly track “Conflict Data” closing the Setup.
| J:KENZO: Stomp/Between Two Worlds 12″ (ARG 034EP) 11.00|
“With an increasing fanbase and tracks released on Argon, Dub Police and Roska Kicks & Snares, accompanied with resident plays at London’s prestigious Fabric nightclub, heat is steadily rising around the Kent-based selector.”
| HATHAWAY, DONNY: Donny Hathaway LP (SD 33360LP) 11.50|
Originally released in 1971, second album from Hathaway, following 1970’s Everything Is Everything. Exact repro, manufactured by Rhino.
| COLTRANE & DON CHERRY, JOHN: The Avant-Garde LP (SD 1451HLP) 14.00|
Originally released in 1966. With Percy Heath on bass and Ed Blackwell on drums. Listen to “Focus On Sanity” once, that song’ll be stuck in your head for days. Then years. 180 gram exact repro reissue, manufactured by Rhino.
| MCDUFF, BROTHER JACK: Tobacco Road LP (SD 1472LP) 11.50|
Hammond organ master Brother Jack McDuff’s 1967 album, focusing on some covers — by the likes of Bob Dylan (“Blowin’ In The Wind”), Clyde Otis (“This Bitter Earth”) — as well as originals (“Can’t Get Satisfied,” “Wade In The Water”). Killer ten-piece ensemble rendition of “The Shadow Of Your Smile.” Gatefold exact repro, manufactured by Rhino.
| HUBBARD, FREDDIE: Backlash LP (SD 1477LP) 11.50|
Originaly released in 1966. Gatefold exact repro, manufactured by Rhino. “…this excellent set falls between hard bop and the avant-garde, often hinting at both. Hubbard’s regular group of the time (with James Spaulding on alto and flute, pianist Albert Dailey, bassist Bob Cunningham, and drummer Otis Ray Appleton, plus guest conga player Ray Barretto) performs the debut version of his famous ‘Little Sunflower,’ an excellent remake of ‘Up Jumped Spring,’ and four lesser-known pieces. Hubbard and Spaulding made for an excellent team and there are plenty of exciting moments on this brief but potent set.” — All Music Guide
| HARRIS, EDDIE: Is It In LP (SD 1659LP) 11.50|
Originally released in 1974. Eddie Harris plays electric sax, piano, electric piano & vocals; also featuring Ronald Muldrow on guitar, Rufus Reid on electric & string bass and William James on drums & electric bongos. Exact repro, manufactured by Rhino.
| BLACK HEAT: Black Heat LP (SD 7237LP) 11.50|
Debut album from Atlantic’s classic ’70s funk act, originally released in 1972. Reedman David “Fathead” Newman guests. Also featuring sick drumming from Esco Cromer. Iconic cover art, too. Exact repro, manufactured by Rhino.
| MILLS, JEFF: Something In The Sky 6 12″ (SITS 006EP) 9.00|
Sixth installment in the “Something In The Sky” project.
|BE AS ONE (ISRAEL)|
| SEHOU: To Who Love 12″ (BAO 026EP) 12.00|
Be As One presents promising new Italian artist, SeHou. “To Who Love” is as simple as it is beautiful, a true house masterpiece with a classic touch, to stand the test of time. “Dark Side Of The Sun” turns things darker and deeper with phat bass and phat grooves. To complete the package, Gel Abril’s remix keeps things basic but effective, bringing funk to the floor in his own unmistakable style.
|BERKANE SOL RECORDS (UK)|
| HEM FEAT. TERRIBLE SHOCK: On A Mission 12″ (BRKDUB 017EP) 11.00|
“For this tune Hem and Terrible Shock take apart an ’80s soul LP, add some sci-fi synths, lazy drums and a sprinkling of analogue FX. After many painstaking hours of recording the duo take a well earned coffee break, then return to the studio just in time to see the back of the light-footed Blunted Robots man Shortstuff as he runs off chuckling ‘your vocals are mine now!’ Revenge plans are made, vehicles are fuelled up in preparation — but these activities are cut short by the arrival of an email from the culprit — it seems that he took the files back to his HQ for what he describes as a ‘refix’ — with the engines still running, Hem and Shox check out the file and find it to be a work of genius — what they hear is an accelerated kaleidoscopic fusion of on-beat claps and snares in a peak-time northern soul style, super heavy sub bass hits and hectic syncopated keyboard chops. The easy tempo and flow of the original have been transformed into a dancefloor classic, no doubt about it. Hem and Shox call off the troops and head back to the studio — calls are made, contracts drawn up and everything gets sent off to Transition for the magical transfer to vinyl. For the flipside the duo select 2 fresh beats from the archives featuring all the trademark Hem elements – flexible riddims, slinky edits, fat synths, warm bass tones, hip-house references… The refix of ‘On a Mission’ featured on Onemans’ much-loved Rinse 11 mix CD.”
| STEINBRUCHEL: A\B\C\D 12″ (BINE 024EP) 12.00|
A\B\C\D forms sounds into structures, turns loops into rhythms; starting from recordings of acoustic objects, Steinbrüchel segmented and wove them into new textures. Every sound becomes a string — some stronger, some weaker, interlacing with each other and turning themselves into new structures. Once more, Steinbrüchel uses atmospheric and melodic sounds built upon micro-loops, layered and arranged to create a repeating structure. The overlay of all these loops is held together by clicking particles which lead through the compositions like a seam.
| MOBLEY, HANK: The Turnaround! LP (BLP 4186LP) 11.50|
Exact repro of this 1965 release. “The Hank Mobley of the Turnaround album was a markedly different one from a few years earlier. This session issued in early 1965 was the product of two different sessions. The first was in March of 1963, immediately after Mobley left the Miles Davis band. Those recordings produced ‘East of the Village,’ possibly the greatest example of Mobley’s ’round tone’ on record, and the other was ‘The Good Life,’ a ballad. The rest was recorded nearly two years later in February of 1965. The title cut was produced here — an Alfred Lion answer to Lee Morgan’s ‘Sidewinder,’ which was burning up the charts — as well as the beautiful ‘Pat ‘n’ Chat,’ with ‘Straight Ahead’ and ‘My Sin’ rounding out the program.” — All Music Guide
| PATTON, BIG JOHN: Let ‘Em Roll LP (BLP 4239LP) 11.50|
With Grant Green (guitar), John Patton (organ), Bobby Hutcherson (vibes) and Otis Finch (drums). Exact repro, originally released in 1965. “In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It’s truly weird to think of vibes on a groove date, but the way Patton’s understated playing works, and the way Green is literally all things to all players, Hutcherson’s role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date.” — All Music Guide
|BLUNTED ROBOTS (UK)|
| BRACKLES & SHORTSTUFF: Good Foundations 12″ (BLR 005EP) 12.00|
“Blunted Robots have done another record. If we say it’s future garage, will you like it more? DJs showing love include Sinden, Mr Scruff, Jackmaster, Rob Da Bank, Hot Chip, Roska, and Toddla T.”
| SKINNZ: Keep It Gutta/Euphorbia 12″ (BOK 033EP) 11.00|
“Bristol-based Skinnz unleashes his debut solo release after more than 5 years in the game! His productions date back to an appearance on a Destructive Recordings compilation back in 2005 alongside the likes of Skream, Toastyboy, Distance and Vex’d. More recently his collabs with I.D have seen releases on labels such as Pinch’s Earwax and Double Science. ‘Keep It Gutta’ features soaring synthetic soul chords, like Joker’s ‘purple wow’ sound with aggro elements sublimated into a crisp urban elegance. ‘Euphorbia’ strays into Martyn/Joy Orbison territory, its fizzing drone chords and soul vocal samples compressed around a bassier but grime-inclined beat to breathless effect!”
| BAOBINGA & MENSAH/BAOBINGA & DVA: NSG/This One’s Wavey 12″ (BUILD 004EP) 11.00|
“The fourth release on Build, again mixing and matching the tempos and styles for maximum raving fun. Support from Skream, Plastician, Mistajam, Jackmaster, Mark Pritchard / Harmonic 313, Brackles, L-Vis & Bok Bok, 2562 and more.”
| FIDAN, TOLGA: Ballads 12″ (CADENZA 057EP) 14.00|
Having released a series of striking records on Vakant, Tolga Fidan’s music flows seamlessly into Cadenza’s vanguard club sound. “Slipt It” has a yearning string melody and multi-layered grooves that crackle like firewood. “Rhythm vs. Me” sets limbs in motion with a mixture of ’70s funk weirdness and the simplicity of contemporary electronics. With “Bass Ass,” he switches into a more forthright mode of communication with pulsating bass, a spacious tom and a cool organ hook line.
| AXELROD, DAVID: Songs of Experience LP (SKAO 338LP) 11.50|
2010 repress; exact repro including gatefold, originally released on Capitol Records in 1969. One of Axelrod’s best and most loved LPs, including classic front and back cover artwork, featuring a shirtless Axelrod as brooding genius ominously overlooking sultry blonde goddess. Musically the album contains some of Axelrod’s best trademark complex and moody studio arrangements, this time around based on the poems of William Blake.
| MCCRAE, GWEN: Rockin’ Chair LP (CAT 2605LP) 11.50|
Prior to her move to Atlantic, this 1975 album from the southern soul singer featured the oft-sampled “90% Of Me Is You” and “Damn Right It’s Good.” Exact repro, manufactured by Rhino.
|CLAP YOUR HANDS (GERMANY)|
| KLANG, MICHA: Babes In The Woods EP 12″ (CYH 007EP) 12.00|
Say hello to the second EP by Micha Klang. Micha started his Clap Your Hands releases with his The Other Men EP. Now he is back with his unique grooviness. Get ready, hips and butts — Mr. Klang is in the house.
| TRAVERSABLE WORMHOLE: The Remixes Pt. 05 12″ (CLR 039EP) 12.50|
Here is part 5 of remixes of the mysterious Traversable Wormhole project. In 2009, a series of five anonymously -produced ink-stamped vinyl recorded releases appeared on the global techno scene under the mysterious guise “Traversable Wormhole.” The series was released exclusively on vinyl. The sound of Traversable Wormhole is a unique signature of sci-fi laden techno music with gaps of time, space & bass in between sound & rhythm. Remixes here by Function and James Ruskin.
| HAZE (FEAT. LAILA TOV & RICARDO VILLALOBOS), JAY: I Wait For You 12″ (CNTXT 044EP) 12.00|
Here’s a new 12″ from Jay Haze. The title track features the lovely Laila Tov on vocal duties. This song is purely infectious — it has a groove for everyone and an immensely positive vibe. The flipside is where “The Darkest Disco” lives, and came about when Ricardo Villalobos stopped by the studio, turned on the machines and started hitting keys and buttons. It’s warm, has long builds and a vibe which can only culminate when these dudes are together.
| HEIL, JOHANNES: Loving Remixes 12″ (COR 080EP) 12.50|
Johannes Heil’s eleventh studio album Loving (COR 024CD/LP) shows the producer’s more house-orientated aspect to great acclaim. This exclusive remix package features remixes by Bülent Gürler aka Butch, Mark Broom and Gregor Tresher. Butch’s version of “The Ace” is the perfect open-air hymn for the modern house generation. Mark Broom’s remix of “Loving” combines the melancholy of Detroit techno with Ibiza house dubs and powerful hand-claps. Last not least, Gregor Tresher celebrates the return of the melody with his remix of “Twentythree.”
|COMPOUND ONE (UK)|
| COMPOUND ONE: Pum Pum Beat/Back Off 12″ (CMP 008EP) 11.50|
“The eighth release on their self-titled label sees Compound One step out of the darkened lab to take time out from their usual techy experiments and head straight for the rave… A hugely diverse release that has been played across the board by DJs such as Mista Jam, MJ Cole and Brendon Moeller. As featured by Zero T on his Fabric.Live 52 mix, ‘Pum Pum Beat’ gets its peculiar name from the rhythm of the kicks and snares rather than what people seem to think! The highly swung beats and quirky percussion form a backbone for a bassline that is hard to resist. Emotional Detroit style stabs complete the picture and the breakdown will have your hands in the air! Carrying on with the emo vibes of this release, ‘Back Off’ sees the duo go right back to their roots with an early UK 2step garage inspired number. Trademark Qualifide vocal cut ups and fractured breakbeats come together to form the groove. Once again, the breakdown is pure hands in the air.”
