|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 01/17/2011
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| ITAL: Ital’s Theme 12″ (SILK 001EP) 10.50|
100% Silk is a new Not Not Fun sister label from Amanda Brown (Pocahaunted, LA Vampires). “Debut outing by Daniel Martin-McCormick’s (of Mi Ami, Sex Worker, etc) new late nite club-love project. You can feel the brotherhood.”
| DEEEP, THE: Muddy Tracks 12″ (SILK 002EP) 10.50|
“Extended reworked version of Toronto, ON beat/voice trip-hop dream duo’s most divine/deluxe single, ‘Mudd’ (featured on their NNF cassette debut, Life Light). B side features two syrupy sideways remixes.”
| KRUGER, TILL: The Green/Last Track 12″ (200 012EP) 12.00|
The second release by Till Krüger contains two epic tracks. “The Green” is a classic dancefloor track in the tradition of Detroit techno yet fresh in the unique Till Krüger-style. “Last Track” is composed as a typical last track on the floor — moody, melancholic and very long.
|ALGA MARGHEN (ITALY)|
| RADIGUE, ELIANE: Jouet Electronique/Elemental I LP (MARGHEN 029LP) 27.00|
“Alga Marghen proudly presents two sublime pieces by Eliane Radigue, ‘Jouet Electronique’ (1967) for feedback on magnetic tape and ‘Elemental I’ (1968) for feedback of natural sounds on magnetic tape. Both works, recorded at Pierre Henry’s Studio Apsome in Paris, have not been published before. Between 1967 and 1968, Eliane Radigue was the assistant of Pierre Henry in his studio, mainly for the editing of ‘L’Apocalypse de Jean.’ He also put her in charge of organizing his sound archive according to different criteria. It was endless work — there were incredible sounds, a true sound library! Eliane Radigue really enjoyed doing this work, even if it took a long time. So, sometimes she decided to set the machines of the studio to do some little work on her own. ‘Jouet Electronique’ and ‘Elemental I’ were born this way as a kind of recreation during her time as a studio assistant. Working with feedback is something that Eliane Radigue learned through Pierre Henry. Do you remember ‘Voyage’? There’s that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback — you have to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. With some fine-tuning you could reach very beautiful results: low pulsations, very high-pitched sounds — sometimes both at the same time — or long sounds. All of these sounds could be slowed down or accelerated, which gave her a beautiful material to work with. With ‘Jouet Electronique’ Eliane Radigue had a lot of fun, hence the title. As far as ‘Elemental I’ is concerned, it was the first attempt at something which was very important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. At the time she was still living in Nice and every now and then she went for a walk to do some recordings of the sea, the wind, the rain, the fire — Eliane Radigue continued this way to build her very minimal sound library, consisting of not more than ten reel tapes. This was the starting point and in 1968 she used these recordings for her work with two reel tape machines. First pressing limited to 300 copies, with a text by Emmanuel Holterbach and a photo portrait by Arman.”
| VA: Avant Marghen Vol. 4 7LP BOX (MARGHEN 032LP) 175.00|
“New volume of the Avant Marghen series in a numbered edition of 80 copies. This luxury black boxset edition actually includes the fourth group of 7 LPs previously issued for the VocSon series and now sold out. Each individual LP record includes a numbered Avant Marghen inner-sleeve.LP 1 to 4) François Dufrene Oeuvre Désintégrale 4 LP set. First 80 copies from the original pressing of 345 copies issued in 2007, presented here with minimal hand-elaboration on each sleeve. François Dufrene’s impressive work, along with that of Gil J. Wolman and Brion Gysin, was a strong influence for experimental poets like Henri Chopin, Bernard Heidsieck and Ake Hodell.LP1) Oeuvre Désintégrale 1 LP includes an 18-minute-long crirythme from 1969 as well as ‘Osmose-art,’ a long piece from 1969 divided into two suites where Dufrene superimposes his crirhythms to classical music.LP2) Oeuvre Désintégrale 2 LP includes six majestic crirythmes (created between 1965 and 1976) as well as ‘Eryximaque, suite choreographique au Tombeau de Pierre Larusse,’ a work halfway between the written text and the sound poem whose unity is achieved through Dufrene performing it, a masterpiece of synthesis of active poetry.LP3) Oeuvre Désintégrale 3 LP includes two ‘Lecture-collages’ dating from 1965, adding jazz music (especially drum and percussion pieces) to poems marked by strong Lettristic esthetic. One of his most extreme crirythmes, titled ‘Belles nuisances, hantez nos nuits,’ dating from 1970, is also included on this record.LP4) Oeuvre Désintégrale 4 LP includes three breathtaking crirythmes as well as two ‘Comptinuum’ from his early on-progress works started in 1958.LP5) Charlemagne Palestine Voice Studies LP, limited to 80 numbered copies pressed on dark blue vinyl and featuring a new sleeve, only available with this boxset edition. Palestine’s introduction to music or sound was first with his own voice. This LP includes the very early ‘Surrealistic Studies,’ using a Webcor reel-to-reel tape recorder, discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. ‘Voice + Piano Study I & II’ are short and beautiful piano improvisations with tape superimposition of accelerated voice pieces. In ‘Voice Study’ Charlemagne sings in a falsetto duet with himself on two separate tracks in a resonant space, searching for intervals that resonate together and respond like electronic sound wave oscillators played against each other.LP6) Gherasim Luca Two Poems LP. First 80 copies from the original pressing of 385 copies issued in 2009. Created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970’s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. ‘Autres Secrets Du Vide Et Du Plein’ (April 1971) and ‘Crimes Sens Initiales’ (April 1972) were both performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Including an essay by Henri Chopin.LP7) Charlemagne Palestine & Simone Forti Illuminations LP. First 80 copies from the original pressing of 365 copies issued in 2010. Duo interactions, illuminated with dim red lights. The three previously unreleased recordings on this LP were made between October and December 1971.”
| ANPQUARTERLY: Volume 2/Number 5 MAG (ANPQ V2#5) 0.01|
“ANP Quarterly is back with a new issue. ANPQ Volume 2/Issue 5 is guaranteed not to disappoint. We spent the good majority of last year trudging through the cultural wilderness looking under rocks and behind tree trunks, in the temples of culture and the dregs of back alleys in search of the most diverse and inspiring specimens we could dig up. We hope you’re pleased. Our cover girl is astrologer Susan Miller photographed by Terry Richardson. Inside you’ll also find features on Alexi Wasser, Wierd Records, Brian Roettinger, Elad Lassry, and a whole bunch more.” 84 pages. ANPQuarterly is a free publication and you may add a copy to your order at no cost while supplies last.
|BUREAU B (GERMANY)|
| CLUSTER: Cluster 71 CD (BB 058CD) 14.50|
Originally released on the Philips label in 1971, Bureau B reissues Cluster’s eponymous debut full-length album. According to The Wire, Cluster 71 is one of the “One Hundred Records That Set The World On Fire.” Very few albums from Germany can lay claim to this honor. This album is a mere three untitled tracks and was quite an ordeal for untrained ears at the time of its release, yet the album pointed the way forward like no other electronic opus. Cluster’s previous incarnation was a trio named Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from their third member, Konrad Schnitzler, in 1970. The following year, as well as playing live, they recorded their first album, Cluster 71, in publisher Ralf Arnie’s Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until his death in 1987. Early Cluster music was new — new in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo’s utter renunciation of conventional harmony and rhythm, their embracing of near total aural abstraction, confident use of noise, rigorous live electronic improvisation and a positive mind-set tuned to winning rather than losing — these were all factors in Cluster’s innovative trailblazing of 1971. For want of a better category, Cluster 71 was classified rather inappropriately and incorrectly as “cosmic.” Few recognized Cluster for what it was — the synthesis of pop music stripped of embarrassing glamour and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster 71, with no beginning and no end. Cluster’s music is free and open in all directions. There are sounds, noises and structures to be heard on this album which would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future with Cluster 71. Liner notes by Asmus Tietchens.
| ROEDELIUS: Selbstportrait CD (BB 063CD) 17.00|
This is the third solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1979 on Sky Records. Alongside his ongoing work with Cluster and Harmonia, Roedelius amassed an almost incalculable number of musical notations during his time in the idyllic Weser Uplands. Fleeting sketches, spontaneous improvisations, implied miniatures, rough compositions — Roedelius recorded virtually every idea he came up with outside the studio sessions on his Revox A77 reel to reel; with the basic intention of capturing his moments of inspiration, he simply let the tape run as he played around on the Farfisa organ. Sound quality was not his prime concern, as he was not as yet entertaining any notion of releasing the results. As Roedelius recalls, costly tape spools were at a premium, so he recorded over older tapes in mono, at a less than ideal speed. Substandard, technically speaking (or listening), but as a self portrait, nothing short of a masterpiece. It would be inappropriate to measure this album by the hi-fidelity yardstick; see it as something closer to an intimate confession, an unguarded communiqué from one person to another. Bordering on naivety and free of conceit, Roedelius introduces us to his world through these chiffonesque études. There may be little variation in the Farfisa sound, but this is soon forgotten when Roedelius invites us to listen, to enter the experience. No expensive technology, no producer, no collaborators. This is unfiltered personality, the real Roedelius. Musically, Selbstportrait is characterized by a combination of ländler, minimalism and harmonic simplicity. The Weser Uplands, where Roedelius recorded his music, are certainly no Arcadia and the village of Forst is anything but Atlantis, but perhaps it could become the Graceland of German electronic music. Liner notes by Asmus Tietchens.
