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12K 1064CD MATHIEU, STEPHAN: A Static Place CD (12K 1064CD) 13.00
“A Static Place is about the journey of sound. Between 1928 and 1932 the earliest recordings of historically informed performances of music from the late Gothic, Renaissance and Baroque era were etched into 78 RPM records. I used some of these records from my collection, playing them back with two mechanical acoustic HMV Model 102 gramophones. The initial soundwaves produced back then by period instruments like the clavichord, viols, lute, hurdy-gurdy are read from the grooves by a cactus needle to be amplified by the gramophones diaphragm housed in a soundbox. Those vibrations travel through the tone arm which is connected straight to the gramophone’s horn, which releases the music to my space. Here the sound is again picked up by a pair of customized microphones and sent to my computer, to be transformed by spectral analysis and convolution processes.” — Stephan Mathieu, Madrid, Nov. 31, 2010
12K 2019CD VA: Tasogare: Live In Tokyo CD (12K 2019CD) 13.00
“Tasogare: Twilight. The light between day and night. Recorded live on April 10 and 11, 2010, Tasogare: Live in Tokyo documents the performances of five 12k artists at two temples in Tokyo, Japan. Komyoji Temple (April 10) saw the first-ever performance in Japan by Australia’s Solo Andata, known for creating deep, textured music with found objects, homemade instruments and very little in the way of electronics or software tricks. The duo was joined by 12k veteran Sawako whose voice and delicate computer work were accompanied by guitarist Hofli and Moskitoo, who always plays the line between experimentalism and abstract pop. On April 11, the 12k weekend moved to the Frank Lloyd Wright-designed Jiyu Gakuen Myonichi-kan where Solo Andata performed again, this time with the improvisational beauty of the four-piece Minamo and label- founder Taylor Deupree whose travel-worn state musically played out in the most hushed and calming way. Tasogare: Live in Tokyo represents the importance of recording and keeping documents of performances seen and heard around the far corners of the globe — a chance for many others to hear what went on a world away in live sets that can’t, and won’t be duplicated again. This edition also represents the adventures formed by artists connected by a label, sharing travels, food, photography, music and sleepless nights. It is the way in which each artist, in their own unique and completely different sounding way, contributes to a collective spirit.”
4M 196LP GAINSBOURG, SERGE: Initials B.B. LP (4M 196LP) 17.00
“Let’s get it out right away: this 1968 album is really fantastic. Containing a second set of songs cut with the one and only B.B. (Brigitte Bardot) Initials B.B. sounds almost like a greatest hits of funky decadence. The sensuous melodies and gorgeous arrangements make the songs like little technicolor movies in sound. Initials B.B. continues to sound as stylish and hip as it must have the day it was released: you will be left wanting more. Contains: ‘Initials B.B.’, ‘Comic Strip’, ‘Bloody Jack’, ‘Ford Mustang’, ‘Hold Up’ and more.” 180 gram vinyl.
4M 801LP KINKS, THE: Kinda Kinks LP (4M 801LP) 21.00
“The Kinks were one of the most influential bands of the British Invasion and Kinda Kinks is their second album released in 1965 by Pye Records (Reprise in the States). Ray Davies and co. knew how to crank out three-minute pop songs and the album’s smash hit, ‘Tired of Waiting For You,’ shows why their unique sound remained so influential. ‘Nothing In The World Can Stop Me Worryin’ Bout That Girl’ has been overlooked by many until West Anderson’s Rushmore popularized the track, as well as the Kinks, to a new generation. The 12 tracks are stripped down and simple but they retain a sort of moder perfection making Kinda Kinks an understated but growingly catchy Kinks classic (reissued here on mono and with the original UK track list).” 180 gram vinyl.
4M 803LP MARTYN, JOHN & BEVERLEY: Stormbringer! LP (4M 803LP) 21.00
“Originally released in February 1970 by Island Records, this is the first and classic album by John and Beverley Martyn. After being rehearsed in Woodstock, NY Stormbringer! was recorded and mixed in only 8 days with engineer John Wood and producer Joe Boyd. John Martyn, inspired by The Band’s Music From Big Pink, worked hard to find a distinctive guitar sound and in two tracks (‘Would You Believe Me?’ and ‘The Ocean’) introduced his pioneering guitar technique. Levon Helm guested on drums on two tracks while John Simon and Paul Harris are among the other contributors. Jazzy undertones, spirit lifting vocals, and buttery folk guitar leads for such a unique and beautiful record.” 180 gram vinyl.