| IMPRESSIONS, THE: Finally Got Myself Together LP (CRS 8019LP) 11.50|
Exact repro reissue of this 1974 release. Soulful arrangements by Rene Hall and Rich Tufo on tracks like “Miracle Woman,” “Don’t Forget What I Told You,” “Guess What I’ve Got” and “I’m A Changed Man.”
| BBQ: My Way Home EP 12″ (CYN 044EP) 12.00|
Delivering some grooves inspired by the warmth of the summer, Brett Johnson and Mike Shannon come together to cook up some BBQ. “BBQ Bounce” features a playful Brett Johnson-style groove and a bubbling Mike Shannon-style lead synth that builds to a monster walking bass line drop. “My Way Home” is a house burner with the added sultry vocal stylings of Amsterdam’s Coco Jones — a perfect combo of the two producers’ signature styles of mutated swing and razor-sharp synths.
| A MADE UP SOUND: Rear Window 12″ (DSR 083EP) 12.50|
Dave Huismans (aka 2562) is now focusing on his techno-not-techno project A Made Up Sound again, after earlier releases on Shed’s sought-after Subsolo label, Philpot and Clone. The releases on his own A Made Up Sound imprint were essentials for those who like their house and techno swung, bass-heavy and uncompromising. This first release on Delsin will probably be damaging dancefloors worldwide, finding fans with both old-school techno-heads and new-school bass junkies. Twice straight-in-your-face, uncompromising advanced music!
| REDSHAPE: Future Shock EP 12″ (DSR 084EP) 12.50|
Sick, SICK new Redshape!
| DER RAUBER UND DER PRINZ: Jagd Auf Den Hirsch 12″ (DESOLAT 014EP) 12.00|
Desolat is based in Düsseldorf, and is therefore happy to announce this new release: a 12″ full of music with a definite sense of place. Eerie synthesizer pulses, funk-infused drums and languid guitar-scapes have been part of the musical topology of Düsseldorf since the early ’70s: and this particular release pays full tribute to that legacy, with “Jagd Auf Den Hirsch” (“Hunt For The Stag”) comprising an eerie piece of swampy lazerforest rock. Includes remixes by Geteilter Raum and Guti.
| ANTONA & RE-UP, MARC: The Owl EP 12″ (DISS 002EP) 12.00|
Dissonant label-head Marc Antona is joined by Italian duo, Re-Up. Both cuts demonstrate Marc’s renowned skill for creating the most distinctive of grooves. “The Owl,” like its namesake, sits in the shadows. Its deep, dubby bass line lazily rolls along, as the Franco-Italian alliance layer their percussive elements. “Txarco” brings a sinister, somewhat industrial brand of funk, provided by its growling, predatory bass line. Breathy vocals and a variety of drum rolls lunge from the darkness, and fade away.
| STIMMING: Change EP 12″ (DIYNAMIC 044EP) 12.00|
Having bagged the award for “Best Ibiza Newcomer 2010,” Diynamic mainstay Stimming returns home. And this time, he’s got company. With Change and through the vocals of Lazarusman, both artists have built a musical bridge linking Hamburg and Johannesburg. A beautifully exotic production, with an added African touch. Completing the EP are three brand new Stimming productions for your delectation. Musically outstanding, with his trademark out-there touch. This is yet another Stimming release not to be missed.
| DIGITAL MYSTIKZ: Urban Ethics 3×12″ (DMZ 002LP) 34.50|
Absolutely immense new release from sub bass heaven’s leading name. Seven tracks of prime dubstep ruffage produced, arranged and mixed this time around by Coki, with co-production by Smurks on “Intergalactic.” Trademark Mystikz style throughout: smoked head-nod action driven by mutated interlocking polyrhythms, creeping digi-flutter and atomic bass weight. Enormous, essential, unstoppable. Pressed on 180 gram vinyl and housed within a full-color gatefold sleeve.
| CABOLADIES: Caboladies LP (DNT 063LP) 14.00|
“It is with great pleasure that DNT Records presents the self-titled long player from Caboladies. Recorded by the three piece of Chris Bush, Eric Lanham, and Ben Zoeller, this collection draws a narrative thread through their past releases on Arbor, Students of Decay, Mountaain, and their own Smooth Tapes imprint. It’s not so much a summation of their back catalog as it is a spotlight on a particularly fluid and holographic area of their sound. The result is a flowing and coherent collection of nuanced electronic mess. A real trip and an excellent demonstration of the Cabo ethos.” Mastered by Pete Swanson. Includes glossy, colored insert.
|DUB POLICE (UK)|
| TROLLEY SNATCHA: One Trick Pony 2×12″ (DP 044EP) 23.00|
“As anyone will know, Dub Police is one of the dubstep scene’s leading labels, having helped launch the careers of artists like Caspa and Rusko into the dance music stratosphere. The label’s ethos has always been about giving the next generation a step up and the next wave of superstar producers has arrived as the Dub Police war machine continues to roll ever onward towards world domination. Trolley Snatcha is the latest artist to receive the Dub Police stamp of approval with his diverse four-tracker the One Trick Pony EP. Proving that he is anything but, Trolley turns out a selection of tunes that display a mature and open-minded approach to dubstep. From the ear-battering Trolley trademarks that litter ‘Pass Me By’ and ‘Rocco’s Revenge’ to the smoothed out bliss of ‘Always On My Mind’ and the light techno touches of ‘We Go Deep’, this EP will grab the attention of anyone with a keen ear for quality music. DJ support: Caspa, Rusko, Skream, The Others and Benga.”
| CV313: Seconds To Forever 12″ (ECHOSPACE 012EP) 12.50|
This is the fourth EP from the cv313 album, Dimensional Space. “Seconds To Forever” was originally planned for Echospace 010, but due to the nature of old Ampex tape, the track was unable to be restored — but as a result, was remodeled for this special limited release. Expect gorgeous plumes of sound, deeper than the ocean floor. The remodel strikes a space-age groove with live congas. The reprise of “Beyond The Clouds” is an extended (over 20 minutes long!) psychedelic trip.
|EDITIONS MEGO (AUSTRIA)|
| FELL, MARK: UL8 CD (EMEGO 111CD) 15.50|
Written and recorded in Whitby, York and Rotherham (UK) during summer 2010 by Mark Fell (one-half of the duo snd). Mastered at Dubpates and Mastering Berlin in 2010 by Lupo. Part 1: The Occultation of 3C 273. Using 32 operator frequency modulation synthesis configured in 16 pairs of operator and modulator. Frequency, modulation ratio and amount determined by linear interpolation between two spatial extremes, with further interpolation over variable temporal divisions. Panned at equal positions around the circumference of a circle using high order ambisonics. First implemented for the DVD Attack On Silence (Line Records 2008) and developed for the cassette release Thunder Bollocks with Evol (Alku 2009). The compositions here also feature modified Roland TR707 and Linn kick drum samples. Part 2: Vortex Studies with 2, 4 or 8 channel rectangular waveforms with variable pulse width subject to frequency modulation from synchronized sine functions with variable phase offsets. Initially implemented with synchronized blue light at Algorithm, Glade (Thatcham 2008) with further presentations at Enjoy (Leeds 2008), Centre d’Art Santa Mònica, Sónar (Barcelona 2008), Three Pieces For Unattended, Somewhat Attended and Attended Computer (Sheffield 2008), Avoid (Leeds 2009), Three Neurocognitive Approaches To The Formation Of Cross-Modal Objecthood (Rotherham 2009) Sonic Materialities (Sheffield 2010) and as Supersymmetry at Matter-Space-Motion (Elsecar 2010). Here with percussion synthesis. “This project takes its name from the Celestion UL8 speaker. My older brother bought a pair of these when I was starting comprehensive school, and between his 10cc and Supertramp records, I first encountered very loud electronically-synthesized sound. I soon noticed a pattern emerging in my musical tastes which excluded guitars or drums. Instead, I favored almost exclusively the electronic textures and rhythms of The Human League, Fad Gadget and other synthesizer-based music of that period. I was quite curious about this prejudice and would try to work out why Kraftwerk sounded so much better than a rock band of the time. Since then, my interest was in the texture of synthetic sound — there was something much more beautiful (and perhaps more emotionally-charged) about a sustained square wave than any guitar solo. Soon, I began to search out and replay sections of music which dropped to a single sound — these, for some reason, were the best.” –Mark Fell
| SCHMICKLER, MARCUS: Palace Of Marvels (Queered Pitch) 2LP (EMEGO 113LP) 25.00|
2LP version, featuring an extended version of “Mystery Bouffe.” Marcus Schmickler’s new release following his acclaimed Altars Of Science (EMEGO 082CD) is a must-have for those interested in the rising field of contemporary computer music. It reconfirms Schmickler’s interest in the liaison of sound, phenomenology and cognitive sciences. Schmickler, therefore, utilizes a new interpretation of 1960’s discovery, the Shepardtone, discovered by Roger Shepard, which creates the auditory illusion of a tone that continually rises or descends in pitch yet ultimately seems to get no higher or lower. The phenomenon was first introduced to the music world by James Tenney in his piece “For Ann Rising.” Similarly, Schmickler has a musical take on the subject by creating arpeggios, short sequences of tones creating a similar effect. Schmickler’s interest in the field was sparked by Ernst Gombrich’s essays on “Art And Illusion,” questioning the very foundations of our understanding of the history of the image and its representation of our world. Adequately, Schmickler’s work ever since can be seen as a play within an anthropology of music in terms of its very fundamental parameters, rhythm, sound and pitch, as well as its socio-economic implications. Beyond that, the title Palace Of Marvels was taken from French intellectual Jacques Attali, who, in his critically-acclaimed book, Noise: The Political Economy Of Music, cites one of Leibniz’s little-known but “extraordinary” texts, “Drôle de pensée touchant nouvelle sorte de représentation,” in which the philosopher describes the “Palace Of Marvels.” The Palace Of Marvels is Leibniz’s idealization of a perfect political organization, which is built in such a way that the master of the house is able to hear and see everything that is being said and done in the premises without himself being perceived by his subjects. Leibniz’s vision of disciplinary society not only predates Foucault’s subsequent versions of surveillance mechanism, the Panopticon, but it also conceptualizes a more effective and absolute form of power through eavesdropping, censorship, and recording, as well as surveillance through visual means. Listening in on, ordering, transmitting, and recording noise are at the heart of the modern State. The idea for the material was originally conceived for a collaborative installation piece together with arts collective Interpallazo. The technical application was realized with the kind assistance of Prof. Dr. Alberto de Campo. Recorded and mastered at Piethopraxis, Köln. January-August 2010. Artwork by Tim Berresheim.
| KELLY & LIFE, HERMAN: Percussion Explosion LP (ECS 225LP) 11.50|
Disco funk and classic break album from 1978, recorded in Brazil and Miami. Opener “Dance To The Drummer’s Beat” has been sampled all over the place, most notably by Steinski, Coldcut, DJ Shadow and about a dozen 2 Live Crew songs. Other tracks include “Time After Time,” “Who’s The Funky D.J.?” and “Share Your Love.” Exact repro, manufactured by Rhino.
|FEEL MUSIC (IRELAND)|
| FEBRUARY & MARS: Dragonflies 12″ (FEEL 009EP) 14.00|
Feel Music gives you the debut release by February & Mars, two space cadets from Galway in the west of Ireland, with Feel Music’s John Daly on production. We really don’t know how to describe this music — classic drum machines and patterns, vintage synths, ’80s arpeggios, incredibly tasteful vocals and at times, epic guitars. Think Magnum PI on a desert moon with Sade, David Crosby and some shoegazers, listening to house music.
|GET ON DOWN|
| SCOTT WITH THE CALIFORNIA DREAMERS, TOM: The Honeysuckle Breeze CD (GET 54037CD) 16.00|
“Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players — Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them — through warm, smooth versions of songs by The Beatles (‘She’s Leaving Home’), Donovan (‘Mellow Yellow’), Joan Baez (‘North’) and Jefferson Airplane (‘Today’), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic ‘T.R.O.Y.’ Resurrected, refurbished and remastered by the talented folks at Get On Down, Scott’s debut record sparkles with a high quality digital audio transfer from the original master tapes and is packaged in a gatefold paste-on case with a dust sleeve and obi strip. Don’t let this ‘Breeze’ pass you by.”