| ROEDELIUS: Selbstportrait – Vol. II CD (BB 064CD) 17.00|
This is the fourth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1980 on Sky Records. With Selbstportrait, Roedelius gave unequivocal confirmation that he no longer was treading the hitherto common paths of electronic music. Selbstportrait – Vol. II corroborated the findings: for Roedelius, electronics would no longer be a means of creating abstract, noise-like music in the future, nor of generating utopian, mechanical rhythmic structures. His own utopia was quite a different place, more in keeping with his own personality and view of the world. Hence both self-portraits, in particular Selbstportrait – Vol. II, are programmatic. Uniquely among musicians of the German electronic scene at the time, Roedelius succeeded in blending European and extra-European musical styles quite intuitively, developing his own language of music, neither epigonic nor weighed down by stereotype, as often occurred in the emerging world music genre of the period. There is a fascinating simplicity to the music of Roedelius: his vision does not reside in cloud-cuckoo-land. His utopia is founded in reason, his vision sustained by a simple base: not only did he ignore musical traditions, he also sought to create something new out of them. He succeeded where many of his contemporaries failed, going to ground as they attempted to bridge the postmodern gap. Not Roedelius. Roedelius’ music is littered with stumbling blocks. The listener may not necessarily lose his footing, but will not exactly find himself sitting comfortably as he listens. With this album, Roedelius has drawn a clearly delineated picture of himself. Few musicians can say the same, few even harbor such aspirations. Transcending styles, hypes and modernisms, Selbstportrait – Vol. II is electronically-sourced music, yet sounds anything but technical, dismantling the misconception that electronic music has to sound cold and distant. Selbstportrait – Vol. II has never been released completely before. Includes 5 tracks never released on CD! Liner notes by Asmus Tietchens.
|COMB & RAZOR|
| VA: Brand New Wayo 2LP (CRZR 1001LP) 21.00|
Subtitled: Funk, Fast Times and Nigerian Boogie Badness 1979-1983. “With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria’s Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afro beat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as ‘disco,’ but has since been recognized as its own unique genre retrospectively dubbed ‘Nigerian boogie.’ A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music.” Gatefold sleeve.
| DEBO BAND: Flamingoh (Pink Bird Dawn) CD (CRC 39910CD) 13.00|
“With a reverence for the vintage sounds of 1970s Ethiopian pop and a fresh approach all their own, Debo Band offers an exciting live show full of the searing horns, crooning vocals, and slinky funk grooves that brought renown to the Ethiopiques series. Since forming in 2006, this Boston-based collective of eleven members has made two pilgrimages to East Africa — with accordions, tubas, saxophones, guitars, and drums in tow. Along the way, Debo Band has struck up collaborations with traditional Ethiopian artists, played major African music festivals, and is currently working with a filmmaker on a documentary about their escapades. Flamingoh (Pink Bird Dawn) is Debo Band’s debut EP release of live tracks recorded in three locations: Addis Ababa, Ethiopia; Zanzibar; and Cambridge, Massachusetts. The tracks feature the smooth vocals of Debo’s own Bruck Tesfaye and the powerful female vocals of guest Selamnesh Zemene. Bass-heavy, brazen, and dense, these psychedelic tracks will quickly become favorites to fans of soul, Afrobeat, and funk — and leave them wanting more.”
| VINCENZO: The Clearing 12″ (DES 100EP) 12.00|
Vincenzo will release his next full-length album in 2011, and the first single to be featured is the breathtaking The Clearing. Beautifully warm and overflowing with atmosphere, this anthemic modern ode swirls and builds with incredible depth and clarity. The dub version works the groove further with a straighter edge and an even later-night theme. Ian Pooley’s remix pays tribute to the power of the original, while cutting up some old-school flavors and laying down that classic Pooley key-led funk.
| PAWEL: The Remixes 12″ (DIAL 055EP) 12.00|
One year after his debut album on Dial Records (DIAL 015CD/LP), co-founder Pawel is back with a fantastic remix package. Patrice Scott drops a version of “Crillon” which represents the magic sound of his beloved Sistrum label. The remix by Osunlade, the one and only Yoruba Soul priest of house music, offers a remix which has already received support from house masters like Little Louie Vega. John Roberts’ version of “Kramnik” raises the origin to an even sweeter level.
| GAINSBOURG, SERGE: Le Claqueur De Mots 1958-1959 2CD (DISCO 3228762) 23.50|
This record is a collection of the tracks written and recorded by master of the French chanson, Serge Gainsbourg and other singers from 1958 to 1959. Notice in passing how the singers of Gainsbourg’s early material all had in common a deep and low-pitched voice. From then on, he would try his best to push his songs as much as he could towards the higher notes. Previously-unreleased track “Les Mots Inutiles” was written by Julien Grix (Gainsbourg’s first pen-name) in 1955. The lyrics were first modified in 1958 and again in 1962, when this version was recorded for a TV show in Vienna. Interpretations on CD2 by Juliette Gréco, Jean-Claude Pascal, Hugues Aufray, Michèle Arnaud, Alain Goraguer, and Les Frères Jacques. Packaged within a full-color hardcover 36-page book in English and French, with extensive historical liner notes.
| NOUGARO, CLAUDE: A La Recherche Du Son Qui Fait Sens 1955-1959 2CD (DISCO 3228772) 23.50|
This record is a collection of the tracks written and recorded by French songwriter and singer, Claude Nougaro and other singers from 1955 to 1959. Nougaro began his career boldly presenting his lyrics to Marguerite Monnot, Édith Piaf’s songwriter, who put them to music. During his career as a cabaret singer at the Lapin Agile in Monmatre, he became friends with accompanying pianists Jean-Michel Arnaud and Jimmy Walter and singer-songwriter Jean Constantin, and together they wrote new songs for Philippe Clay, Cyril Dalin, Colette Renard, Stephen Bruce, and the legendary Jacqueline François. Tenaciously, Claude Nougaro tried to place his songs like a salesman flogs encyclopedias — door-to-door. He could write anything, on command. For Paul Roby, a singer who had made a name for himself by covering swing and Latino hits from the 1900s, he wrote the subversive song “Coupez-les Moi au Rasoir.” He concocted “La Folle Chanson” for a Jamaican named Zack Matalon. At the time, it was still fashionable for a song to be shared between several singers, meaning that a single song could be released in a dozen different versions at the same time. Many of Nougaro’s lyrics were sung by two, three or even four artists simultaneously. Nougaro was finally able to find his voice as a writer. Thanks to two of his favorite singers, Philippe Clay and Marcel Amont, Nougaro forged his own style: that of a film-maker: he imagined characters, invented situations by imagining how they would unfold visually, jostling words about to accommodate Amont’s very strong accent and Clay’s Parisianisms. These were the two singers who got Nougaro his first hits, “Le Jazz et la Java” and “Il y avait une ville,” respectively. Some of the songs bordered on spoken/sung sketches, others played on onomatopoeia, alliteration and tongue-twisters. Soon, Nougaro would be ready to sing his own songs, and soon, he would supersede a whole generation, washed away by the yéyés. He would emerge victorious, establishing himself as a poet singer thanks to jazz, his chosen field of expertise. Diving into it with a vengeance, he glorified those small sequences that were to make French chanson history. Presented in a deluxe 2CD digipack with a 36-page hardcover booklet, with French and English liner notes and rarely seen pictures. Contains an unreleased bonus track: “Jésus” (from a 2002 recording session, though written much earlier).
| AUGUST, DAVID: Peace Of Conscience EP 12″ (DIYNAMIC 045EP) 12.00|
David August made his Diynamic debut with the fantastic Instant Harmony EP. Now a treasured member of the Diynamic family, and master of ceremonies with his residency at the label’s club night, David presents his next release on the imprint, the incredible Peace Of Conscience EP. Four choice cuts of seriously uplifting house music, that while wonderfully melodic, all contain a raw, biting and unique edge that will see them easily stand out amongst the crowd.
| RESOE: The Black Void Of Space… CD (ECHO 009CD) 15.50|
The debut album by Resoe, artist/DJ and label owner of Baum Records, shows how diverse a producer he actually is. The album is an interesting journey through many soundscapes of dub-inspired music. He shows his production skills and delivers everything from dub, dubstep, deep dub house, dub techno and a beatless atmosphere to finish off the album. Resoe has been in the music business for more than 20 years, and that really shows when you listen to the album. He draws inspiration from all the different styles of music he has been involved with during his many years as a DJ and artist. It all blends into an album that suits the home listener, as well as the dancefloor. Resoe is also a part of the Pattern Repeat duo with Echocord label owner Kenneth Christiansen.
| POP & EYE: Out To Punch EP 12″ (TAIN 005EP) 12.00|
Pop & Eye are out to punch you! Number 5 in the splashy Editainment series adds some high-impact flavor to the menu. Done by a new super-group that lives in an ark that floats through outer space, you get two dance jams of the highest order. Dubbed-out and rubbed-out. Slow-paced and fast-paced. Space pop to make your body rock.
|EDITIONS MEGO (AUSTRIA)|
| ORCUTT, BILL: A New Way To Pay Old Debts CD (EMEGO 119CD) 15.50|
Editions Mego is suitably chuffed to announce a CD reissue of San Francisco guitarist Bill Orcutt’s acoustic hardcore blues stormer A New Way To Pay Old Debts, previously released on Palilalia in 2009, and for many, one of the highlights of recent years with its unique visionary take on solo guitar playing. At the heart of Orcutt’s sound is a vintage acoustic Kay guitar equipped with a DeArmond pickup. After the neck was broken and subsequently repaired, the guitar was downtuned so as to withstand the tension of the strings, and played with the A and D strings removed. This all lends itself to an intense set of raw, blues-influenced songs that sound heavier than most of the guitar records in your collection put together!! In addition to the original album, this CD reissue contain 2 tracks from the High Waisted 7″ (also previously released on Palialia), as well as 4 unreleased tracks. Bill Orcutt: 4-string Kay, voice.