ACKER 021EP KOTELETT & ZADAK: Krümmel 12″ (ACKER 021EP) 12.00
Kotlet & Zadak present some appropriate music for the recent indoor season. “Just Wait” develops an understated, dark and mysterious suspense that finally erupts into a standing sub-bass. “Sunday,” produced in collaboration with Soukie & Windish, turns out to be bright and shiny. The remix by Mollono.Bass features dubby echo effects and an extra portion of dreamy melody to create the impression of late hours. “Hut Ab” meets all the requirements for what is generally described as a banger.
AMI 042LP METAL MOUNTAINS: Golden Trees LP (AMI 042LP) 19.00
“…out of the ancient ruins of The Tower Recordings has now finally risen a stealth Metal Mountains! It features Helen Rush, Pat Gubler (Mr. PG Six) and Samara Lubelski, all former Tower soldiers, and some may say the very key ones. There’s a sort of haunted architecture to Metal Mountains, they morph 1960s electric and psychedelic folk rock, the right VU influence, spatial excursions, and whispery dreams into a unique whole. It is a carefully crafted album that is real and intimate, yet has the air of ease and playfulness about it. It is confident in its frailty, if that makes any sense to you. Did I say it is perfectly sequenced? Y’know, that’s the kind of thing a reviewer needs to mention if he wants to be taken at all seriously.” — Jesper Eklow / November 2010
ATCO 33293LP CURTIS, KING: Instant Groove LP (ATCO 33293LP) 11.50
Tenor sax giant King Curtis performs “Hey Joe,” “Games People Play,” Wichita Lineman,” “Hey Jude” and “Hold Me Tight.” Featuring Duane Allman on guitar. Exact repro reissue of this 1969 release, manufactured by Rhino.
AU 5009CD MAHOGANY: Mahogany CD (AU 5009CD) 17.00
Though they were contemporaries of Fleetwood Mac, Chicken Shack, Savoy Brown and others, this youthful British blues-rock quartet’s album only saw release in America and Holland, unfairly dooming it to obscurity. Originally released in 1969, it features exciting rock songs as well as more contemplative numbers, with especially fine guitar and harmonica playing, and is sure to appeal to all fans of electric blues. It makes its long-awaited CD debut here, complete with background notes.
This is the fifth album by psych legends The West Coast Pop Art Experimental Band. Recorded shortly after this legendary Californian psychedelic band had left Reprise (where they’d made three classics), this oddity is more pop-based than their previous efforts, though the eccentric influence of frontman Bob Markley is still strong. Released in the summer of 1969, it sold poorly and hasn’t been widely heard since, making this CD reissue especially welcome. Includes liner notes.
AU 5011CD JACOBS CREEK: Jacobs Creek CD (AU 5011CD) 17.00
This New Jersey band was led by brothers Lon and Derrek Van Eaton, who are best-known for the subsequent music they made for The Beatles’ Apple label. The sole album made by Jacobs Creek is a fine collection of acid-tinged rural rock, which first appeared in 1969. With arrangements encompassing electric guitars, horns and sitar, it’s an eclectic treat for fans of vintage psychedelia, and makes its long-overdue CD debut here.
AU 5012CD MARKLEY: A Group CD (AU 5012CD) 17.00
Though credited as the sole work of The West Coast Pop Art Experimental Band frontman Bob Markley, this is in fact the final album made by psychedelic legends WCPAEB, recorded and released towards the end of 1969, and released under a new name in a final attempt to find commercial success. A far cry from the experimental rock of earlier releases, the album contains melodic songs and delicate arrangements, though the eccentric influence of Markley is as strong as ever, making it essential for fans of the band. Finally back on CD, with background notes.
AX 1015CD DIONYSOS: Le Grand Jeu CD (AX 1015CD) 17.00
Dionysos was one of Canada’s most influential early progressive rock bands. Having formed in Quebec in 1969, they gained a name for combining French-language vocals with intricate musical interplay, and played at the prestigious Montreux Jazz Festival in 1971. This classic debut appeared the same year, combining stoner rock with psychedelia, blues and progressive influences, and makes a welcome return to CD here, together with background notes.