| GIFT CERTIFICATE: (GIFT CERT) 10.00|
A reminder that we are able to offer gift certificates online. They are available in $10 denominations, so, for example, if you want a $50.00 gift certificate, please use our on-line ordering system and order 5 x the $10 gift certificate. If you want it mailed directly to the recipient, put that person’s address in the shipping address on the order form; if you want a confirmation emailed to the recipient, please supply their email address in our order form’s comment box. Your credit card will be charged for the amount of the gift certificate you wish to purchase; there is no additional fee or shipping charge. The recipient may redeem the gift certificate by quoting the gift certificate # in the comments box of our order form.
|HEAVENLY SWEETNESS (FRANCE)|
| AARON, ROBERT: Trouble Man LP + 7″ (HS 030LP) 31.00|
A soul-jazz trip from the streets of Brooklyn & Afro-Paris to the Cuban bush by a legend of the New York music scene. Former busker and NYC no wave scenester and all-around amazing New York life-force Robert Aaron — working beautifully here in a timeless soul-jazz inspired mode — capturing that vibe wonderfully on this effort for the Heavenly Sweetness label. Keys, smooth, but lively saxes and some great percussion are usually at play in these tunes — which bear the influences of greats from Pharoah Sanders to Gato Barbieri in spirit and instrumentation. Aaron plays a lot of instruments, here working on saxes, piano, Hammond organ and electric bass, with Cheick Tidiane Seck on organs and piano, Marc Bertaux on bass, Steve McCraven on drums, Roger Raspail and Emilo Del Monte on percussion, Jose Palmer on guitar and guests Anthony Joseph who sings on “The Saddest Kiss,” guitarist Monnette Sudler and alto sax player Suleyman Hakim. Trouble Man is a journey in jazz as it was lived and defined in the ’70s; no borders, no conventions. Robert Aaron’s music, with its range of saxophones and keyboards (piano, Hammond organ, Wurlitzer), has a unique style that is hard to find in this age of mathematical solos. When you listen to this album, you experience the profound and now rare feeling of what drives the playing and writing of an exceptional musician. We call it “soul,” that paradoxical state when the profane and the sacred, joy and sorrow merge into one. We hear it less and less in increasingly rational musical recordings because it can only happen when there is a live connection between two hearts. Includes “Trouble Man,” “A Song For Monette,” “Maimouna,” “Thembi,” “Bombo” and “Sweet Obsession.” Includes a bonus 7″ featuring the tracks “The Saddest Kiss” and “Flower Like A River.”
| RONGETZ FOUNDATION, THE: Simone/Zap Carnivorous (Patchworks Remix) 7″ (HS 041EP) 8.00|
Dancefloor jazz from trumpeter Stéphane Ronget’s band. Two vocal hits featuring Saunders Sermons: “Simone” on the A-side and a dancefloor treatment of “Zap Carnivorous” by Patchworks on the flip.
| MENSAH: Digital Dreamer 12″ (HENCH 022EP) 11.00|
“Mensah’s debut release on the Hench imprint, Pulse 80’s, turned heads with its stylish production and out-of-the-box approach. His follow-up release, Untitled Future Funk EP, was all the talk on the blogs and his remix of Baby D’s ‘Let me be your Fantasy’ has been hailed as one of the hallmark dubstep tracks of 2010. With each new release Mensah’s studio skills and fresh thinking stand out ever clearer. This latest offering will be no disappointment. A dreamy synth-line commences ‘Digital Dreamer’, which immediately sets the scene for one of Mensah’s more ethereal productions. The harmonic lead-line builds into an other-worldly riff before releasing that tripped-out, bouncing bass rhythm. Synths let loose overhead, twisting and turning the track into the funky number that it is. Once again, something different from the man like Mensah.”
| POPOVICIU, MIHAI: Trapped In Brakets 12″ (HIGH 087EP) 12.00|
Mihai Popoviciu is one of the most talked-about newcomers in the house and techno scene. But to call him a “newcomer” is a misnomer. Mihai has been releasing quality music for years, on labels such as Gigolo, Level Non Zero, Brise, Diynamic and, of course, Highgrade. Since 2007, he has sworn allegiance to the Highgrade flag, either alone or with production partner Markus Homm. Trapped In Brakets features three brilliant club tracks of outstanding quality, custom-made for the dancefloor.
|HONEST JON’S RECORDS (UK)|
| VA: Bellyachers, Listen: Songs From East Africa, 1938-46 2LP (HJR 050-1LP) 20.00|
This is part 1 of a 2LP set of vinyl versions of Honest Jon’s Something Is Wrong: Vintage Recordings From East Africa CD compilation — selections from an HMV run of more than 400 78s — recordings made in Uganda and Kenya from the mid?1930s to the mid?1950s. Part 1 encompasses this material circa 1938-1946, entitled Bellyachers, Listen: Songs From East Africa, 1938-46. Three main types of performance are featured (not forgetting a lovely early Kenyan big?band calypso, as if straight from the pen of Lord Kitchener). Most are minstrelsy, with songs ranging dazzlingly through subjects including loneliness and death, bastards and cut?off trousers, trains of fire and no?good rich people, a murder mystery and a drunken punch?up at a rumba party in Kampala, and metaphorical cocks, hard pedalling and kettles which won’t boil. Other minstrels accompany themselves on various sorts of lyre, and guitars carrying the influences of U.S. country music and Congolese 78s, the influx of Congolese musicians, and the harmonies of Christian church music. There are also tough, raw contributions on button?accordion and taarab music from the Swahili?speaking communities of the east coast, and Arab and Indian communities in ports like Mombasa, which had imported Egyptian and Indian music since almost the start of the century. Lilting melodies are provided by violins or Indian harmoniums, sometimes also an oud, along with Indian or Arab percussion. Luxuriously presented, in a gatefold sleeve, with full notes, including extensive translation and haunting photographs. Recordings brilliantly restored at Abbey Road.
| VA: Something Is Wrong: Songs From East Africa, 1952-7 2LP (HJR 050-2LP) 20.00|
This is part 2 of a 2LP set of vinyl versions of Honest Jon’s Something Is Wrong: Vintage Recordings From East Africa CD compilation — selections from an HMV run of more than 400 78s — recordings made in Uganda and Kenya from the mid?1930s to the mid?1950s. Part 2 encompasses this material circa 1952-1957. Three main types of performance are featured (not forgetting a lovely early Kenyan big?band calypso, as if straight from the pen of Lord Kitchener). Most are minstrelsy, with songs ranging dazzlingly through subjects including loneliness and death, bastards and cut?off trousers, trains of fire and no?good rich people, a murder mystery and a drunken punch?up at a rumba party in Kampala, and metaphorical cocks, hard pedalling and kettles which won’t boil. Other minstrels accompany themselves on various sorts of lyre, and guitars carrying the influences of U.S. country music and Congolese 78s, the influx of Congolese musicians, and the harmonies of Christian church music. There are also tough, raw contributions on button?accordion and taarab music from the Swahili?speaking communities of the east coast, and Arab and Indian communities in ports like Mombasa, which had imported Egyptian and Indian music since almost the start of the century. Lilting melodies are provided by violins or Indian harmoniums, sometimes also an oud, along with Indian or Arab percussion. Finally, there is the startling sound of four larger Ugandan ensembles, with songs about getting drunk and the relative merits of prostitution and motherhood, and the king’s deportation by the British, deploying “the man who crunches rocks between his teeth.” The style dismayed the missionary Robert Ashe, who visited the court of the Kabaka in 1884: “Our ears were deafened with the din which a motley band of musicians were making. Kettledrums and hand drums were rolling, horns braying, flutes screaming … while blind musicians twanged away on their banjos, the whole making a most discordant harmony.” Luxuriously presented, in a gatefold sleeve, with full notes, including extensive translation and haunting photographs. Recordings brilliantly restored at Abbey Road.
| VA: Something Is Wrong: Vintage Recordings From East Africa 2CD (HJR 050CD) 23.50|
Thirty?five precious, stinging selections from an HMV run of more than 400 78s — recordings made in Uganda and Kenya from the mid?1930s to the mid?1950s. Three main types of performance are featured (not forgetting a lovely early Kenyan big?band calypso, as if straight from the pen of Lord Kitchener). Most are minstrelsy, with songs ranging dazzlingly through subjects including loneliness and death, bastards and cut?off trousers, trains of fire and no?good rich people, a murder mystery and a drunken punch?up at a rumba party in Kampala, and metaphorical cocks, hard pedalling and kettles which won’t boil. Set to the deep grooving of an ndingidi one?string fiddle, the very opening verses exemplify this fluency and range, within an account of the coming of the radio to the Ugandan capital. Some were angry and confused — they could hear the talking but see no one, and would not believe that the voice came only from the loudspeakers. The singer SSekinomu weaves in asides about female creativity and the imprisonment of Prince Mawanda, the king’s eldest brother, before the song ends as it began, with thanks and compliments for the new technology, to the Bazungu, the Whites. Other minstrels accompany themselves on various sorts of lyre, and guitars carrying the influences of U.S. country music and Congolese 78s, the influx of Congolese musicians, and the harmonies of Christian church music. There are also tough, raw contributions on button?accordion: “Listening to this kind of Kikuyu song is more a feat of endurance than an aesthetic pleasure,” noted the musicologist Hugh Tracey at the time. There is taarab music from the Swahili?speaking communities of the east coast, and Arab and Indian communities in ports like Mombasa, which had imported Egyptian and Indian music since almost the start of the century. Lilting melodies are provided by violins or Indian harmoniums, sometimes also an oud, along with Indian or Arab percussion. Finally, there is the startling sound of four larger Ugandan ensembles, with songs about getting drunk and the relative merits of prostitution and motherhood, and the king’s deportation by the British, deploying “the man who crunches rocks between his teeth.” The style dismayed the missionary Robert Ashe, who visited the court of the Kabaka in 1884: “Our ears were deafened with the din which a motley band of musicians were making. Kettledrums and hand drums were rolling, horns braying, flutes screaming … while blind musicians twanged away on their banjos, the whole making a most discordant harmony.” Luxuriously presented, like a small hard?cover book, with full notes, including extensive translation and haunting photographs; with the recordings brilliantly restored at Abbey Road.
| SCUBA: You Got Me (I Got You)/Before (After) 12″ (TRI 004EP) 11.00|
“Part 2 of a series of limited 12″ remixes taken from Scuba’s Triangulation (Interpretations) album. On this 12″ Scuba’s back with the old skool vibes on ‘You Got Me (I Got You)’ but confidently skips the line by keeping it firmly in this moment. The listless beauty of ‘Before’ is embued with a spine tingling warmth on Scuba’s luscious opening re-edit, ‘Before (After).'”
| SCUBA: Before (Deadboy Remix)/So You Think You’re Special (Joe RMX) 12″ (TRI 005EP) 11.00|
“Part 3 of a limited series of 12″ vinyl taken from the Triangulation (Interpretations) album. Joe made an immediate impact on the scene with his 12″s on Hessle Audio and Applepips; his rework of ‘So You Think You’re Special’ has a slowly blossoming groove underpinning stuttering percussion, jangling keys and an expertly playful melody that opens out across the sparse background. South London’s Deadboy offers an understated modern jungle remix of ‘Before’ with skittering hats and heavy bass that can’t fail to light up floors and faces.”
|HOUR HOUSE IS YOUR RUSH (NETHERLANDS)|
| KINK & NEVILLE WATSON: Metropole 12″ (HHYR 012EP) 12.50|
KiNK & Neville Watson deliver two winning tracks that combine the best elements of Chicago house (for the body) and Detroit techno (for the soul), which has become their sound signature. Where “Metropole” will cause ruckus on the dancefloor at peak-time moments, “The Long Wait” is a deeper affair perfect for late/after hours. Raw and dirty house music. When music is this good, let there be renaissance!