|ELECTRO HARMONIX (SPAIN)|
| LOS ROBBINS: La Maravilla Musical De Honduras 10″ (EH 045EP) 19.50|
Los Robbins, the historic band from La Ceiba, Honduras, started on February 4, 1967. Alfredo Matute (bass), Mike Mejía (vocals), Mario Motiño (drums), Julio Gochez (concertina), Ricardo Pereira (rhythm guitar) and Guayo Cedeño (lead guitar) were inseparable friends who made up one of the most important rock & roll groups in the country. Ceibita En Verano, recorded in Costa Rica, topped New York’s Hit Parade and made them the first band to tour and represent Honduras in the United States. Los Robbins became one of the most in-demand bands in the country, and their unforgettable hits are still played on the radio today. These ten songs were recorded between 1967 and 1970 and are reissued for the first time. Includes an insert in Spanish and English with the band’s story and previously-unseen pictures. Limited edition of 500 copies.
|EM RECORDS (JAPAN)|
| SON OF P.M., THE: Hey Klong Yao! CD (EM 1090CD) 20.00|
Subtitled: Essential Collection of Modernized Thai Music from the 1960s. “Amazing Thailand!” — The Thai national tourism slogan was undoubtedly inspired in part by the mind-bendingly cool 1960s recordings by the band The Son Of P.M., one of the leading lights of the Thai Shadow Music scene. Inspired by an influx of Western rock and pop music (including British guitar band The Shadows), The Son Of P.M. developed their own style of modernized Thai music, combining traditional Thai instruments with Western keyboards, drums and electric guitars. The result was a seductive, intoxicating blend of Thai melodies merging with elements of rock, surf, go-go, Latin and blues. Amazing indeed. The Son Of P.M. was one of several Shadow Music groups (including P.M. Pocket Music, featured on three tracks of this release), playing “Modified Thai Music,” organized by manager Phayoung Mukda. These bands featured the keyboards and arrangements of P.M.’s adopted son Khabuan Mukda — thus this particular band’s moniker. The idea of modernized/modified/developed Thai music is central to Mukda and The Sons Of P.M. Retaining an essential Thai core, the music borrows melodic, harmonic and rhythmic elements as well as instrumental timbres from a wide range of Western popular music sources. The resultant “developed” music loses none of its Thai character, vigor and élan, and is enriched by the adoption and creative use of new influences. The music on this anthology is an excellent example of this spirit of openness and adventure, a rocking, rollicking parade of undeniably Thai music, relentlessly propulsive and energetic, informed by musical developments from around the globe. A true hybrid which creates energy instead of merely conserving.
|GET ON DOWN|
| PERRY & THE UPSETTERS, LEE ‘SCRATCH’: Blackboard Jungle Dub CD (GET 50756CD) 15.00|
“A classic album from the Upsetter himself, the incomparable Lee ‘Scratch’ Perry, receives the proper remastered release it deserves from the reissue masters at Get On Down. Previous releases of Blackboard Jungle Dub were either poor quality or only available in box-sets, but now the album is finally presented in high quality digital audio and packaged in a paste-on mini-LP jacket featuring the original album artwork. Widely considered the first full-length dub LP, Blackboard Jungle Dub pairs Perry with another Jamaican legend — engineer King Tubby — and embodies the Upsetter’s loose, instinctive sonic approach, with instrumentals stripped down to the bare elements and then brilliantly reassembled as only he can do. Standouts include ‘Dreamland Dub,’ ‘Dub From Africa’ and ‘Moving Forward.’ Another superb reissue that underscores Get On Down’s commitment to high quality releases.”
| BREAKWATER: Breakwater CD (GET 51269CD) 15.00|
“Due to the overwhelming response from the CD reissue of Breakwater’s sophomore album Splashdown, the creative team at Get On Down brings you the groundbreaking 1978 self-titled debut album from the Philly jazz-fusion group, presented in beautifully remastered digital audio for the optimal listening experience. Featuring a warm, smooth aesthetic and flawless production, Breakwater’s cohesive sound shines through on tracks like ‘Work It Out’ and ‘Feel Your Way.’ Striking the perfect balance between jazz and soul, Breakwater’s classic debut, now packaged in a five-inch paste-on mini-LP jacket, is a must-have addition to any music aficionado’s collection.”
| KHEMISTRY: Khemistry CD (GET 51272CD) 15.00|
“One year before Michael Jackson and Quincy Jones created Thriller, there was Khemistry. The Washington, D.C.-based boogie-funk trio only managed one release during their time at Columbia Records, but their self-titled 1982 album remains a revered classic of the genre. Under the guidance of producers Willie Lester and Rodney Brown, Khemistry created a pop masterpiece, powered by infectious dance grooves (‘Can You Feel My Love’) and soulful ballads (‘There’s No Me Without You’). A rare and highly sought after record by collectors, Khemistry’s landmark album is now available in a fresh, properly licensed pressing.”
|GOODVIBE RECORDS (UK)|
| SAMMY: Too Sad To Name It 12″ (GVR 003EP) 12.00|
Sammy’s debut on Goodvibe Records is an interesting and solid debut. 4 tracks on vinyl made with a strong “dance” attitude inside. Inspiration came to Sammy from his daily life. Bad things do happen. How we respond to them define the quality of our life. Sammy’s strengths as a producer is the way he employs everything he does in service of a deep and groovy mood. One can choose to sit in perpetual sadness, immobilized by the gravity of everyday losses, or to rise from the pain and treasure life as it is.
|GROSSE FREIHEIT (GERMANY)|
| VA: Funky Fräuleins Vol. 2: Female Beat, Groove, Funk In Germany CD (BB 061CD) 17.00|
…1968-1981. The Funky Fräuleins are back for more! Round two is even richer in Teutonic sexiness, hips are swinging more vigorously to more beat and oodles of extra groove. This time, Bureau has ventured as far as the year 1981 — but only for two tracks. Mostly, this collection is back in the ’70s, with the odd beat excursion into the late ’60s — all without a single slice of disco! Amazing! Here’s the roll call for your perusal: Uschi Moser presents some wild beat from the raunchy flick Atemlos Vor Liebe (trans. “Yearning For Love”). Veronika Fischer’s track is a homage to the railways in finest GDR groove. Fasia brings industrial action with a rallying cry, underpinned by a thumping groove. Joy Fleming’s track is cool, the lyrics grotesque. Uschi Glas states let’s get straight to it, honey, with music by Peter Thomas. Uschi Brüning presents a slick hymn to the night, oscillating between Barry White and Burt Bacharach. Austrian actress Heidelinde Weis pokes fun at macho dudes with a lascivious and funky track. Caterina Valente does Peter, Paul & Mary’s hit in a beat version, intimately arranged by Heinz Kiessling. Hildegard Knef tries a nonchalantly grooving homage to Cole Porter, who took it to Broadway back in 1954. Su Kramer’s soulful voice on his track is accompanied by a generously extended drum break. Inga Rumpf (& Peter Herbolzheimer), THE voice of German blues rock has a super-tight stab at funk. Peggy March’s track boasts a super-snappy beat with drummer Christian Bruhn setting the scene. Lill Lindfors tries a country evergreen with James Last himself bringing the funk to the party. Angelika Mann is a marital drama about an alcoholic, tightly wrapped in fusion funk, made in the GDR. Li Monty does some dust-dry funk composed by Hammond jazz groove specialist Dieter Reith. An absolute rarity! Anne Haigis had Germany’s smokiest vocals in the 1980s, with textbook jazz-funk. Lastly, Donna Gaines presents a psychedelic, hypnotic beat rarity from Donna Summer’s fledgling days.
| VA: Funky Fräuleins Vol. 2: Female Beat, Groove, Funk In Germany LP (BB 061LP) 17.00|
LP version on 180 gram vinyl.
| TRISTANO, FRANCESCO: Idiosynkrasia CD (IF 1012CD) 15.50|
This is a full-length album by Luxembourgian pianist and composer Francesco Tristano, recorded in Detroit with Carl Craig. A close musical encounter of the third kind: that might be the most appropriate way to describe what the people at The Space on July 18, 2010 were lucky enough to experience. That night, a grand piano had landed in the illustrious Ibiza club. At its helm, Francesco Tristano — a long-distance adventurer in sonic space. Also on board, in the DJ booth, was Carl Craig, controlling Ableton with the help of his iPad. Carried away by the fervor of an audience in perfect osmosis, the duo flew higher and higher, eluding the borders between musical genres and giving a performance that has already gone down in The Space’s history. A few months earlier, in Detroit, a similar sighting had been reported: a grand(iose, of course) piano had settled for a week amidst an impressive number of machines and a no less impressive number of records, virtually filling the studios of Planet E, Carl Craig’s label. For it was precisely there, in that stronghold of Detroit techno, that Francesco Tristano had chosen to record Idiosynkrasia, his third solo album for InFiné. As the artist himself explains, “This record is the fruit of a quest for an idiosyncratic language that is somewhere between acoustic and electronic, a quest that spans time and space, and I want to bring the piano into the 21st century. My ambition is to provide the piano with a new identity, because it is often associated with classical music and viewed as an instrument of the past, while I genuinely see it as an instrument of the future.” Fundamentally polychromatic, evolving ceaselessly from one mode to the next, Idiosynkrasia proves to be perfectly coherent and reveals an extra-large conception of music.