AX 1016CD CORPUS: Creation – A Child CD (AX 1016CD) 17.00
From Corpus Christi, Texas, this gritty quintet produced one of the best underground rock LPs of the early 1970s, which appeared on the tiny Acorn label in 1972. Their song structures reflect the influence of psychedelia, while the jamming guitars pay homage to southern rock greats like the Allman Bros. Original copies now sell for several hundred dollars, making this long-awaited reissue especially welcome.
BLACKEST 002EP RAIME/REGIS: If Anywhere Was Here He Would Know Where We Are/This Foundry 12″ (BLACKEST 002EP) 12.50
“If Anywhere Was Here He Would Know Where We Are” is a tense work, with a rolling rhythm that might make one think of jungle, if jungle were a product of the ’80s cold wave. The drum hits and synth tones seem almost punitive, designed to admonish rather than seduce – and yet seduce they do. On the flip, Regis reinvents “This Foundry.” It’s a tough but sensitive version, true to the original’s overriding atmosphere of decay and disquiet, but also tapping into its romantic undercurrents.
BNR 008CD VA: Boysnoize Presents Super Acid CD (BNR 008CD) 17.00
Boysnoize Records has compiled 12 modern acid jams done by BNR artists and homies like Feadz, Joakim & Krikor and Brodinski, in a tribute to 20 years of acid. How does one make a classic acid track? First, you need a Roland TB-303 bass line which — back in 1982 — was made for musicians to replace the actual bass or guitar. Its manual is the most annoying thing to read because it teaches you classic music lessons — no wonder that the concept of the Roland TB-303 as a real instrument failed and no one wanted to buy it. In the midle of the ’80s, DJ Pierre, member of Phuture, produced a 12 minute track “Acid Trax” with just a drum machine and the 303 — a totally new sound created for the clubs. Shortly after, a few more producers put that “useless” thing together with a drum machine such as the Roland TR-808 or 909, programmed a bass line pattern and recorded live sessions, abusing its incredible filters. Acid-house was born. Because the Roland TB 303 was so expensive, you can find diverse clones of that wonderful machine and you can even make acid sounds with your phone. Boysnoize presents a compilation full of new, modern acid, made in all kinds of ways. Some, well, most of the producers on this compilation have used the classic Roland 303, some used a 303 clone, a 303 plug-in and some even rocked the 303 iPhone application. Some of the producers on this compilation spent their time with all kinds of analog gear and mixers to have the original “warm” sound they love and some others just used a fucking laptop. Can you hear the difference Well, WE can, but do you really? And why release new acid tracks when you can find the best ones made 10-20 years ago? Because this is some fresh acid you haven’t heard before, produced by incredible young talents that know everything about the acid-life — producers that take this genre to another level into the future. Other artists include: Boys Noize, Jan Driver, Housemeister & Dave Tarrida, Noob, Brodinksi, Djedjotronic & Harvard Bass, Siriusmo, Erol Alkan, Shadow Dancer, Strip Steve, and Benny Rodrigues.
BPC 227CD VA: Werkschau CD (BPC 227CD) 14.50
Imagine you had the difficult task of representing your entire life in the form of seventeen songs. BPitch Control has attempted to do just that, packing a turbulent 12-year label history onto one silver disc. The resulting album is not just a simple reflection of the past, it’s a statement showing how comprehensive, complex, progressive, emotional and ultimately enthralling electronic music can be; the kind of potential and opportunities for development that can be found in a genre — given the necessary courage to ignore pigeon-holes and open new doors. The Werkschau (trans. “Showcase”) compilation presents BPitch Control and its forward-thinking artists in all their stylistic elasticity. The BPC Werkschau compilation is in no way a conventional “best of” album. Instead, all 17 tracks are previously-unreleased works. The featured artists include label colleagues from BPC’s founding period as well as completely new faces and musical collaborations which have been formed here for the first time. The artists’ homelands are also worthy of note, ranging from various European countries to North and South America. Paul Kalkbrenner gives you an ironic wink as he combines straight, catchy tech-house production with a highly distorted Hammond organ and Mr. Statik unashamedly lays house beats under crooner vocals. The track “Deutsche Werden” from Aérea Negrot has a considerably more fantastical feel. The intermittent singer of Hercules and Love Affair sets off a reaction between her apparently deranged, broken German-speaking vocals and a unique and very coherently-arranged electro production style. The straight-up tech-house opener “The Present” from Irish Memo artist Cormac is carried by vocals, as is the wonderfully atmospheric synth-pop song from the Italian duo We Love. Dillon combines beatbox-electro with pop vocals in her collaboration with Coma. TimTim’s contribution “How We Moove” merges classic singer/songwriting with bleepy electronic sounds, followed by the finely-woven dub textures of AGF/Delay. Telefon Tel Aviv offer challenging, futuristic yet retro Chicago post-rock/electronica sounds. Known and loved for being just as challenging are Jahcoozi — with “Day In Day Out,” the trio based around song-writer/MC/singer Sasha Perera makes a surprisingly docile appearance, showing their laid-back, dub-sounding side. Sascha Funke spreads his epic sound carpets over characteristic minimal techno structures while Thomas Muller creates another irresistibly dynamic clockwork construction with “West.” Chaim’s Chicago-inspired tech-house track could be a promising taste of what’s to come and Mark Broom offers up a pure and simple dancefloor bomb with “Refund.” Real house jacks Zander VT offer up a rare pearl and Kiki & Lenz release their first co-production on this CD. Finally, label boss Ellen Allien slots a classic house stomper in amongst the ranks of her colleagues. Without a doubt, this is a fabulous release with countless magic moments — a clearly-defined point in the label landscape and a starting point for the next twelve years.