| KING MIDAS SOUND: Waiting For You 2LP (HDB 003LP) 25.50|
“Limited edition 180g double-vinyl pressing in deluxe gatefold sleeve. 500 copies only, never to be repressed. (12 track vinyl version differs from 13 track CD, omitting ‘Blue’). After two singles on Hyperdub, and a release on Soul Jazz, King Midas Sound’s Waiting For You is the debut album from Roger Robinson and Kevin Martin’s new group.”
| CHORD: Progression CD (IMPREC 316CD) 14.00|
“Both CD & 2LP feature deluxe hand-screened covers. Featuring members of Pelican & X-Bax. For the new album three single-chord compositions were charted out, one freeform and tone driven, one long-form piece with charts dictating the players’ intensity of performance, and one grid-like chart where each players’ note continually shifts, though the combination of voices continue to maintain the chord. Six chords were chosen and arranged in a progression that encompasses two separate performances of each of the three compositions. Though the CD and 2LP share a similar internal structure and can be listened on their own, they are intended to be played concurrently forming the full six chord arc of the total piece. The CD & 2LP are intended to be listened to concurrently making one full album.”
| CHORD: Progression 2LP (IMPREC 316LP) 21.00|
2LP version, limited to 500 copies. Featuring exclusive material from the CD format. Screenprinted jacket.
| BARN OWL & THE INFINITE STRING ENSEMBLE: The Headlands LP (IMPREC 317LP) 17.00|
“Full length collaboration between Ellen Fullman, Theresa Wong, and Barn Owl produced by The Norman Conquest. Barn Owl’s extended drones and Theresa and The Norman Conquest’s strings are the perfect accompaniment to Fullman’s Long Stringed Instrument; a product of her own invention. This is an album of deep material of a complexly emotional nature. Eternal ragas for the infinite now. Recorded in the pastoral setting of the Headlands Center For The Arts.”
| CYMANDE: Promised Heights LP (JXS 7004LP) 11.50|
Gatefold exact reissue of British group Cymande’s deep funk fusion release from 1974. The classic track is “Brothers On the Slide,” but “Losing Ground,” “Changes” and “Breezeman” are equally righteous.
|JAZZMAN RECORDS (UK)|
| THOMAS/LITTLE ESTHER, BLANCHE: You Ain’t So Such A Much/Hound Dog 7″ (JBJ 1011EP) 11.00|
Two superb early ’50s R&B femme vocal cuts back-to-back! “You Ain’t So Such A Much” is a real killer blues shouter with “Big Mama” Thornton-esque vocals from New Orleans resident Blanche Thomas and musicianship by Dave Bartholomew and his backing band. Little Esther’s quick-fire cover of Thornton’s signature song adds an emphasized rumba shuffle — one of the more unique interpretations of this oft-covered standard, and definitely one of the wildest. Limited edition of 500 copies only.
| BRIEF ENCOUNTER, THE: Special Release LP (JMAN 038LP) 25.50|
LP version, limited to 1,500 numbered copies. The elusive and mysterious Special Release album by The Brief Encounter has eluded many an intrepid record collector over the years. Despite being a relatively well-known and highly-respected soul/funk band, their highly sought-after album, recorded in 1977 for Seventy Seven Records, has remained practically impossible to find. And when one does surface, a figure over $2,000 isn’t out of the ordinary for a copy to change hands. As a result, it’s not only the vast majority of collectors and soul fans that have been unable to enjoy the music, but for over 30 years the band themselves have not had the satisfaction of having their pride and joy felt, heard and enjoyed. So Jazzman Records decided to put things right. With help and assistance from members of The Brief Encounter themselves, the label has made available this inspirational album that displays a wide showcase of soulful talent from funky, rare grooves to beautiful ballads. Included is an insert with detailed liner notes from Jazzman’s exclusive interviews, revealing the story behind the band and their enigmatic recording of the Special Release album, and how a small-time group of musicians from rural North Carolina came to entrance soul fans and collectors the world over with such a superb yet under-appreciated masterpiece.
|KINDRED SPIRITS (NETHERLANDS)|
| PARRISH FEAT. IG CULTURE, THEO: Traffic 12″ (KS 034EP) 12.50|
“Limited single-sided white label of an exclusive Theo & I.G track, ‘Traffic’!! You’ll have heard this one if you’ve been paying attention to Mr Parrish’s DJ sets over the past year or so.”
| RNDM: Hideway Lane EP 12″ (LAID 010EP) 12.00|
Vienna born and raised Oliver Kargl’s (aka RNDM) newest trilogy on Laid is a passionate commitment to sound — the sound of Ron Trent, Mr. Fingers, Frankie Knuckles and countless others who are part of his unconscious reference system of countless nights he spent with this music we call house. This is pure devotion to the cause of joy. Includes a mix by Shine.
|LIEBE DETAIL (GERMANY)|
| SATYR/WAREIKA: Roadrunner/Rumba Swing 12″ (LIEBE 035EP) 12.00|
Liebe*Detail welcomes Satyr, a mysterious artist who has been embedded deep with the scene, producing and DJing worldwide for the last 8 years. This new creative angle does, as his teasing artist bio promises, “stay true to his acid house roots.” “Roadrunner” is an excitable, frenetic synthesizer trip. Wareika return with “Rumba Swing.” Perfectly jazz-infected, with a healthy measure of rhumba timing, this lazy, psychedelic journey meanders through lush fields of guitar improvisations, tumbling drums, piano refrains and eerie pitching elements.
|LIGHT IN THE ATTIC|
| SULLIVAN, JIM: U.F.O. CD (LITA 054CD) 15.00|
“In March 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost in the desert. Some think he fell foul of a local family with alleged mafia ties. Some think he was abducted by aliens. By coincidence — or perhaps not — Jim’s 1969 debut album was titled U.F.O., released on the one-off private press label Monnie. The album featured Phil Spector’s legendary sessioneers, The Wrecking Crew. That’s Don Randi, Earl Palmer and Jimmy Bond you can hear, the latter also acting as producer and arranger. A seventh son of a seventh son, Jim Sullivan was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame; hanging out with movie stars like Harry Dean Stanton, performing on the Jose Feliciano show, even stealing a cameo in the ultimate hippie movie, Easy Rider. U.F.O. was a different beast to the one-man-and-his-guitar stuff Jim had been doing on stage; instead, it was a fully realised album of scope and imagination, a folk-rock record with its head in the stratosphere. Sullivan’s voice is deep and expressive like Fred Neil with a weathered and worldly Americana sound like Joe South, pop songs that aren’t happy — but filled with despair. The album is punctuated with a string section (that recalls David Axelrod), other times a Wurlitzer piano provides the driving groove (as if Memphis great Jim Dickinson was running the show). U.F.O. is a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south. 48-page CD booklet with unseen photos, lyrics, and archival newspaper articles.”
| SULLIVAN, JIM: U.F.O. LP (LITA 054LP) 19.00|
Deluxe gatefold LP version, featuring insert with rare photos and liner notes by Andria Lisle (MOJO). 180 gram vinyl.
| AGUATURBIA: Aguaturbia LP (LION 110LP) 21.00|
“One of the best and most important psychedelic bands to emerge from South America. It is impossible to indicate just how revolutionary they were; but the fact that the band were naked on the cover of their debut, and crucified their singer on the cover of their second album may give you an idea. The band’s first album was recorded live in 1969 in a simple three-track studio. In a strict Catholic country, the album’s front cover showing the band sitting nude in a darkly lit room caused quite a stir; record shops refused to stock the record and the press and Church both censored it. And the music rattled a few people too: raw, with heavy rhythms, bursts of distortion and fuzz, fantastic phased female vocals (inviting the inevitable comparison to Jefferson Airplane), and English lyrics. The band’s guitarist Carlos Corales is superb, his skill most evident on the erotic ‘Erotica’ and the ten-minute long mini-epic ‘Crimson And Clover,’ which finds his wife Denise in superb vocal form.” Housed in an old style tip-on jacket with a double-fold cardstock insert with photos and extensive notes.
| AGUATURBIA: Volumen 2 LP (LION 111LP) 21.00|
“The second Aguaturbia album (1970) is, if anything, even heavier than the first: many compare it to Led Zeppelin for heaviness and intensity. The band offered up some heavy jams, with fuzzed-out guitar work, spaced-out vocals and general acid madness.” Housed in an old style tip-on jacket with a double-fold cardstock insert with photos and extensive notes.
|M>O>S RECORDINGS (NETHERLANDS)|
| MORPHOSIS: What Have We Learned 12″ (MMDR 001EP) 12.50|
Two remixes of tracks by Morphosis. NWAQ turns in one hell of a dub! An almost relentless 7.5 minute float that’s underpinned with thriftily-placed percussion, and a true beast of a kick drum. Just For One Day hijacks “Androids Among Us” and throws it right into a sound system shootout, somehow leaving the core elements from the original track in tact. Seriously killer. For fans of 2-step, jungle and Dr. Who.
| 2 AM/FM: Desolate Cities/Give This World 10″ (MOSDEEP 004EP) 12.50|
A very special set from James T. Cotton and D’Marc Cantu, teaming up as 2AM/FM for more serious Chicago house roughness. “Desolate Cities” has all the ingredients you love to hear in a proper dark house track, and reminds of the best works by Phuture. “Give This World” rides more on the melodic tip, and harkens classic tracks by Virgo, Ron Trent and G-Strings. Top quality Chicago house!
| VIVA L’AMERICAN DEATH RAY MUSIC: Miles of Smiles, Towns of Frowns LP (MEX 062LP) 22.00|
“Memphis-to-Brooklyn transplant Nicholas Ray has been pushing the moniker of Viva L’American Death Ray Music for close to fifteen years, as musical trends have come and gone around him. Nobody wants to hear about ‘the best band you haven’t heard of’ anymore, but truthfully you’d have to stay pretty low to the ground to discover any of the albums and countless singles and EPs he’s made under this name in that time. When you do find it, you’ll realize that you’re down on the ground because your home is literally ON FIRE from the excitement this guy’s music has generated all around you. Miles of Smiles, Towns of Frowns is VLADRM’s sixth full-length, following releases on Sympathy for the Record Industry, Misprint, New York Night Train, Shattered, and Ray’s own Sangre Libre label. Though the band’s entire output is uniformly recommended for you to check out at once, you would do well to start here, with twelve songs that capture a lost-in-time paean to glam rock, the Fall, the Velvet Underground, Britpop and dub reggae: earworms burrowing in, effortless cool breezing across the room, and a set of songs that will define your day/month/year/rest of life. It’s hard to describe ‘total music’ but it’s also difficult to categorize VLADRM in modern terms without bringing up lofty comparisons to Roxy Music or Bowie. And yet … here we are. It’ll have to make do. This cup will never run dry and never spill over, and no amount of clichés could do this music justice. Just get yourself a copy and try to prove us wrong.” Deluxe gatefold LP on 180 gram vinyl; hand-numbered, limited edition of 750 copies.
| BEACHES: Eternal Sphere LP (MEX 063LP) 22.00|
“Beaches are Antonia Sellbach (Love of Diagrams) on guitar and vocals, Alison Bolger (Panel of Judges) on guitar and vocals, Ali McCann on guitar and vocals, Gill Tucker (Spider Vomit) on bass and vocals and Karla Way on drums and vocals. The band’s communal creative processes are collaborative and intuitive, a shared stream of consciousness and subconsciousness which allows each member’s textural layers and sonic harmonics to emerge and merge into the whole. The stylistic shades reflect the shared musical loves of Beaches, from 1960s hit parades to 1970s psychedelia, shoegaze to prog, southern boogie to Krautrock. Two thick, clotted sides of heavy psychedelic, instrumental destructo rock, pupils completely dilated from sugar cubes the size of flash cubes. Rippin’ up the surf and kickin’ sand in your eyes, these three tracks are the most stunning examples in the genre we’ve heard in some time.” Hand-numbered limited edition of 500 copies.