| VA: Pop Ambient 2011 LP+CD (KOM 223LP) 14.50|
LP version, with CD of the entire album. Kompakt’s beloved Pop Ambient series returns for the year 2011. This is the label’s other arena of bliss — always curated and carefully compiled by label co-owner Wolfgang Voigt (aka Gas). Somber times call for more introspective soundscapes — Pop Ambient 2011 continues its mission to slowly persuade its signature sound introduced over a decade ago. In 2011, Kompakt sees the series leaning towards a slightly darker complexion than its predecessors. It launches with a selection from one of Voigt’s favorite albums of 2010 — the impeccable “Bernsteinzimmer” from ANBB aka Carsten Nicolai/Alva Noto from Raster Noton and the legendary Blixa Bargeld of Einstürzende Neubauten. Marsen Jules brings classical composition to soothing synthetic reality with “Once In A Moment.” Triola is the ambient voice of legendary Cologne producer Jörg Burger aka The Modernist. If compared to the melancholic but soothing and light Triola signature-sound, “Dunkelraum” (“Darkroom”) is rather dark and epic. Wolfgang Voigt chooses to remain unveiled this year as he presents an exclusive track on Pop Ambient 2011. “Rückverzauberung 1” illustrates his new Profan concept. Emotive, Gas-eous harmony that glows and leaves you wanting more. Bhutan Tiger Rescue is the surprising duo of October and Ewan Pearson. They debut with a sleighbell melodic drone tune that ominously breaks down in a sea of noise. Kompakt co-founder Jürgen Paape recalls the vintage beauty of Ambient 4 Eno together with compelling vocals and horns to soothe the way. Bvdub is one of today’s most revered musicians and Kompakt is pleased to welcome him back with his seemingly endless layers of depth. Kompakt’s own John Harten aka Crato could be Pop Ambient’s answer to black metal — a most unholy matrimony but exceptionally executed! Fellow Cologne conspirator Daniel Ansorge aka Barnt made waves in 2010 with his debut on the Magazine imprint alongside Crato and takes the sound of the chime to astounding levels. Mikkel Metal of Copenhagen returns after a very successful run of releases on Echocord, contributing a masterful synth-pop excursion. Jens-Uwe Beyer may be known to many as Popnoname and has remained a highlight of past editions of Pop Ambient. This year, he thrills us with a guitar treatment with “Volax” — sincerely Beyer’s, he evokes a talent not unlike Tim Hecker. Finally, Kompakt leaves you with a production of epic proportions. In October, 2010, The Orb’s own Thomas Fehlmann performed together with select members of the Montreal Symphony Orchestra conducted by Kent Nagano. Kompakt presents an exclusive, alternative Fehlmann “solo” take of “Symphony No. 1” aka “Titan” by Gustav Mahler. The Pop Ambient 2011 version is an exclusive solo version of this classical recording. LP features 11 of the 12 tracks from the CD.
| WRUHME, ROBAG: Wuppdeckmischmampflow CD (KOMP 084CD) 14.50|
Kompakt presents a mix CD by German electronic artist, Robag Wruhme (Gabor Schablizki, Themroc, Wighnomy Brothers, Machiste, Rolf Oksen, Die Dub Rolle, etc.). His discography is as stunning as the list of his DJ appearances. There’s not a soul with the slightest interest in electronic music who has never danced to a track by this extraordinarily gifted producer. He’s one of the few that has truly created his own signature sound — a Robag track is a Robag track is a Robag track. Likewise, as a DJ he hardly manages to hide his genius. The swinging sexiness of his own productions serves as a framework for his otherwise rather eclectic universe in which Thom Yorke and Germany’s most cranky comedian Helge Schneider talk the same language, where jazz buddies up with thumping techno. Robag’s trademark is his excessive use of reverb effects; like black holes, they suck in and spit out the most varied influences. Wuppdeckmischmampflow is Robag Wruhme’s latest mix CD and could be considered an immaculate conception. Crafted in the comforting seclusion of the Spreewald, a vast forest area south of Berlin, far away from the hectic turmoil of clubs and airports, he began toying around with his favorite tracks and songs. It turned out to be a very intimate, wonderful music project that Robag needed to share, spanning a decade of electronic music history. Wuppdeckmischmampflow is an honest, touching, life-enhancing affair. The perfect co-pilot, roommate, old sport, Dear Abby and pocket hand-warmer. He gingerly interweaves music by Moderat, Four Tet, Ricardo Villalobos, Whomadewho, Danny Norbury, Trentemøller and Tiefschwarz, and many more, including an unreleased track by Wruhme himself. Additional note: “Robag Smapelschatull” refers to pieces on which two tracks are mixed and include elements reworked by Robag Wruhme. Other artists include: Guillaume & The Coutu Dumonts, Seth Troxler, Audion, Château Flight, Claro Intelecto, MRI, DJ Koze, Kollektiv Turmstrasse, Voom Voom, Henrik Schwarz, Ian Simmonds, Krause Duo, and Zwanie Jonson.
| DISAPPEARS: Guider CD (KRANK 151CD) 13.00|
“2010 was a busy year for the Disappears. They finally saw their debut album Lux released, they did a fair amount of touring, and they recorded this new album. Having worked these new songs into proper shape in the live setting, they went into the studio and ripped through the recordings, using the first take on all but one of the tracks. And Disappears are so much about the NOW and not the THEN that they recorded over the same reels of tape that they used for their first album. Guider means to control or influence, which is what all the songs ended up being about in one form or another. This is a heads down, blinders on, damn the distractions, forward driving, controlled squall. Drop the needle, turn up the volume and surrender to the delicious.”
| DISAPPEARS: Guider LP (KRANK 151LP) 13.00|
|LIVE AT ROBERT JOHNSON (GERMANY)|
| LAUER: H.R. Boss/Banned 12″ (PLAYRJC 009EP) 12.00|
The power of Lauer is indisputable. Blessed with the uncanny ability to make hooks that would make Bone Thugs-N-Harmony jealous in their heyday, Phillip Lauer is the melody man. This tour de force comes in two parts on the beloved Live At Robert Johnson label. “H.R. Boss” is New Romantic-Italo-not-Italowave that puts love on top of love. Feels like Delta NRG’s filthy little brother. Delectable!
|MADLIB MEDICINE SHOW|
| MADLIB: Madlib Medicine Show No. 11 – Lowbudget High Fi Music CD (MMS 011CD) 16.00|
“Madlib got a bit lost in his detour into jazz — Madlib Medicine Show’s 7 (High Jazz) and 8 (Advanced Jazz). He was supposed to circle back with a punch-you-in-the-face return to hip-hop form — a collaborative album with Detroit rapper Frank Nitti — but instead he found himself lost in the Lost Gates… a place where Black Soul (Madlib Medicine Show 10) really means Disco Funk. Sorry about that. The good news is: he’s back. And that hip-hop album, for which the Medicine Show faithfully have been holding their tickets, is finally here. It’s called Lowbudget High-Fi Music and it’s an interesting look back at the Madlib Medicine Show and a prelude of what is to come in the 12th, 13th and — maybe — 9th releases in the series. All of the regular Madlib collaborators — MED, Guilty Simpson, Strong Arm Steady — are represented here with exclusive tracks. Karriem Riggins pops in for a Supreme Team interlude, as does A.G. Madlib digs out a Jaylib-era track that was earmarked for the never-realized second album and, of course, interludes, outerludes and — probably — queludes abound.”
| 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. LPs 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: Ishilan N-Tenere LP (MR 079LP) 15.00|
Subtitled: Guitar Music From The Western Sahel. “Compilation of recent field recordings made by Chris Kirkley (Sahel Sounds). All tracks feature acoustic guitar players & vocalists from Senegal & Northern Mali, with the exception of the last song which is a rocking Tuareg electric guitar band. Beautiful music by some of Africa’s finest griots. At times melancholic and at others romantic pop music. We think this is one of our strongest releases ever. Old school tip on cover. Comes with a 12-page full color booklet featuring descriptive notes & beautiful, never-before-published photos.”
| JAY, ABNER: Last Ole Ministrel Man 10″ (MR 080LP) 12.00|
“Abner’s last recording session. Here we find him laying into 5 never before released compositions (…& one never released version of his popular tune – ‘Cocaine’). On these songs the usual one man band set up is put aside & replaced by a simple delicate acoustic guitar & harmonica accompaniment, with the exception of the rocking ‘My Middle Name Is The Blues’ which has Abner’s classic sound in full force. The first track — ‘I Cried’ — is as sad as they come. The last track — ‘Too Poor To Live, Too Poor To Die’ — is almost too honest to bear. Beyond that is the strange blues number ‘Love Wheel’. Altogether this 10” stands as a fitting last testament by one of Americas most neglected musical geniuses. Tip on old school cover. Each copy includes two commemorative photos of Abner & a 20-page booklet with extensive liner notes by Jack Teague, who recorded this session & palled around with Abner in his final days. “
| ANDERSON, MARISA: The Golden Hour LP (MR 082LP) 11.00|
“Portland guitar wizard Marisa Anderson’s long-awaited solo guitar record. Marisa has been a fixture on many a music scene for years & years playing with everyone from the Evolutionary Jass Band to Tara Jane O’Neil to The Dolly Ranchers. In any context, she can’t escape her rag/blues/folk roots no matter how hard she tries. On this LP featuring only guitar – no vocals & no overdubs – we are treated to a very intimate sounding home recording filled with delicate grace. Comparisons to John Fahey & his ilk who do their hoodoo mystical rewrite of folk music is bound to occur, but close listening reveals a very original & yet truly rooted in the old style record that we hope will stand the test of time nicely. “
| WEISEMANN, SVEN: Emphasized 12″ (MOJUBA 016EP) 14.00|
Sven Weisemann is back with two kick-ass tunes in the best Mojuba style and also some impressions from his Sole Exception project for Essays Music, his old Styrax jams as well as his famous Xine LP. Mastered by Redshape. Listen closely and you will feel it!