| MIRACLES CLUB, THE: A New Love LP (MEX 066LP) 22.00|
“Hallelujah! Miracles Club is the brainchild of Rafael Fauria & Honey Owens (Valet, Nudge, Jackie-O Motherfucker). In yet another left turn from the inherent psychedelia of those projects, this new EP presents four excessively blissful, thumpety piano-led acid house time machine numbers, reminiscent of the late ’80s/early ’90s, the Hacienda, late-period Factory Records, big pants, Soul II Soul, shopping at the Gap, Coogi sweaters, Stu-Stu-Studio Line hair gel and mousse, Lisa Stanisfield’s spitcurl … you get it, right? Owens is assisted here by Mark Burden (Silentist) and Jonathan Sielaff (Golden Retriever), and there’s a dancer in the mix for live performances too. So cool, confident and energetic, you can relive the glory days of clubbing and that awesome, fruity smell that cassette tapes you bought (or racked!) at the mall record store had when you first took off the cellophane.” Hand-numbered limited edition of 1000 copies.
| NO JOY: Ghost Blonde LP (MEX 067LP) 22.00|
“We could say a lot of things about the debut album from Montreal/LA ladies No Joy: that it builds upon the revitalization of shoegaze pop in recent times with a melodic fervor and angst that many of their contemporaries fail to capitalize on, that their records look and sound gorgeous, that there are moments on Ghost Blonde that match the challenges laid down by My Bloody Valentine and Lush years ago. We could say those things, but then what would the bloggers think? Probably the same. Oh well. We said it. Killer record from a band to be reckoned with. Ten new songs that’ll singe your eyelashes off.” Hand-numbered limited edition of 2000 copies.
| YOUNG, THE: Sweet/Swollen 7″ (MEX 073EP) 4.00|
“Two new tracks from The Young grace this 7″ single, out just in time for the band’s December 2010 East Coast tour. The Austin, TX quartet continues to carry the torch for honest, emotive rock music, gravel-throated and pure of intent, the way we all used to remember indie rock: as music for the outcasts, in the years before it was co-opted as a marketing tool. ‘Sweet’ and ‘Swollen’ both continue in the path of the group’s debut album Voyagers of Legend, a stark and sincere rally for all the proud men and women holding back the tears out there in radioland.” Hand-numbered, limited edition of 500.
| JAY, ABNER: True Story Of Abner Jay LP (MR 036LP) 14.00|
2010 repress, originally released in 2009. “Compilation culled from Abners’ self released LPs & 7″s featuring hits such as ‘I’m So Depressed,’ ‘Cocaine’, ‘Vietnam,’ & ‘The Reason Young People Do Drugs.’ Abner Jay was a one-man band singer/songwriter deserving of a wider listening audience than he received in his day. This is the first vinyl release of his material since the 1970s. Great soulful folk & R&B music. Most copies of the LP include a press photo of Abner, transcriptions of his spoken word pieces, a reproduction of an informative pamphlet about Abner & a press statement penned by Abner himself. Tip on jacket.”
| VA: In The Storm So Long LP (MR 066LP) 14.00|
“Compilation of gospel songs from the Pitch/Gussman label. Raw & ragged 1960s & 1970s recordings made in Georgia. Most tracks have a heavy guitar sound with loads of reverb. At times haunting & at times joyous. Real rockin’ homemade music by & for the people. Old school ‘tip on’ sleeve. Liner note sheet too. Great stuff.”
| VA: The Rain Don’t Fall On Me LP (MR 073LP) 11.00|
“Compilation of pre-war country blues & gospel. Features popular artists such as Blind Willie Johnson, Gary Davis, Bukka White and Memphis Minnie, alongside unfairly less documented artists such as Sonny Boy & his Pals, Lulu Jackson & Willie Mae Williams. Could be viewed as a sequel to our Last Kind Words compilation. Some heavy meditative songs & some dance numbers, too.”
|MOTOR CITY DRUM ENSEMBLE (GERMANY)|
| MOTOR CITY DRUM ENSEMBLE: Raw Cuts 5 & 6 12″ (MCDE 1205EP) 12.50|
This is the long-awaited return of the Raw Cuts series from Motor City Drum Ensemble. Another huge one: the A-side has the trademark MCDE “hook” while the flip goes deep into late-night territory. This 12″ has been played and supported by Gilles Peterson, Simbad, Karizma, Alex From Tokyo, Jazzanova, Gilb-r, Dixon, Âme, Domu, and many more.
|MULE ELECTRONIC (GERMANY)|
| ALVEOL: Glitter Path 12″ (MULE 076EP) 12.00|
Mule Electronic presents Swedish artist Alveol aka Ludvig Cimbrelius. Terre Thaemlitz says of this artist: “very nice house music — sounds like a fusion of DJ Sprinkles and Kuniyuki.” “Glitter Path” has a dubby and atmospheric deep house sound. Kassem Mosse’s remix of the track is a more playful and mixable version. “Mariposa” is melancholic stuff reminiscent of Larry Heard or Lawrence.
| CARLOS, DON: Favorite Cup 12″ (NARCOHSP 001EP) 11.00|
“Don Carlos (born Euvin Spencer) legendary reggae artist — born and raised in Western Kingston, Jamaica, in a district notoriously known as Waterhouse, which incidentally is also a musical spawning ground for many of reggae’s greatest ever talents, such as King Tubby, original member of Black Uhuru, The Jays, Junior Reid and King Jammy to name but a few. Don Carlos started his singing career back in 1973, as one of the original members of the aforementioned roots vocal group Black Uhuru. Don played a prominent role in the recordings of the highly acclaimed Love Crisis (Black Sounds of Freedom) album, for producer Prince Jammy in 1977. Don reached the peak of his solo career during the heydays of the eighties dancehall mania thus celebrating his impact with five top ten hits between 1982 – 1985, reggae hit such as ‘Late Night Blues’, ‘Dice Cup’, ‘Hog & Goat’, ‘I’m Not Getting Crazy’, ‘Laser Beam’, ‘Young Girl’ and ‘Favorite Cup’ are forever hailed as CLASSICS! The latter of which is included in this Narco. Hz 12″ special for your enjoyment.” Features a 12″ extended version and a remix by Juju & DJG.
| EDGAR, JIMMY: +NXTLVLNXTLVL/My Balance (Last Priority) 12″ (NONPLUS 009EP) 12.00|
“Hot off the back of his sexually charged XXX album which included the track ‘Hot Raw Sex’ of which Instra:mental provided one of many remixes, Jimmy Edgar has elevated the Nonplus catalogue with this superb two track 12″.) ‘+NXTLVLNXTLVL’ : Upon listening to this track it’s obvious this guy oozes natural musical talent from every orifice. Jerky electro beats set the backing or playful chords and melodies and the odd bit of pitch bent Gfunkery, all spliced together with the trademark ‘on the fly’ sounding sequencing like he’s played the whole track from start to finish off the top of his head. This is Jimmy Edgar doing what he does best and that is making raw music with his raw talent.”
|NOT NOT FUN|
| WET HAIR/PEAKING LIGHTS: Bored Fortress 7″ (NNF 200EP) 6.00|
“Iowa City silver apple-pickers Wet Hair pitter-patter into yet another picture-perfect futurist synth-pop raga, ‘Blessed.’ Yes you are. On the flip, kindred midwestern matrimony team Peaking Lights hotbox a basement of black ark basslines and waterlogged reggae 45s. Sleeve art by Robert Beatty.”
| PSYCHIC REALITY/SEX WORKER: Bored Fortress 7″ (NNF 201EP) 6.00|
“Farmer’s market zen learner Leyna Noel channels the swaggering lust of Jimi’s finest hour via stumbling drum machines and amplifier howls while her beau Sex Worker mines Debbie Harry’s telephonic anxieties for deeper fears, darker secrets: ‘I can’t control myself.’ Sleeve art by Julien Langendorff.”
| GNOD/ROBEDOOR: Bored Fortress 7″ (NNF 202EP) 6.00|
“Manchester’s choicest chain gang lumber through the mildewed concrete of some abandoned-bomb-shelter-turned-hippie-commune, spewing molten wah and echo-vocal polemics. Turn off, dig in. The B sees LA drone thugs Robedoor pitching Molotov cocktails of pure wraith blood through stained glass windows. Sleeve art by Zully Adler.”
| DUCKTAILS/RANGERS: Bored Fortress 7″ (NNF 203EP) 6.00|
“Ridgewood, New Jersey’s patron saint of palm tree listening takes a break from the real estate market to strum out a couple summer sunset polaroid instrumentals. Rangers serves up a similarly faded slice of TV bumper music, ‘The Bride Of Marin,’ that surfs down from the clouds on a rainbow-trailed wave of phasered guitar licks. Sleeve art by Spencer Longo.”
| INFINITE BODY/NO AGE: Bored Fortress 7″ (NNF 204EP) 6.00|
“West coast light-breather Infinite Body emits a dense harmonic sound cloud that condenses in yr ear before evaporating into the ether. California DIY heroes No Age get minimal on the instrumental ‘Wintry KK,’ burrowing into tom-rolls and the poetry of distortion pedals. Sleeve art by Cody De Franco.”
| HIGH WOLF/THE SAVAGE YOUNG TATERBUG: Bored Fortress 7″ (NNF 205EP) 6.00|
“France’s fave psych-snakecharmer trances a new coiled creature from the same thatched basket of white light fuzz, canned drums, and keyboard sign language. Over on the wrong side of the tracks there’s Midwestern madcap Charles ‘Free’ Taterbug, perched on a fence with a 2-string and some rusted tape machines, crooning to the crickets in the parking lot. Sleeve art by Carlos Gonzalez.”
|ON-U SOUND (UK)|
| PERRY, LEE ‘SCRATCH’: The Mighty Upsetter CD (ONU 1001CD) 16.50|
“First issued on CD only in early 2009, Lee Perry and Adrian Sherwood’s first new recording together in two decades. Lee ‘Scratch’ Perry, Jamaican music’s most celebrated producer, has been through more creative rebirths than most artists can imagine. Now well into his seventies, he is currently enjoying another. Over the past half-century he has masterminded more than 1,000 different records, under his own name, with his ever-changing band, the Upsetters, and for countless other artists – each with its own unique, quirky sound.”
|P&C RECORDS/REEL MUSIC|
| REYNOLDS, JEANNIE: Cherries, Bananas & Other Fine Things CD (PCD 72003CD) 16.00|
“The legacy of Jeannie Reynolds is more than just her Chicago steppers classic ‘The Fruit Song’. With a voice that could heat ice and melt hearts, Jeannie Reynolds pulled from the depths of her soul and infused her songs with a hard-won truth. Her 1976 debut album showcased the capricious quality of her voice and how effortlessly she adapted it to each song’s theme (usually, heartbreak or loneliness). At the turn of a phrase, her voice’s jagged edges could connote vulnerability and then morph into a combustible ball of funk. ‘The Phone’s Been Jumping All Day’ was her biggest hit and was surprisingly left off original album release. That situation is rectified here with its inclusion and the addition of three more bonus tracks. Deep soul lovers will have a field day with tracks such as ‘The Feeling Ain’t There’ and ‘I’ve Still Got My Pride’ whilst funksters will appreciate the solid ‘I Come Here To Party’. A classic slice of ’70s soul.” 16-page color booklet with liner notes and rare photos.
| WITHERS, BILL: Making Music CD (PCD 72004CD) 16.00|
“After the demise of Sussex Records, Bill Withers jumped ship to the behemoth that was Columbia Records. On Making Music, the sound is a little more smoothed out, yet still retains that warm soul feeling for which he is best known. The album includes the hit singles ‘I Wish You Well’ and ‘Make Love To Your Mind’. Other than the two singles, ‘Hello Like Before’ is probably the most well known track, but there are many other gems within this ten tracker which benefits from string and horn arrangements by Motown legend Paul Riser. The album features a who’s who of great musicians and singers including David Walker, Ray Parker Jr., Melvin ‘Wah Wah’ Ragin, bassist James Jamerson, Ernie Watts and Ralph MacDonald.” Originally released in 1976. Paste-on mini-gatefold sleeve packaging with OBI.
| WITHERS, BILL: Naked & Warm CD (PCD 72009CD) 16.00|
“‘Warm wonderful soul from Bill – recorded with a bit less of the acoustic folksy sound that graced his Sussex recordings, but still with loads of excellent song writing, and a whole bunch of great piano work in place of the missing guitar.’ (Dusty Groove). Bill’s second album for Columbia was a somewhat funkier affair than his debut. ‘Here Withers returns to the simple ways of his past, working five or six musicians for the kind of hard groove that doesn’t have many parallels in black music these days.’ (Robert Christgau). Musicians include Larry ‘Fatback’ Tolbert on drums, Dorothy Ashby (harp), Melvin Dunlap (bass), Benorce Blackmon (guitar) and Jerry Knight (bass).” Originally released in 1976. Paste-on mini-gatefold style packaging with OBI.
|PAST & PRESENT (UK)|
| VA: Texas Flashbacks Volume 2 LP (PAPR 1006LP) 22.00|
The Past & Present label reissues the second volume of the Texas Flashbacks compilation on digitally-remastered 180 gram virgin vinyl. The Lone Star State was home to a disproportionate number of fine garage, psych and punk bands in the 1960s. This stupendous 6LP series gathered together no fewer than 95 of their greatest moments, culled from some of the rarest singles ever issued. Complete with a full-color insert featuring discographies, rare pictures and background info, this limited edition hand-numbered vinyl series is an essential purchase for collectors and all fans of snarling, snotty, sneering rock and roll. Artists include: The Jades, The Oxford Circus, The Blue Things, Jimmy Rabbit & The Karats, Wally And The Rights, The Boys, The One Way Street, The Twilighters, The Outcasts, S.J. And The Crossroads, The Iguanas, The Chevelle V, The Runaways, The Six Pents and Knights Bridge.
| VA: Acid Dreams LP (PAPR 1007LP) 22.00|
Recognized as one of the truly great comps of all time, this 1979 selection of ’60s U.S. hard guitar-psych, compiled by the owner of a record shop in Berlin, has often been reissued on CD with the wrong tracklisting and non-existent liner notes. Originally released on LP, only 77 copies were pressed and apart from a few that were given to friends and family, the remaining records were only sold through the compiler’s shop or shamelessly bootlegged. The Past & Present label is pleased to make this important compilation available again as a deluxe 180 gram vinyl limited edition. Acid Dreams proved that punk rock was not a new thing; kids had adopted the same snotty attitude in the mid-to-late ’60s. The opening track, White Light’s “William,” sets the standard for what’s to come: a compulsive, classic, hard guitar-psych 45 rocker and 17 more psych diamonds follow in its wake. A true gem mined and polished by Past & Present. Hand-numbered limited edition, containing a full-color insert with the original CD liner notes. Digitally-remastered. Artists include: White Light, Caretakers Of Deception, Outcasts, Music Machine, Mystic Tide, Stereo Shoestrings, Velvet Illusions, Unrelated Segments, Beautiful Daze, Painted Faces, Teddy & His Patches, Vejtables, Faine Jade, Balloon Farm, Minds Eye, Zakary Thaks, and Remaining Few.
|PHOENIX RECORDS (UK)|
| STRAWBERRY PATH: When The Raven Has Come To The Earth LP (ASH 3034LP) 22.00|
Another lost gem for lovers of Japanese psych and hard rock, this time from the inspirational ’70s prog outfit, Strawberry Path. From its extremely cool front cover to the last track, this is an album that will appeal to garage fans, psych heads, mondo music lovers and acid freaks alike, merging as it does a variety of Western influences, ranging from Jimi Hendrix (check out Shigeru Narumo’s hard psych guitar) to Black Sabbath, Led Zeppelin and Deep Purple. Originally released in 1971, Strawberry Path were the forerunners of Japan’s Flied Egg, one of the most influential Japanese prog bands to emerge in the ’70s. This is hard psych rock at its best, and an album which has soared in value over the last few years. Highly collectable and highly listenable. All-analog pressing housed in a gatefold sleeve. 180 gram virgin vinyl
| MAGICAL POWER MAKO: Super Record LP (ASH 3039LP) 22.00|
Super Record, the second of Magical Power Mako’s 20-plus recordings, originally released in 1975, is considered by those that know to be his finest, combining as it does strong elements of Japanese folk music alongside innovative psychedelic sounds and broad musical vistas of extraordinary imagination. Mako was born in Shuzeni Izu in Japan in 1956, and he began his musical education at a young age, making his first public performance in 1973 at the age of 16 with his band Genge in the famous Shibuya Club. Based on these impressive public performances, the precocious Mako was invited to play with one of Japan’s foremost contemporary composers, Toru Takemitsu, playing alongside the composer on three film scores, Inheritance For The Future, Petrified Forest and Himiko. The response to his performances was overwhelmingly enthusiastic, elevating Mako to almost god-like status in his native country. Mako’s music has often baffled pundits keen to place him in a particular musical slot. As one perplexed scribe opined “Mako’s music possesses a certain strange kind of texture. It is certainly what they call rock, but contains elements we can’t describe so succinctly. It clearly goes beyond the various genres of music and while full of them all, it sends forth a fierce glow.” Another critic wrote: “Adding to the variety of folk music from India, Turkey and Russia, his mandolin or Taisho koto, and especially his marvellously-performed guitar, expresses fully the odor of the soil and mankind’s universality”. This limited edition has been digitally-remastered and pressed on 180 gram vinyl with an LP replica sleeve.
|POKER FLAT (GERMANY)|
| BYALLO, ALLAND: Discovaries 12″ (PFR 115EP) 12.00|
Hailing from San Francisco, DJ and producer Alland Byallo has created his own unique sound out of a love for deep, soulful house combined with more edgy techno moments. This brilliant 2-tracker also marks Alland’s arrival in his new home of Berlin.”Discovaries” has a healthy amount of Berlin’s reduced techno affinity rooted within its phasing, growing p-funk waves. Tense, moody, and of course, drenched with attention to detail, this is a grower in the true Poker Flat style.
| BROWN, JAMES: Sho Is Funky Down Here LP (KS 1110LP) 11.50|
Exact repro, originally released in 1971. This is basically really a Grodeck Whipperjenny album with James Brown grunting — contractual obligations sometimes churn out the funniest things. “This is the funky… the ever surprising… the never the same James Brown music. It’s instrumental all the way. It will surprise some of his fans… but will be a delight to all.” — Hal Neely
| BROWN, JAMES: There It Is LP (PD 5028LP) 11.50|
Exact repro reissue, originally released in 1972. Do you need to listen to “King Heroin” again? What about “Public Enemy”? Because this record’s got those songs and, although the front cover color-scheme looks like it walked out of your aunt’s closet, the back cover illustration looks like a scene right outta Last Exit To Brooklyn. Fucked.
| JAM, THE: All Mod Cons LP (PD 6188LP) 11.50|
1978 album, released the same year as their “News Of The World” single. This record features the single “Down In The Tube Station At Midnight,” a great story about why you shouldn’t go to England. Exact repro reissue.
| MORGEN: Morgen LP (CP 4507HLP) 14.00|
2010 repress. Exact replica exact repro; 180 Gram Vinyl. “Singer/guitarist Steve Morgen and company originally hailed from Long Island, New York. Signed by ABC’s short-lived Probe subsidiary, their 1969 debut Morgen teamed them with producer Murray Shiffrin. After this superb debut, the entire band quite simply disappeared. If you’re into heavy psych guitar, then this is for you. While Morgen had a competent, if limited voice, he was a truly amazing guitarist with the likes of Nick Saloman of Bevis Frond becoming a staunch advocate of Morgen’s status as a ‘psychedelic guitar hero.’ Tracks such as ‘Eternity In Between,’ ‘Welcome To the Void,’ ‘Of Dreams’ and ‘Beggin’ Your Pardon’ (Miss Joan) were simply drenched with fuzz and feedback guitar. Underpinned by Maiman’s powerhouse drumming (easily compared with Led Zepplin’s John Bonham) and suitably trippy lyrics and you’re looking at a pseudo-classic slice of psychedelia.”
| HARLEM RIVER DRIVE: Harlem River Drive LP (ROULETTE 3004LP) 11.50|
1970 Latin funk album featuring Eddie Palmieri and vocalist Jimmy Norman. Tracks include “Broken Home,” “Seeds Of Life,” “Idle Hands” and “If.” Exact repro, manufactured by Rhino.
| MALCOLM, CARLOS: Don’t Walk, Dance! LP (SR 25359LP) 11.50|
Originally released in 1964, Carlos Malcolm and his 10-piece orchestra blend Spanish, West Indian and jazz styles, authentically informed by Malcolm’s Jamaican roots. Exact repro reissue.
|RUNNING BACK (GERMANY)|
| ROMAN IV: La Paloma 12″ (RB 026EP) 12.00|
Roman Flügel pursues his more contemplative side under his Roman IV moniker. “La Paloma” is exactly that kind of perpetual and lulling marathon jam that recollects his Testament tracks. Having said that, “Sa Caleta” looks for a more immediate hit. With a rigid punch and some greasy layers, you get Roman’s take on the current or recurrent slow-motion disco craze. Finally, “Lucy” rolls over again, starts where “La Paloma” ended and makes its way up to a subliminal hook-line.
|RUSH HOUR (NETHERLANDS)|
| CINNAMAN & JAY SCARLETT: Beat Dimensions Vol. 2 7″ (RH 109EP) 7.00|
Originally released by Rush Hour in 2009. Dutch beat-masters Cinnaman & Jay Scarlett present a 7″ on red vinyl in their Beat Dimensions Vol. 2 series. Low Limit (Lazer Sword) and Busy push it elsewhere, shrink the format and bump your speakers.
| SHAKIR, ANTHONY ‘SHAKE’: Frictionalism 1994-2009 Part 3 12″ (RH 110C-EP) 12.50|
Part 3 in the Shake Frictionalism reissue series, with four serious killers. “Assimilated” was featured on his Natural Electronics EP from 2010 and shows that Shake is a pioneer in off-beat techno. “Get A Feeling” is taken from an early Track Mode release and is one for the Detroit house-heads. “For The Lamented” and “Frictionalized” are both taken from his Unsterilized Sessions EP from 2002 and was an early favorite with Ricardo Villalobos, amongst others.
| RECLOOSE: Early Works CD (RH 112CD) 17.00|
With this compilation, Rush Hour celebrates Recloose’s early works from the late ’90s, early ’00s. The compilation includes his best music from that period, both released and unreleased. In fact, it’s an even score with seven released tracks and seven unreleased tracks. The CD starts with tracks from his first two releases, both for Planet E, from 1998 and 1999: So This Is The Dining Room and Spelunking. It is especially Spelunking that solidified his name and earned him a worldwide fan base. This CD once again showcases Recloose’s talent for merging electronic music with just about any preceding form of music: jazz (“First Off,” originally released under Dapp on Omoa Music), reggae/dub (“Insomnia In Dub”) or soul (“Can’t Take It”). Besides his early work for (mostly) Planet E, this release also contains seven unreleased tracks from this period to give a broader insight into his early production period as well as to please all his fans. Housed in deluxe DVD packaging
| ALFABET: A/B 12″ (RH ALFA1-EP) 12.50|
Tom Trago and Awanto3 (aka Steven de Peven, one-half of Rednose Distrikt) team up for a project they call Alfabet. This series is all about warm and dusty house music. It will run for 13 two track singles, totaling 26 tracks. Each track represents a letter. “Roundabout” is a percussive workout that builds up and sucks you in. “Lap The Music” does the some thing, only this one makes use of an addictive vocal sample. Artwork from Stefan Glerum.
| AARDVARCK: Nosestep EP 12″ (RH DC5-EP) 12.50|
Rush Hour released Aardvarck’s “Nosestep” as part of his Well Well Well EP in the summer of 2007. Now the label re-releases it with a new version by Cosmin TRG, who transformed it into a strong acidic stepper, 2010 style. On the B-side there is an unreleased Nubian Mindz remix from Aardvarck’s Spoken release from 2001. Rush Hour didn’t release it at the time, but with the whole new future house movement, the timing couldn’t be more perfect.
| MAYDAY: Relics Sampler 12″ (RH MS1-EP) 14.50|
A special reissue featuring four tracks from the 1992 Relics album. Since then, it has been out-of-print, bar some dodgy bootlegs. These four tracks were exclusive to the album, and this is the first time they are available as a 12″. These are landmark techno pieces considered to be among Mayday’s (Derrick May/Rhythim Is Rhythim/Long Ago/Long Long Ago/Longer Than Long Ago) best output. Special packaging in a matte varnish and die-cut sleeve. This is a one-time run of 1,000 units. Vinyl only.