| DAVE DK: Retake One CD (MOOD 013CD) 17.00|
Berlin’s Moodmusic label kicks off a new mix CD series called “Retake.” The first edition is being delivered by Moodmusic homeboy, Dave DK. The idea for the Retake series was born when label head Sasse had released the Starstyling mix on the occasion of Fashion Week 2009, including only releases from the label. Retake One contains some classic and new, unreleased Moodmusic tracks as well as influential material from the past 10 years. Besides Dave’s edit of Sasse’s “Wrapper” (Penner + Muder Remix), the mix features three new exclusive tracks that will also be released on a separate 12″: Dave DK’s “Will Be Gone,” Axel Boman’s “Cinquenta” and Citycobra’s “Fresh Simple.” To present an 80-minute overview of his DJ style, Dave has hand-picked some of his favorite tunes from his record box. To present a modern and organic sound, most tracks have been recorded from vinyl, partly from vinyl-only labels. With the focus being put not only on the music but also on the packaging and design, Retake One stands out in the present flood of mediocre media and music releases. Top designer Matthias Egil Last has been called in for the artwork. No less than two photo-shoots were necessary to come up with the final result. Last is also responsible for the design of the Watergate mix CD series. After his residencies at Tresor Club since 1999 as well as Panorama Bar since 2001, Dave DK has been a key figure in Berlin’s music community. Spinning nowadays regularly throughout legendary clubs in Berlin, Dave is also playing gigs all around the world. Having released his first 12″s on Raum Musik in the late ’90s, the albums Sensory Overload (2000, Müller Records) and Lights And Colours (2007, Moodmusic) were the highlights of his career which is now being crowned with Retake One. Other artists include: Ada, Lawrence, Holger Zilske, Daso, Ian Simmonds, Smallpeople, Chopstick & Johnjon, Jackmate, Superpitcher, Good Guy Mikesh, Christian Löffler, Sascha Funke, Horror Inc, DJ Koze, and Nina Kraviz.
|MORR MUSIC (GERMANY)|
| DUO505: Walzer Oder Nicht LP (MORR 103LP) 17.00|
LP version. This is the third album by Bernhard Fleischmann and Herbert Weixelbaum aka Duo505. Forget about lyrics to convey feelings or moods: it’s all in the music, in the melodies and harmonies. After all, these tracks don’t need words to say a whole lot. The same is true of their genesis: Bernhard Fleischmann and Herbert Weixelbaum hardly discussed any ideas or musical concepts while in the studio. Instead, these tracks simply emerged while they were playing together; the melodies grew out of a wordless conversation, an exchange of sounds and notes. This newfound collaborative spirit lies at the heart of Walzer Oder Nicht: the various tracks and layers intertwine and complement each other on a whole new level. That’s how a song like “No Mail” came about, a track whose inner logic and intricate composition manages to captivate the listener entirely. Yet, it’s not just the interlocking density that’s new, as Duo505 present a whole new set of arrangements: above all, Fleischmann and Weixelbaum added guitars to the mix, which in turn means that the Roland MC-505 is no longer the predominant element of their sound. Case in point: On the opening track “Facing It 2010,” a re-recording of a song they wrote for their debut full-length Late (MORR 046CD/LP), they hardly use electronic elements at all. This, however, doesn’t affect the fundamental nature of Duo505’s music: Walzer Oder Nicht ultimately shows that their tracks work both as acoustic and electronic versions. These recordings are somewhat reminiscent of The Velvet Underground (at their catchiest), of Yo La Tengo’s sense of melody, or the kind of ballads Brian Eno or Zach Condon are known for. Make no mistake: even though Walzer Oder Nicht certainly has its noisier moments, some Tall Dwarfs-style clank and clatter even, this album is even more thoughtful, quiet and warm-hearted than its predecessors. Walzer Oder Nicht is an album that evokes child-like enthusiasm, ease, swing, and elegance. Includes a free download code.
|MUNSTER RECORDS (SPAIN)|
| GLUCK & FRIENDS, JEREMY: I Knew Buffalo Bill 2LP (MR 293LP) 25.50|
Munster Records reissues an expanded 2LP edition of the seminal 1987 indie-rock album by Jeremy Gluck & Friends — a unique record with a rootsy, haunting sound, which mixes dark folk, swamp blues and the ghostly side of country music. “It was 1986, autumn. Over the years Nikki Sudden and I had discussed, planned and written songs for an eventual collaboration. Nikki was working on his music full-time; I was writing and raising my kid. One day Nikki calls pretty much out of the blue and says he is in Fairport Convention’s Dave Pegg’s lush Woodworm Studio recording with his brother Epic Soundtracks and Rowland S. Howard, and do I want to tack a week on and do an album? I started packing. When I arrived at the studio one gorgeous afternoon, the band had just laid down the backing track to Nikki’s remarkably beautiful ‘Gallery Wharf.’ I was awed and enchanted. I still love that song and my good fortune in performing its only recorded incarnation is humbling. In the years since, I Knew Buffalo Bill has been heard more, evaluated further, loved by a few fiercely, liked by many more, overlooked by millions. The unusual combination of players and pieces, and some great production, have earned it a niche all its own. In that time, four of its key players — Nikki Sudden and Epic Soundtracks, Rowland S. Howard and Jeffrey Lee Pierce (whom I only met briefly before and during the sessions) — have passed away. It gladdens me that our work on the album has been the cause of one excellent shared homage (Italians Circo Fantasma’s ‘I Knew Jeffrey Lee’), and that one of its latter tracks, ‘Burning Skulls Rise’ (from the eponymous EP that followed the original album), was covered by Rowland and Lydia Lunch. Subsequently, it has appeared on a handful of European compilations and even one modern B-movie soundtrack, for I Pass For Human (2004), directed by former Flesheater Chris D. On this deluxe edition, I’ve included all but one track of the original album, demos, B-sides and, to bookend the album, live material reinventing the songs Nikki, Rowland, Epic and I laid down recklessly over 20 years ago. My favorite line of Nikki’s, from ‘Gallery Wharf’ — ‘What’s done can never be put down’ – speaks for all of what is here for you to remember, discover or rediscover. It’s a strange pile of sounds and songs to have helped create.” –Jeremy Gluck; Vinyl-only reissue. Limited edition of only 600 copies. Liner notes by Jeremy Gluck.
| DECIMA VICTIMA: Décima Víctima 3LP BOX (MR 305LP) 78.00|
This box-set contains all the music made by Hispanic-Swedish quartet Décima Víctima, including two unreleased tracks, released almost 30 years after their first record. For this edition, the sound of the original tape recordings has been cleaned and improved. In 1981, brothers Lars and Per formed the instrumental band Clausula Tenebrosa. After a show, they started talking about the possibility of rehearsing with Carlos, a friend at the time and ex-singer of Ejecutivos Agresivos. That’s how the story of Décima Víctima starts — rehearsing with a drum machine in the cellar of the Mertanen’s house in Madrid. “After a few months, in the year 1981, we made our first studio recording, a demo recorded on a 4-track. A little later on, with our friends from the band Esclarecidos, we started the independent label Grabaciones Accidentales (GASA), and we were able to start releasing our own records. The first single came out in 1982, with Lars playing drums on it. Soon after, Los Esclarecidos introduced us to Jose Brena, brother of one of the original members of their band, and he joined as our drummer. The second single was also recorded in 1982. A few months later, we went to Vigo for a week to try out our first LP playing our repertoire live, in order to see which tracks the audience liked best and chose 12 for the record. Paco Trinidad, our producer, always understood what we wanted and he researched how to achieve it technically. The LP was very well received by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. Our next recording was the maxi-single Un Lugar En El Pasado, with three tracks. With regards to our audience, we didn’t make any concessions. Our shows were static. Carlos would sing sitting down like a crooner while Lars and Per only moved as little as necessary and Jose remained behind his drum kit. The sound, despite being made using only three instruments and voice, managed to be as enveloping live as it was on record, thanks to the Mertanen brothers’ personal way of playing and to having, most of the time, Paco Trinidad as our sound technician. Our last show was at Madrid’s Rock-Ola on December 3, 1983. In the winter of 1983 we recorded live, on a 4-track, a demo of our second LP, Un Hombre Solo. A few months later, already disbanded, we recorded it in the studio. In our opinion, it contains some of our best tracks. The band ended mainly for work reasons beyond our control. There were no musical or personal differences. Although we would argue sometimes, we always were, above all, very good friends. In 1999, Jose Brena, our drummer, died. It was a hard blow for everyone. He appears on the cover of Los Que Faltan, reminding us that there are things which, unfortunately, won’t ever happen again.” –Décima Víctima; Includes a 24-page LP-size booklet in Spanish and English that tells the band’s story in their own words and includes many unseen pictures, a full discography and complete lyrics.
|MUSIK KRAUSE (GERMANY)|
| KRAUSE DUO (FEAT. IAN SIMMONDS): Hell On Earth EP 12″ (MKR 034EP) 12.00|
Krause Duo’s production is constructed as a free-spirited bunch with a special twist. It doesn’t matter whether the material is with a jazz catalog, a frizzy sound, a dragging house or a techno press. Ian Simmonds is comfortably on hand for both sides of the vinyl disc in the studio. Out comes two monumentally deep waltzes full of raunchy charm and a knee-deep appreciation for jazz. Spiritual dance music that will give you a ghostly slam.
|OSTGUT TON (GERMANY)|
| STEFFI: Yours & Mine 2×12″ (OSTGUT 008LP) 18.00|
2×12″ version. On the debut album by Berlin-based Dutch DJ/producer Steffi, you will discover an even further developed producer who shares her personal journey. A long period of intense experimentation and self-discovery led to this sensitive, instinctive and extremely insightful long-player. Carefully mixing old and new, warm analog synth and drum textures flow in unison with modern studio finesse over nine tracks, each telling its own story. Ethereal, hypnotic passages and positive, uplifting messages meet temperate, slow-building vibes and heart-wrenching moments. Often, simplicity blurs into satisfying complexity. Moments of sheer joy arise against the backdrop of a rich and elegantly-controlled exploration of sound. The opening track “Lilo” is a soothing, harmonious forecast of this deep dance music album; swirling, and reduced. A warm solid state thump drives it however, and it becomes clear that the beauty in Steffi’s house music lies in this meeting of classic, emotion-drenched melodies and bold, earthy drums. The tactile “Piem” rises and climbs with a strong late-night intensity before “Yours” featuring Virginia comes to the fore. Striking a clever balance between positive, addictive pop and straight-up club energy, this vocal-led future-classic is a loud and proud testament to how far Steffi has come — not only as a producer, but as a DJ who understands the need for balance, control and release. Perhaps an ode to the many foundations of house that have no doubt inspired Steffi, “Arms” is a string-led jack track, a slow burner in the best sense, and all the better for it. Similarly, “Manic Moods” sells itself on the strength of its handful of carefully-crafted analog synth lines, slowly fusing to become one while her beats urge us forward. The urgent, sci-fi tones and extended, soaring strings of “Mine” bring it back to the club as heady images of warehouses past, present and future flash before you. This retro-futurism is then taken further with the muscular “Nightspacer,” whose NY house roots are fleshed out by blossoming pads and an unstoppable, throbbing, traveling vibe. Drawing the album towards its close, the deeply spaced “You Own My Mind,” featuring Virginia’s beautifully smooth vocals, washes over and wraps around you in a melancholic blanket of sound. Deeply personal to the last, “Moving Lips” could be that special last embrace; one more moment to end the night and yet keep you longing for more.
| ROLANDO: 5 To 8 EP 12″ (OSTGUT 043EP) 12.00|
This is Rolando’s first 12” for Ostgut Ton with two diverse tunes. Ben Klock featured both tracks on his Berghain 04 mix, and now you can enjoy the full tracks in their own right. “De Cago” sees Rolando work crisp, modern drums and edgy, acidic synths into the mix, resulting in a potent concoction of jacking, edgy techno funk. “Junie” is a multi-layered half-tempo exploration into eerie harmonics and slow-building passages.
| ROBINSON, JACKIE: I’m Different CD (OT 27450CD) 17.00|
“First she was Simone, then she was Gitta McKay, but the world will forever remember German singer Gitta Walther by the name Jackie Robinson, thanks to her classic 1976 album I’m Different. By the time she signed a solo deal with Ariola Records in 1975, Walther was already a recognized talent in Europe, having recorded with successful disco acts Silver Connection and Penny McLean while also releasing albums with her group The Love Generation. True to its title, I’m Different gave Walther a chance to show why she was one of the most in-demand singers in European pop during the 1970s. Produced by Fitz Muschler and Paul Birmingham, the album featured a range of styles — from the bright disco groove of ‘Let Me Be’ to an understated cover of the Rolling Stones’ ‘Sympathy for the Devil.’ The lead single ‘Moving Like A Superstar’ became a Top 10 hit on the US Billboard charts, but many remember I’m Different for the infectious drum breakbeat on ‘Pussyfooter,’ which has been sampled by artists such as DJ Shadow, Eric B. & Rakim and Ultramagnetic MC’s. Previously only available to savvy record collectors, Jackie Robinson’s stellar I’m Different is presented in brilliant digital sound, restored from the original master tapes, packaged in a five-inch paste-on mini-LP jacket.”
|OUR CIRCULA SOUND (UK)|
| SIGHA: Early Morning Lights (Marcel Dettmann Remix)/Over The Edge 12″ (OCS 001EP) 16.50|
The first release on Sigha’s own Our Circula Sound imprint is a 12″ of dark, dubbed-out techno. Marcel Dettmann’s remix of Sigha’s “Early Morning Lights” marries his own sound palette with that of the original perfectly. Clocking in around the 130 bpm mark, its broken rhythms and throbbing bottom-end will appeal to more adventurous dubstep heads as well as the techno purists. “Over The Edge” features clicks, claps and 909 hats over a layer of dubbed-out soundscapes and booming square bass.
| PUKWANA’S ASSAGAI, DUDU: Zimbabwe LP (PHILIPS 6308079) 28.00|
“This Afro-funk band from Zimbabwe was based in London in the very early ’70s, and released their second album in 1972. Seems that members of UK prog band Jade Warrior helped out in the recording of this as well.”
|PHOENIX RECORDS (UK)|
| SATOH & SOUNDBREAKERS, MASAHIKO: Amalgamation CD (ASH 3040CD) 17.00|
One of the most tripped-out albums you’ll ever hear from Japanese keyboardist Masahiko Satoh, and that’s saying a lot, considering some of his other avant sessions of the ’70s! This one’s from 1971 and a really free-form jam — recorded so that each of the two long tunes takes up a side of the record apiece — one with really full-on, frenzied noise courtesy of some ring modulators played by Satoh, undercut with some really heavy drums from Louis Hayes, a surprising entry for a session like this! Side two has a sound that’s a bit more organic — some spare percussion at first — but the record then moves into noisier territory too, and even features some cool, scatting female vocals. Highly recommended! Numbered, limited edition housed in an LP replica sleeve. Digitally remastered.
| KOSUGI, TAKEHISA: Catch Wave CD (ASH 3041CD) 17.00|
Takehisa Kosugi is an inter-media artist and performer who started his career back in the ’60s in Tokyo. With his first band Group Ongaku (free anarchist-conceptual improvisations) he was introduced to the Fluxus avant-garde movement. During the ’70s, he was a member of the mystical, psychedelic, droning rock band Taj Mahal Travellers. He co-founded the band in 1969. Since the end of the ’70s until now, he has released several solo albums and commissioned works for events and sound installations. His album Catch Wave (1975) is an absolute progressive masterpiece, bringing Takehisa Kosugi’s musical talent to territories usually reserved to kosmic Krautrock. Digitally remastered. Numbered, limited edition housed in an LP replica sleeve.
| LUCIER, ALVIN: Almost New York 2CD (POGUS 21057) 19.00|
“Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier. Lucier writes about the genesis of the works on this release: ‘Since the early 1980s I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echolocation, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment — hand held pulse wave oscillators (“Vespers”), differential amplifiers (“Music for Solo Performer”), horseshoe magnets (“Music on a Long Thin Wire”). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means. One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In “Twonings” two different tuning systems collide and in “Coda Variations” slight variations in pitch are heard chronologically.’Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward – some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music.”
| DE PICCIOTTO & ALEXANDER HACKE, DANIELLE: Hitman’s Heel CD (POTOMAK 954952) 17.00|
Alexander Hacke is known as the bass player of Einstürzende Neubauten and main figure in Fatih Akins’ movie Crossing The Bridge: The Sound Of Istanbul. Besides collaborating in countless bands on the side, he has also been composing film scores for two decades. Danielle de Picciotto was a singer for Space Cowboys and Gudrun Gut’s Ocean Club and is an icon in Berlin’s creative underground. She is also the co-founder of the Love Parade together with Dr. Motte. Her art and film projects are exhibited internationally. Hacke and de Picciotto have been a huge influence on Berlin’s underground scene since the ’80s and have been touring the world with their collaborations since 2000. This album goes back to the basics. After deciding to give up their house in Berlin in 2010, the couple is on the road in search of new horizons. Celebrating this restless nomadic lifestyle, they decided to go back to classic songwriting, without sequencing or electronic processing. Concentrating purely on their instruments (guitar, autoharp, keyboards, drums), their songs can be performed on any stage and unplugged. Disregarding fashion, conventions or everyday standards, their lyrics speak of the world they are discovering: solitude, magic and freedom. The brew-ballads, gypsy rolls, Italo Western piano tunes, heavy guitar riffs and autoharp transport the audience into the world of the uncompromising explorer.
| ORSI, FABIO: Stand Before Me, Oh My Soul CD (CIRCA 111CD) 14.00|
The Preservation label presents Stand Before Me, Oh My Soul from Italian composer Fabio Orsi. Fabio’s prolific output has had him heralded as a master of modern ambience, creating rich, freeform atmospheres with organic instrumentation and processed sounds. Though known for momentous pieces of hypnotic power, this work marks a dynamic new turn in Fabio’s sound. The force of his composition takes more of an overt stance on Stand Before Me, Oh My Soul. The raw and primal pulse at the heart of his music is writ large here with a punk mind-set, unleashing a heady mass of guitars against a backdrop of cavernous, shimmering distortion and crashing drums (courtesy of Rich Baker, who also performs regularly with Nadja’s Aidan Baker). It also boasts a bristling sense of lysergic, hazy melody. Brutal and glimmering, dark and beautiful, Stand Before Me, Oh My Soul drops loud and large in pursuit of pure, dissonant bliss. This is the first in a new limited edition CD series from Preservation called Circa. 300 copies only will be available of each release in the series and each will feature a design by Mark Gowing. Each design will be realized using a specially-created abstract alphabet of shapes, determined by artist, title and catalog number for something both fixed and random.