| VIRGO: Virgo 2×12″ (RH TX1-LP) 23.00|
Repressed. 2×12″ version. Originally released in 1989 on Radical Records in the UK, and as a series of EPs on Trax Records in the U.S., this is a very special record, and truly a contender for best house album ever made. Virgo are Chicago house duo Merwyn Sanders and Eric Lewis, who also recorded as Ace & The Sandman and M.E. and shouldn’t be confused with the other Virgo of Vince Lawrence and company. This album does not have one filler, all tracks are essential pieces of house music. Limited release with new artwork and remastered tracks.
| HOUSE OF JEZEBEL: Love & Happiness 12″ (RH VD3-EP) 12.50|
In 2010, Tom Trago started selecting tracks for Voyage Direct, which presents a collection of his favorite producers and tracks. House Of Jezebel aka Legowelt takes us back to the warehouse days with his epic version of soul classic “Love & Happiness.” Granted, this sample has been used a few times before, but this is simply one of the strongest versions ever to appear. Comes as a vocal and instrumental version.
|SOUL JAZZ RECORDS (UK)|
| LV FEAT. ERROL BELLOT & RUBI DAN: Crossfire 12″ (SJR 232EP) 9.00|
“First single taken from Soul Jazz Records’ new Riddim Box album of UK Funky, LV’s powerful steppers-style grimy garage dancehall dubstep ‘Crossfire’ featuring vocalist Errol Bellot and heavyweight MC Rubi Dan along with THREE more exclusive new tracks from LV of heavyweight future dubs all exclusively on Soul Jazz.”
| PETERSON & STUART BAKER, GILLES: Bossa Nova Book (SJR 240BK) 38.00|
Subtitled: Bossa Nova And The Rise Of Brazilian Music In The 1960s. “This is the first ever collection of bossa nova record cover artwork, featuring stunning modernist and revolutionary designs that were a reflection of the radical and exciting idealism of Brazil at the start of the 1960s. As Brazil developed into an urban society, with ‘apartment living’ and consumer goods, bossa nova projected an image that was modern, sophisticated and cool. This era of modernity and developmentalism was also heralded by the building of Brasília, the new capital city built deep in the country’s hinterland, designed by the radical modernist architect Oscar Niemeyer. This book is a unique collection of the cover art of Brazilian bossa nova music, containing hundreds of record covers complete with a history of bossa nova, biographies and essays on many of the artists involved in the movement. To coincide with the book, there is also a separate CD album, Bossa Nova And The Rise Of Brazilian Music In The 1960s, released on Soul Jazz Records.” Hardcover, 180 pages with over 300 original covers.
|SOUVENIR MUSIC (GERMANY)|
| SANTE: Ever Since EP 12″ (SOUVENIR 031EP) 12.00|
Philipp “Santé” Maier is back on track! “Ever Since” features smooth vocals and a circling beat that grabs hold of you. “Mrs. K” revives the dizzying spells of an old soul diva. A spatial wave breaks and projects the dancer miles away from Planet Earth. “Work It” is a filthy percussive workout with vocal fragments, hand-claps and jazzy drums. “U&I” features male vocals and female whispers while a heavy beat turns the dancefloor into a nuptial ceremony of the third kind.
| VA: FM-BX Society Tape 001 LP (SS 056LP) 14.00|
“S.S. Records is pleased to present the first vinyl edition of the FM-BX Society Tape Vol. 1. Originally released in 1981 only on cassette, with a limited run of 200, FM-BX V1 was the first in a series of compilation tapes released by the staff of a radio station in Brussels, Belgium. Needless to say, not many tapes made it around, and very few survive today. I’d say that is a shame but with this vinyl release, the word will get out about the bands on this tape, albeit a few decades after its initial release! FM-BX V1 features three bands, two from Belgium, one from Scotland. The Belgium bands are Isolation Ward and Unit 4. Isolation Ward are known in underground synth collector circles, as they had a bit of a run after their debut on this release. Bleak and futuristic, Isolation Ward fuse post punk with early 80s synth sounds and a DIY approach. The stars of FM-BX are the all-woman foursome Unit 4. Little is known about the band or their current whereabouts. No problem because their music is all you need to tell you that they had something special going. By their sound, the influences are obvious: Kleenex, Delta 5, and the Raincoats all reverberate here though less ‘slick’ than any of those bands. Unit 4’s aesthetics are more akin to the Petticoats and, at times, the Shaggs. This is truly wonderful punk rock. From Scotland comes the Topplers. Great stuff. Teens with an ear towards the TV Personalities, The Times, and Subway Sect. 500 pressed, housed in a sleeve cobbled together from the original cassette release.”
|SUB ROSA (BELGIUM)|
| PSEUDOCODE: Slaughter In A Tiny Place 2LP (SR 298LP) 20.00|
Pseudocode was a Belgian electronic improvised music band, active from 1980 to 1982, featuring Xavier S (Thrills), Guy-Marc Hinant (Sub Rosa co-founder) and Alain Neffe (Insane Music, Bene Geserit). While Xavier S contributed most of the lyrics and vocals, it was Guy-Marc Hinant who often played the core melody on his Pianet electric piano. Neffe’s contributions are particularly noteworthy throughout, as he weaves together the bulk of the sonic cloth through overdubbing and mixing. None of his parts are remotely virtuosic (hence his self-identification as a non-musician), but they are always unexpected and perfect in and of themselves, emotionally and sonically, and in that sense, they are deeply musical. “In that time, the onset of the ’80s, we had the opportunity to create from sound itself instead of notes, from noise, screams, any chord, relevant or irrelevant. Xavier (with Stéphane Barbery, Digital Dance), had been in one of Brussels’ first punk bands, Thrills. Alain had over 10 years of music experience and was influenced by kosmische musik and all kinds of weird and experimental music; he had put together several improvisation ensembles in the area, including the noisy Kosmose, which I joined as a teenager. Now that I had digested punk, I was into Throbbing Gristle, Cabaret Voltaire, The Pop Group, Red Crayola, This Heat and all these influences show up upon listen. This double vinyl was made with the urgency of these times in mind. All tracks are unpublished and in this sub-collection, we intend to release a series of LPs as they would have been released at that time.” –Guy-Marc Hinant. Presented in a deluxe gatefold sleeve.
| VOGEL, CRISTIAN: Black Swan CD (SR 303CD) 15.50|
Sub Rosa launches a new series called Framework — an extension of their releases of concrete electronics noise — a brand new mix-up of unusual conceptions of sound material by young, unknown composers, well-known not-so-young composers, and old but clever composers. Includes one photograph and a geometric form. Limited to 700 copies.Cristian Vogel was born in Chile and moved to England in the mid-1970s. He first began working with electronic compositions in the late ’80s with the Cabbage Head Collective (working with Si Begg, among others). He attended the University of Sussex, under the tutorship of composers Martin Butler and Jonathan Harvey, and graduated with a degree in 20th Century Music, suffusing his techno compositions with influences from musique concrète and other avant-garde styles. In the early ’90s, Vogel issued two EPs on Dave Clarke’s Magnetic North Records, the first of which was the underground hit, Infra. After further solo EPs and collaborations with emerging UK techno artists such as Russ Gabriel, Neil Landstrumm and Dave Tarrida, Vogel released his debut full-length, Beginning To Understand, in 1994 on Mille Plateaux, and subsequently became the first UK techno artist to be signed to Berlin’s Tresor Records. He also started the vinyl-only label Mosquito with Si Begg, on which he released both his own music and other artists’. He is considered to be one of the main founders of the No-Future collective that was active in Brighton during the mid-’90s. In 2001, Vogel moved to Barcelona, where he set up the Erutufon 5 studio, and later Station 55 Electronic Music Studio. He currently lives and works there, managing Station 55 Records and studio. Alongside Jamie Lidell, he formed the group Super_Collider, who released two albums. Vogel currently sings and plays guitar in his band project Night Of The Brain, while continuing to maintain a presence on the underground techno scene. Vogel is sought after as a remixer and album producer, having worked with artists such as Radiohead, Maxïmo Park, Chicks On Speed, and Thom Yorke. The artist says this about Black Swan: “For the curious, the seed audio recordings which I analyzed and modified to resynthesize the score to Black Swan; a few seconds of Awa Odori and Mugiya-Bushi Odori traditional Japanese dance recordings, a Flying-V howling on a Swiss mountain pass in the Val Calanca, two EMS Synthi connected in a voltage feedback loop, a fragment of pachinko hall sound.”
| KRIEGER, ULRICH: Fathom CD (SR 306CD) 15.50|
Installment in Sub Rosa’s new Framework series. Ulrich Krieger studied classical saxophone, composition, electronic music and musicology at the Manhattan School of Music (New York), the Universität der Künste (Berlin) and the Freie Universität (Berlin). Since the late 1980s, he became more and more interested in American music and its different approaches (chance music, process music, just intonation, multi-stylistic, minimalism, drone). In 1991, he moved to New York. In the Cage Of Saxophones series, Krieger recorded the complete saxophone and any-instrument works of John Cage for Mode Records. The first one focuses on drone music (Cage, Tenney, Niblock), while the second focuses on pattern music (Reich, Glass, Riley). In the early 1990s, he started working on a more electronic approach. He began developing an original amplification for the saxophone and various live-electronic signal processing set-ups. In the electronic experimental field, he collaborated with rock, noise and ambient artists like Karkowski, Merzbow, Köner, Toeplitz, etc. He also worked with the Berlin ensemble Zeitkratzer, for which he transcribed Lou Reed’s Metal Machine Music. In 2001, he formed Text Of Light with Lee Ranaldo and Alan Licht, performing along with the films of experimental filmmaker Stan Brakhage. Metal Machine Trio began in 2008 together with Lou Reed and Sarth Calhoun as an experimental free-rock project.
| DR. BOOGIE: Dr. Boogie Presents Wasa Wasa LP (SR 307LP) 14.50|
Subtitled: Fabulous Rhythm’n’Blues Shakers On The Dancefloor! 1952-1968. This is volume seven in Sub Rosa’s series of rare and lost recordings from the ’20s to the ’60s, assembled by Belgian radio personality, musicologist, and Canned Heat devotee, Walter De Paduwa aka Dr. Boogie. “Wasa Wasa” means “what’s up?” and invites you to put on your dancing shoes. A fine opportunity to remind everyone that what was called rhythm and blues in the late ’50s and came from “race music” was the marriage of the word “rhythm,” which designated a fast tempo, and the word “blues,” which brought to mind the unmovable 12-bar rule. Rhythm’n’blues would become the vector that would let black music infiltrate white popular music and pave the way for the emergence of rock’n’roll. All tracks are taken from the original, authentic 45 rpms.
| GROUP DOUEH: Guitar Music from the Western Sahara CD (SF 030CD) 15.00|
2010 repress. If you think you’ve heard all the great electric guitar styles in the world, think again. This Saharan sand-blizzard of fine-crushed glass will grind your face to a bloody pulp. Group Doueh play raw and unfiltered Saharawi music from the former colonial Spanish outpost of the Western Sahara. Doueh (pronounced “Doo-way”) is their leader and a master of the electric guitar. He’s been performing since he was a child playing in many groups before finally creating his own in the 1980s. Doueh says he’s influenced by Western pop and rock music especially Jimi Hendrix and James Brown. His sound is distorted, loud and unhinged with an impressive display of virtuosity and style only known in this part of the world. His wife Halima and friend Bashiri are the two vocalists in the group. Sahrawi songs are from the sung poetry of the Hassania language. The music is based on the same modal structure as Mauritanian music, however, Doueh’s style is a looser appropriation infused with a Western guitar scope, one that relies, in his words, as much on Hendrix as it does traditional Sahrawi music. It also adds a playful pop element that rarely filters through in this region. Doueh has turned down countless offers from Morocco and Europe to release his music but he decided to offer Sublime Frequencies access to his homemade recordings and photo archive for this amazing debut. CD reissue of the first Sublime Frequencies LP release. Standard Sublime Frequencies 8-page CD insert includes great photos of the musicians and liner notes by Hisham Mayet.