| AREA C: Map Of Circular Thought CD (CIRCA 211CD) 14.00|
The Preservation label presents Map Of Circular Thought from Providence, Rhode Island’s Area C. Area C is the music project for composer and multi-media artist Erik Carlson. Carlson has recently completed the soundtrack to a National Geographic documentary on New Orleans in the wake of the Hurricane Katrina disaster, and has worked on several projects for NASA’s Space Grant Consortium along with numerous audio, multi-media and public art installations. Map Of Circular Thought follows several acclaimed works including 2009’s The Planetarium Project, described by The Wire magazine as “inspiring.” Map Of Circular Thought is a set of meditative, contemplative pieces — a sonic rendering of the connection between memory and the present. Using minimal rhythm and melody to form constellations of fixed tones, these compositions burst with flickering sonic detail to create constant flux among the patterns he creates. The warm, analog sounds on Map Of Circular Thought — made using guitar, organ, keyboard and a drum machine — engage and play with states of consciousness in listening, and in particular found inspiration in the abstract dreamscapes of UK electronic pioneers Seefeel. Carlson also traces a line back to minimalist composers Terry Riley and Steve Reich, and shares a kinship with the transfixing qualities of more recent acolytes such as William Basinski and Philip Jeck. Map Of Circular Thought mainlines to the mind but is also a visceral, tingling thrill for the ears. This album is the second in a new limited edition CD series from Preservation called Circa. 300 copies only will be available of each release in the series and each will feature a design by Mark Gowing. Each design will be realized using a specially-created abstract alphabet of shapes, determined by artist, title and catalog number for something both fixed and random.
| VOIGT, WOLFGANG: Du Musst Nichts Sagen 12″ (PROFAN 034EP) 12.00|
Another eagerly-anticipated 12″ from Wolfgang Voigt’s newly-revived Profan label. Including part two of an exclusive track released on the Pop Ambient 2011 compilation (KOMP 087CD/KOM 223LP) that sonically describes the Profan concept. Gas-eous harmony that glows and leaves you wanting more.
| HEEMANN, CHRISTOPH: The Rings Of Saturn LP (ROBOT 040LP) 24.00|
“Originally only available as an artist-released CD, The Rings Of Saturn spans a lengthy narrative of music prepared over the years 1997-2008. Infusing early field recordings along with recently completed studio compositions, this new album of ‘cinema pour l’oreille’ (cinema for the ear) transports the listener to discrete locations that evoke rich memories and sympathetic recollections. This remastered vinyl edition is pressed on clear wax in a beautiful, full-color jacket. Available initially during the recent Christoph Heemann US Tour (October 2010), The Rings Of Saturn is one of Heemann’s finest and most anticipated new solo works.”
| TRUTH AND JANEY: No Rest For The Wicked LP (ROCK 030LP) 21.00|
“Limited edition, high quality vinyl reissue of this underground hard rock monster from 1976 by Iowa’s legendary power trio led by guitarist BillyLee Janey. Old style tip-on jacket and quality vinyl pressing. Includes insert with history of the group, lyrics and rare band photos. Since the release of No Rest for the Wicked in 1976, its stature among collectors of ’60s and ’70s hard rock and psychedelia has grown steadily, with original copies now fetching a large sum in the collector’s market. It has often been lauded as perhaps the best independent U.S. heavy rock release of the entire 1970s.”
| TINY TIM: Lost & Found 1963-1974 LP (SEC7 008LP) 19.00|
“Lost & Found 1963-1974 is a collection of 15 obscurities, consisting of previously unreleased acetates, privately pressed 45s, and an early ’60s studio session arranged by Milton Glaser. Much of the material on this release was thought to have been lost to time, but after many years of collecting and compiling by Tiny Tim enthusiasts, Secret Seven Records is making it available to a wider audience for the first time. Lost & Found contains tracks from Tiny’s pre-fame years, recorded between 1963 and 1966, as well as songs from his post-fame years, recorded between 1971 and 1974. The material from the 1960s represents the years in which Tiny scraped by, performing in dives in Greenwich Village and living with his parents who had, by 1963, written him off as mentally ill. The material from the early 1970s, although recorded while his mainstream career was in its decline, features some of the most intriguing, eclectic, and enjoyable material of his career. This limited edition LP (500 copies) includes back cover notes by Tiny Tim historian / biographer, Justin A. Martell and a cover photo by Baron Wolman.”
| SHINDIG: Shindig! Vol. 2, Issue 20 Jan-Feb 2011 MAG (SHIN V2#20) 9.00|
“On the cover: The Soft Machine: Feelin’ Reelin’ Squealin’: Is it jazz? Is it psych? Is it pop? The groundbreaking early years. Merrell Fankhauser: His visonary journey from surf to folk to psych to lost continents; The Lovin’ & The Nerve: From mod underdogs to Troggs-approved pop confectioners; Allied Records: Plastic Cloud, Reign Ghost, Christmas… inside Canada’s coolest label; Euphoria: The remarkable saga of the most expensive cult album ever made. Also Patrick Campbell-Lyons, Cat Stevens, The Holy Mackerel, and much more!” 84 pages.
| SLICES: The Electronic Music Magazine Issue 4-10 DVD (SLICES 410DVD) 0.01|
Slices is a free DVD magazine out of Germany, focusing on the contemporary electronic music scene. It can be added to orders at no cost. Features: Ost & Kjex, Losoul, Sascha Dive, Maayan Nidam, Snuff Crew, PVT, Wasserfall. Tech Talk: Transistors Of Mercy. Label feature: Ibadan Records. Videos: Caribou, Bon Homme, Jay Haze, Max Cooper EB. Live & Rare: The Human League, Delphic, Bon Homme. Limited stock. Format: PAL 16:9. Running time: 144 minutes.
| CAGE, JOHN: How To Get Started CD (MC 1210CD) 17.00|
“John Cage conceived How To Get Started almost as an afterthought — a performance substituting for another that was previously planned in 1989 for delivery at ‘Sound Design: An Invitational Conference on the Uses of Sound for Radio Drama, Film, Video, Theater and Music’ presented by Bay Area Radio Drama at Sprocket Systems, Skywalker Ranch, in Nicasio, California. In his introduction, Cage talks about the difficulty of initiating the creative process, while exploring the usefulness of improvisation, a subject about which he had long been deeply ambivalent. He proposes a collaborative framework in which sound engineers capture and subsequently layer his extemporized monologue, which consisted of ten brief commentaries on topics then of interest. This amounted to an experiment having to do with thinking in public, before a live audience.” DVD-sized tri-fold packaging, including a 20-page book with commentary by Laura Kuhn, Aaron Levy and Arthur J. Sabatini.
|SONATA MUSIC (GERMANY)|
| HADRIEN/YAPACC (FEAT. BIG BULLY)/AUDIRE: Prism 12″ (SONLP 002EP) 12.50|
Hadrien’s “Maria Pamplona” proves that he really is good to women. Yapacc’s track features Big Bully and it is an end-of-the-night track. When the sun comes out, you better turn your face to the floor. Finally, Audire wants you to “Lick It Fast” with a catchy vocal that is truly inspiring.
|STIL VOR TALENT (GERMANY)|
| HOLZ, JULI: Winterabend 12″ (SVT 055EP) 12.00|
The enchanting voice of singer/producer Juli Holz can now be heard again on Stil vor Talent. On the title track, Holz sings about the cold feeling after a break-up. Her overlaid vocals create an inner dialogue on top of a poppy groove. Oliver Koletzki’s remix keeps the speed of the original but transforms it into a more dancefloor-oriented piece of house music. Juli teams up with Daso to create the tech-house drift of “Königskinder” — a neatly orchestrated piece of music.
| JACK SPARROW: Loveless/Dread (feat. Ruckspin) 12″ (TEC 041.1EP) 11.00|
Jack Sparrow presents two tracks off of his Circadian album (TEC 009CD/LP). As the restrained 4/4 kick drum of “Loveless” pounds in, fans of Mala, Martyn, Quest and Silkie will feel right at home. The vibe switches then for “Dread” — a collaboration with fellow Leeds-based producer Ruckspin — a dark, cold ragga-techno rhythm which should please fans of Headhunter, F and 2562.
|TRUTH & SOUL|
| FABULOUS THREE, THE: The Best Of The Fabulous Three CD (TSCD 017CD) 16.00|
“Here is another project from the glory days of Soul Fire records. Over the course of two years the Fabulous 3 recorded everything from reggae to spiritual jazz to psychedelic soul. Truth & Soul and Phillip Lehman are proud to present their concise but glorious recordings, produced by Jeff Dynamite and Leon Michels.”
| RAAH PROJECT/CESSA, THE: Trick Of The Light Remixes 12″ (CR 1201EP) 12.50|
Already gaining heavy plays from scene leaders Floating Points, SBTRKT and with rinseage everywhere from Ronnie Scotts to Fabric, these are two white label-only secret weapons — versions straight from the epicenter of the London scene. Utilizing a trace element of The Raah Project’s stunning “Trick Of The Light” vocal and building two entirely new tracks around them, the producer in question somehow manages to traverse funkier movements, weighted Bollywood-style string swells, with more gorgeous, teched-up and dubbed-down beat feelings.