|SUBLIMINAL SOUNDS (SWEDEN)|
| PARSON SOUND: Pärson Sound 3LP BOX (SUBL 073LP) 61.00|
Limited restock. Deluxe triple LP box set in a limited edition of 1,000 copies worldwide. A spectacular archival package of primitive drone and minimalist rock/trance/psych from the Swedish underground — believe the hype as follows; one of the most memorable audio documents ever. After years of research, Subliminal Sounds is proud to present the nucleus of the Swedish 1960s-’70s underground psych rock scene: the legendary Pärson Sound. This deluxe 3LP box set presents the most remarkable Swedish underground band, known in a later incarnation and continuation as International Harvester and Träd, Gräs och Stenar (trans. “Trees, Grass and Stones”), and features both intricate studio recordings and orgiastic live performances. Pärson Sound never released any records in their time and that is why very few have heard about them at all. The recordings date from 1967-1968 while the band explored unknown musical territory as well as inner- and outer space. In 1968, they were invited by Andy Warhol to play at the opening of his exhibition: “Screens, Films, Boxes, Clouds and a Book” at the Museum of Modern Art in Stockholm and they also opened for The Doors. Influenced by the musical concepts of Terry Riley, Pärson Sound worked at discovering and perfecting their own unique approach towards the mixing of rock and minimalism, creating some of the most remarkable psych- trance-drone-pre-noise music-rock sounds ever recorded. Pärson Sound’s music described contexts, interplay and organic growth and shaped a conception of the world in opposition to fragmentation, individual achievements and intellectual construction. This world was to be perceived as one body, a whole of inviolable parts. Their minimalist repetition with slight changes renders associations with slow growth, cyclic process, breathing, pulse, life, movement and machines. This persistent repetition also gives the listener an opportunity to discover the sounds, to meditate, to go into the music and join the same journey. Many times, one can discover a relationship with music of other cultures, and in comparison, the music of the Western world can feel cursory, unreliable — as a fear of entering deep into feeling. Pärson Sound’s compositions often consist of harsh structures — rhythm patterns with ostinato bass, a melodic figure which forms a base for improvisation. Other songs have a more thoroughly-elaborated structure that still leaves room for variation. The moment, the audience, the location formed their music. Their key phrase was “We, Here and Now!” and with time, the music came to have an increasingly religious or shamanistic streak, with more intensity, presence and warmth, striving for euphoria and ecstasy. The band’s psychedelic approach is so fresh and vital that it transcends time. Listen to it now! A 3LP with informative, revised liner notes in English and lots of photos.
| DUNGEN: Skit I Allt Instrumental 5×7″ BOX (SUBL 078BOX) 85.00|
Deluxe 5×7″ single box set with instrumental versions of all the tracks from Dungen’s sixth studio album, Skit I Allt. Some mixes are also in mono. Strictly-limited edition of 500 copies worldwide only. Also contains an inlay card. Sweden’s Dungen sweetly return with a collection of gorgeous, dream-like melodies, psychedelic stonkers and graceful, jazz-filled polyrhythms. For main man/producer/arranger/singer Gustav Ejstes, Skit I Allt means “Don’t give a shit, forget about it, just go ahead and do it. A friend said: ‘Skit I Allt; fuck it, do as you want, time is passing and it’s changing, forget fears and hang-ups, we are small and everything is pretty insignificant on the whole. How will it be? What shall we do? We often worry so much unnecessarily. Skit i allt, it’s happening now.'” In what feels like a very short decade, Sweden’s Dungen has mutated at a furious pace, and Gustav Ejstes’ lone constant has been change. At ease with effervescent pop, third-eye popping psychedelia, heavy rock, spider-web folk and breezy jazz, Dungen’s dynamism astounds throughout Skit I Allt. Rather than remain only Ejstes’ studio vision, Dungen is a muscular full band, now. Guitarist Reine Fiske, bassist Mattias Gustavsson, and drummer Johan Holmegard are fully integrated into Ejstes’ vision of Dungen. Dungen debuted in 2001 with an eponymous album of long psilocybic tracks and aural tomfoolery. The next year’s Stadsvandringar found Ejstes coming to grips with the language of rock before the zeitgeist-grabbing third album, Ta Det Lugt (SUBL 017LP) ignited the blogosphere so that it glowed like the aurora borealis. Not content to revel in such accolades, Tio Bitar (SUBL 019LP) flashed the band’s pop smarts as well as their incandescent freak-outs while 4 (SUBL 030LP) put the band’s cohesiveness on display, at once gorgeous and biting. This album is the one that gathers everything they’ve done and learned, bringing it all together into an impressive whole.
|THE GREAT AMERICAN MUSIC CO.|
| LYNN, BARBARA: It Ain’t No Good To Be Too Good CD (GA 224CD) 13.50|
“Barbara Lynn’s It Ain’t No Good To Be Good is 22 tracks hits & rarities — all previously unavailable in North America for over 3 years This is the most comprehensive release of her gulf coast recording career, remastered from the original tapes.”
| CHOCOLATE WATCH BAND: No Way Out LP (ST 5096HLP) 15.00|
180 gram reissue of this all-time psych garage classic, originally released in 1967. Heavily Jagger-esque leader Dave Aguilar tears shit up with opener “Let’s Talk About The Girls.” From then on, you’ll be desperately searching for your dad’s name in the “dedicated to” section on the back cover. Exact repro, licensed from Universal.
| M.IN: Teach Me House EP 12″ (TRAPEZ LTD096) 12.00|
Teach Me House features new school versions of the early “jack” tracks. “Lord Teach Me House” is a groove monster that plunges into the catchy vocals of a TV preacher, evoking that early house spirit while connecting it to M.in’s indisputably funky beats. “Le Cirque Du Tambours” comes in an original version and a remix by Den Ishu that is pure, driving house with frantic female vocals, pumping M.in’s soulfulness onto the dancefloor.
| WRIGHT, CHARLES: Rhythm And Poetry LP (WS 4681LP) 15.00|
The first solo album from Charles Wright, originally released in 1972. Wright was a member of the Watts 103rd Street Rhythm Band and frequently smoked them under the table, making his solo work suitably bent and all the better for it. Tracks include “Soul Train,” “Good Things,” “Just Free Your Mind” and a cover of “Here Comes The Sun.” Exact repro.
|WARNER MUSIC (UK)|
| VA: Funk Drops 2: Breaks, Nuggets And Rarities 2LP (WS 8413LP) 17.00|
…From The Vaults Of Atlantic, Atco, Reprise And Warner Bros. Records 1968 – 1975. 2002 compilation featuring Bobby Byrd, The Noble Knights, The Mighty Hannibal, The Watts 103rd St Rhythm Band, Aretha Franklin, The Fabulous Counts, The Mohawks, The Beginning Of The End, The T.S.U. Toronadoes, The Southshore Commission, King Curtis, Baby Huey & The Babysitters, Curtis Mayfield , Little Sister, Betty Wright, Society’s Bag, Allen Toussaint, Dr. John, The Meters, Cold Blood, Tower Of Power and T.J. Kirk.
|WARP RECORDS (UK)|
| !!!: Strange Weather, Isn’t It? CD (WARP 197CD) 15.50|
“Following in the footsteps of artists like David Bowie, Iggy Pop, and Depeche Mode, who have flocked to Berlin in order to mainline the city’s legendary dark energy, !!! traveled to the German capital to produce a record that is simultaneously brooding and somehow their poppiest, most immediate record yet. On the one hand, Strange Weather, Isn’t It? is !!!’s most texturally rich record to date and is filled with deep, galvanizing grooves in the tradition of 2003’s ‘Me and Giuliani Down By the Schoolyard (A True Story)’ and their mega anthem ‘Heart of Hearts.’ On the other, there’s a dark undercurrent running through the record that acts as a counterpoint to the glittering surfaces. In other words, although only 25% of the record was recorded in Berlin (the other 75% split between New York and Sacramento, California), Strange Weather, Isn’t It? is the perfect Berlin album.”
| PVT: Church With No Magic CD (WARP 198CD) 15.50|
“As Warp’s first Australian signing, PVT (formerly Pivot) released their acclaimed debut, O Soundtrack, My Heart in 2008. The band quickly went to work on their follow-up with engineer Burke Reid in Sydney. Their efforts would take the form of an album that builds upon the anthemic synth-driven instrumental movements for which PVT is renowned, along with the power of their visceral live shows. The sound has been brilliantly tempered and expanded by the trio into brooding, melancholic experimental pop – an amalgam of rock synthesis, propulsive rhythms and huge melodic strength. It’s a dark and expansive sound that PVT has made substantial movements on this record to make their own. Church With No Magic represents a band not afraid to risk its hand for sake of something new.”
| PVT: Church With No Magic LP (WARP 198LP) 20.50|
| WINTER DRONES: Blood In The Coffin CD (WEIRD 060CD) 12.00|
“Leon Dufficy is primarily known as guitarist in the hippie-jam outfit, Hush Arbors, but now he steps into his own as the driving force behind Winter Drones. Sounding like the perfect combination of fuzzed-out ambient drift, shoegaze swirl and propulsive pop sensibilities, Winter Drones have slowly gained attention in their native U.K. with a handful of obscure CD-R/cassette releases and compilation appearances. Earlier this year, the band’s debut album, Blood In The Coffin, came out as a limited-edition tape on U.K. micro-label Sexbeat Records. While legions of artists are mining the ambient style, Dufficy stands out because of his ability to develop his soundscapes, infusing them with a touch of melody to impart a sense of emotion. Songs like the lead-off track, ‘Watch Your Eyes,’ set the mood perfectly while ‘Bongs Dream’ shows Dufficy’s intuitive understanding that the perfectly weighted note/chord can add tremendous emotional resonance to an atmospheric piece. But Dufficy isn’t some common nu-age denizen and the album really shines when the drums come in and the band rocks out. ‘Winnie Coopers Bones’ and ‘Two Long Weeks Part 2’ find Dufficy perfectly capable of crafting memorable songs that stick with the listener. The album’s centerpiece, ‘Stiff Wizard,’ serves as a thesis statement for the entire album. Over ten minutes, the track starts with flanged/fuzzed guitars swishing about and sounding like jet engines on a runway. As the piece builds towards take-off, a simple radar-like melody begins pinging and the song takes flight when the drums and driving guitar chords launch in — a perfect microcosm of the whole record.”
| WINTER DRONES: Blood In The Coffin LP (WEIRD 060LP) 17.00|
|WHEEL & DEAL (UK)|
| VERSE, BEN: Dark Star/Good Feeling 12″ (WHEELY 012EP) 11.00|
“N Type presents two fresh cuts from the man otherwise known as the MC of drum & bass outfit Pendulum: Ben delivers a pair beastly rollers. Proper dubstep for the mind body and soul. Watch you bass bins!”
|WORLD PSYCHEDELIC FUNK CLASSICS|
| VA: Psych Funk Sa-Re-Ga! 2LP (WPFC 103LP) 21.00|
Deluxe gatefold 2LP version with 20-page booklet. Subtitled: Seminar: Aesthetic Expressions of Psychedelic Funk Music In India 1970-1983. “Indian music has become a global musical language but its South Asian roots remain strong, diverse and local. As with our introductory anthology of this kind (Psych Funk 101 — WPFC 101) this anthology covers the ‘golden years’ of the movement, from approximately 1970 until 1983. Much of the music on this compilation springs from the Bollywood film industry; composers such as R.D. Burman and the brothers known as Kalyanji Anandji, whose work makes up much of this anthology, recorded and released an inordinate amount of soundtracks. That experiments in the fusion of India’s classical traditions of Hindustani and Carnatic music, folk music such as bhangra and dandiya and Western psychedelia and funk music would occur at some point is only natural. Also included are off the beaten path Indian experiments in psych funk — for example, two songs from the Simla Beat garage-psych albums, and an oft-heard Deep Purple cover by the ground-breaking Atomic Forest — and examples of the Indian psych funk influence on European 70s musicians. Throughout the extensive liner notes, WPFC attempts to broaden the definition of global psychedelia: the early researchers who first coarsely defined the genre – and limited its subgenres — did so at the same time that these experiments were first issued. That they would obscure these contributions to the global psychedelic canon is understandable. But it is time to correct this oversight.”
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