| DAVIS, MELVIN: Detroit Soul Ambassador LP (VAMPI 118LP) 19.50|
LP version. Vampisoul presents the first-ever compilation of the complete early to mid-’60s recordings by Melvin Davis — an essential figure in Detroit music history. One of the most talented, dynamic and prolific artists in the history of Motor City music, Melvin Davis isn’t so much a musician as he is a musical force: songwriter, drummer, performer, producer, arranger, label owner, etc. His bands have included everyone from a pre-Temptations David Ruffin to a post-MC5 Wayne Kramer. His drumming helped define the Miracles’ Motown smash “Tears Of A Clown,” drove the Lyman Woodard Trio’s double-sided funk masterpiece River Rouge/It’s Your Thing and became the stuff of legend on Dennis Coffey’s seminal LP Hair And Thangs. He’s the evocative lead vocalist behind the 8th Day’s million seller “You’ve Got To Crawl (Before You Walk)” and the songwriter who penned JJ Barnes’ desperate ode “Chains Of Love.” The genre that has come to be called northern soul could hardly claim a more qualified ambassador, for Davis penned many of its most crucial cornerstones: Johnnie Mae Matthews’ “Lonely You’ll Be,” Darrell Banks’ “I’m The One Who Loves You,” Lonette McKee’s “Stop! Don’t Worry About It,” Edward Hamilton’s “I’m Gonna Love You,” Ann Perry’s “That’s The Way He Is,” Steve Mancha’s “I Won’t Love You And Leave You.” While Davis’ very presence helped to define a myriad of local labels whose output was every bit as essential to the soul of Detroit’s golden era as was Motown’s, his profile as an artist has often been boiled down to the northern soul floor-fillers “Find A Quiet Place (And Be Lonely)” and “I Must Love You.” As brilliant as they are, it should come as no surprise that there is another side to Davis’ early Detroit discography, one that is the very essence of the city’s rockin’ soul aesthetic. A true portrait of Melvin Davis would be incomplete without the superb sides he cut for tiny labels such as Jack Pot and KE KE, fiercely independent imprints like Fortune and Wheel City, and slightly larger concerns such as Groovesville. For the first time ever, every one of them is here, along with several unreleased cuts from the Groovesville vaults. Detroit soul is represented in all its stylistic nuances: the garage R&B of “I Don’t Want You,” the proto-northern sound of “I Won’t Be Your Fool,” the bohemian jazz inflections of “It’s No News,” the frantic rock’n’roll of “Playboy” and “This Ain’t The Way,” the persistent, minor-keyed mood of “Wedding Bells” and the majesty of “Find A Quiet Place” and “I Must Love You.” Comprehensive liner notes by writer, historian and musician Michael Hurtt.
| MICKY Y LOS TONYS: Micky Y Los Tonys LP (MRSSS 013LP) 25.00|
During his 50-year career, Spanish rock ‘n roll pioneer Micky has done all kinds of things. At the peak of his period fronting Los Tonys (spanning most of the 1960s) he commanded with authority all the genres that were around in that marvelous decade: rock ‘n roll, twist, surf, beat, garage, etc. Micky y Los Tonys developed a very personal career — inspired, ironic (when not sarcastic) and played songs mostly written by themselves. The band started up at the legendary morning sessions of Madrid’s Price Circus Theatre during 1962, the real foundation stone of Madrid rock at the time, and they immediately stood out due to their covers of Spanish and Latin classics (“La Luna Y El Toro,” “Guadalajara,” “Zorongo Gitano”) rocked up by the guitar sound patented by The Shadows. However, opening this record, from this period, you’ll find their furious surf take on “La Cucaracha.” In 1965, they debuted on screen with their role in the movie Megatón Ye-Ye, without a doubt one of the most notable Spanish contributions to the new pop aesthetic promoted by Richard Lester and The Beatles in their A Hard Day’s Night. The movie had an excellent soundtrack which is unquestionably one of the band’s highlights, and which showed their hardest side with garage beat gems such as “Sha-La,” “Jabon De Azufre,” “Pretty Baby,” “Tu Seras Muy Feliz,” “Ya No Estas” and “Estoy Cansado.” The change of music style brought about by the film took them to their second golden age: “No Comprendemos Por Que No Somos Millonarios,” “Cuarto Intento De Exito” and the arresting “Up & Down,” a roaring nugget à la Stones that showed the band’s enormous versatility. In 1967 they visited the film studios again, this time along with the great Spanish rock ‘n roll artist Bruno Lomas and a very young Massiel (future winner of the 1968 Eurovision Festival), in Codo Con Codo. It was a fun movie which revved up every time the band performed original midtempo tracks such as “Cuando Pienso En Ti” or the fantastic “El Problema De Mis Pelos,” which featured some delicious phasing effects, shining as one of the best moments in Micky y Los Tonys’ brilliant discography. But the record doesn’t end there; there’s still time for two highlights from the end of the decade, “Correcto O Falso” and “Boum, Boum, Boum,” which round up this exultant anthology. 180 gram vinyl. Limited edition of 1,000 copies. Includes an insert with liner notes in Spanish and English and original sleeves.
| LOS CHEYENES: Los Cheyenes LP (MRSSS 014LP) 25.00|
Los Cheyenes were four teenagers from the Poble Sec neighborhood in Barcelona: brothers Roberto (singer and lead guitar) and Joselin Vercher (bass, backing vocals) plus Jose Maria Garces (rhythm guitar, backing vocals) and drummer Ramon Colom (ex- Flaming Stars and the only one with previous musical experience). They had a cocky, defiant look. They were angry young men with a repertoire of their own influenced by British white R&B. They debuted in 1965 with “Valgame La Macarena” (written by the famous Spanish songwriter Jorge Domingo), a song with an obvious Spanish flair in the style of Los Brincos’ “Flamenco” and the closest they ever got to a hit. It was the main track on their first EP, completed by a cover of Los Kinks’ “Come On Now” (“Ven Ahora”), another title by Jorge Domingo (“No Me Esperes”) and a self-written song (“Llore Por Ti”). You could sense there was something great in those grooves, although the lack of resources and the rush to find a place for them within the “industry” didn’t help much. Neither did their indomitable attitude. They tried to use the censorship incident that banned them from appearing on TVE (Spanish public TV broadcaster) after refusing to get their hair cut, staging a parody of it in Madrid’s Gran Via which caused a traffic jam outside the Radio Madrid studios. That same year they released their second and fantastic EP where, right away from the cover, with a black and white picture of their faces looking like drugged-up zombies, it was obvious they were different from everyone else. Two self-written compositions (“Conoces El Final” and “¿Por Que Te Fuiste?”) along with a Guess Who cover via The Hollies (“Y Olvidame”) plus another song by Jorge Domingo (“Devuelveme El Corazon”) confirmed the perfection of their immediacy, energy and rage. They started the following year with the single “He Perdido Este Juego”/”Tu No Llegaste A Mi.” The former, punk before punk, is pure teenage adrenaline: R&B with sharp riffs, a tight rhythm and a mischievous harmonica towards the end. The latter, featuring refined guitars, mixes melancholic folk rock with what is known today as “popsike.” A third EP rounded out the magical year of 1966. All the songs were written by the band, and the record was the most honest representation of who they really were. The last breath of an unrepeatable moment that lasted almost two years — the sum of coherence, rigor, talent and stubbornness that only happens during brief moments in life. And perhaps they should have left it there. Compulsory military duties, disenchantment, people leaving the band occurred later. They still released a half-hearted last single that did not live up to their own legend: Borrachera/Siguiendo El Sol, without Roberto, who was replaced by a new lead guitarist and a new singer. He would come back in 1968 but by then the demise of Los Cheyenes was inevitable. 180 gram vinyl. Limited edition of 1,000 copies. Includes an insert with liner notes in Spanish and English and original sleeves.
| SATIE, ERIK: Gnossiennes, Gymnopédies, Piano Works CD (EMI 482002CD) 8.00|
Featured works: 6 Gnossiennes, 3 Morceaux en forme de poire, Descriptions Automatiques, Pièces Froides, Heures Séculaires Et Instantanées, Vieux Séquins Et Vieilles Cuirasses, Je Te Veux and Prélude De La Porte Héroïque Du Ciel. Performed by Anne Queffélec with Catherine Collard. Running time: over 72 minutes.
| SOUL CLAP: Ron’s Edits 12″ (WLB 006EP) 12.00|
Guess what, new W+L Black with some serious edit business from Soul Clap.
| MULLER, SIRKO: Reexplored 12″ (6THJOURNEY) 14.00|
After a long hiatus, Sirko Müller is back and ready for some new action, so to reintroduce him, the Wandering label decided to put out some of his classic tracks as well as some unreleased bits. It’s quite hard to believe that these tracks are from about a decade ago, because they still sound fresh but also capture that little bit of dirt and roughness which recalls the early years of clubbing.
| XLR8R: #137 January/Februaru 2011 MAG (XLR8R 137) 4.99|
“America’s definitive electronic music magazine, #137. Cover: Ramadanman leads the new crop of artists leaving genre rules behind. Features: Fatima; Shigeto; Jacques Greene; Elijah & Skilliam; Five Star: Sasha Grey; South African House; Games; Matthewdavid; Lone; Rafaël Rozendaal; Album Reviews; Bubblin’; Miles Whittaker: In The Studio (The man behind Pendle Coven and Demdike Stare talks about life-changing consoles); Horsepower Productions’ Tape Delay Tips; Components & Videogames; Outbox: David Rodigan.” 82 pages.
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