BPC 228EP VA: Werkschau 12″ (BPC 228EP) 12.00
This is the first Werkschau single and who better to kick things off than the BPitch label boss herself? “The Kiss” exudes a natural buoyancy with a direct and absolutely unambiguous invitation to dance — this is not only a superb, sexy house stomper, it’s classic Ellen Allien! “Hiddensee” gives a clear representation of Sascha Funke’s mastery of his trade. The entire length of the flipside belongs to Moderat, with a remix of their electro/electronica smash “Seamonkey” crafted by Ellen Allien.
BB 062CD ROEDELIUS, HANS-JOACHIM: Geschenk Des Augenblicks – Gift Of The Moment CD (BB 062CD) 17.00
This is the tenth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1984 on Editions EG. On Geschenk Des Augenblicks – Gift Of The Moment, Roedelius broke away unequivocally from purely electronic music. If Lustwandel (BB 055CD/LP) and Jardin Au Fou (BB 023CD/LP) had seen the process set in motion, this was the album that completed the transition. Following the Selbstportraits, which had at least been created through the use of electric organ and synthesizers, Roedelius focused on the grand piano, sometimes accompanied by a cello, violin and guitar. Distant echoes of a not-so-distant musical past could only be detected in the occasional appearance of sparse chords played on a polyphonic synthesizer. Significantly, his arrival in Austria (having moved there a few years earlier) was much more than a geographical relocation. Roedelius responded to the musical culture of romanticism and the Biedermeier tradition, their influences seeping into his essentially modern understanding of composition in bewildering fashion on Geschenk Des Augenblicks – Gift Of The Moment. It was all too much for his listeners, reared on the more familiar sounds of Cluster and Harmonia. Moreover, the album wore a veil of delicate melancholy: no vibrant folk dances, no colorful carousels, no cheerful melodies. Instead, Roedelius offered a calm, almost detached form of music, openly acknowledging romantic heritage. Geschenk Des Augenblicks – Gift Of The Moment eluded contemporary definitions of the “experimental” concept, as Roedelius was now experimenting in new, eclectic areas, too weighty, too grainy to be labeled “proto New Age.” Roedelius was not striving for perfection, but for authenticity — a music stripped of disguise; and to this end he left little playing errors in the mix, fading out tracks rigorously to eliminate any bigger blunders. Such artistic honesty bears no relation to reality-free New Age music. Liner notes by Asmus Tietchens.
CIC 995CD VA: Come Back Bird: The Abilene Teen Scene 1964-1967 CD (CIC 995CD) 15.00
“In the ’60s, Abilene, Texas had a thriving music scene. Bands enamored with the British Invasion sound of The Rolling Stones, The Yardbirds, and The Beatles formed in droves. The top band in Abilene was The Chevelle V, whose best known track, ‘Come Back Bird’ employed the British slang for ‘girl’ and the beat of The Yardbirds’ ‘I’m A Man.’ The other popular Abilene bands, such as The Livin’ End, The Continentals and The Coachmen, comprise the other recordings on this album, making this the most complete trip yet to Abilene in the 60s. Only seven of the recordings were ever released during the ’60s, which reflects the rarity of the recordings included on this collection.”
CLR 042EP EMPTYSET (FEAT. CORNELIUS HARRIS): Altogether Lost 12″ (CLR 042EP) 12.50
Altogether Lost is a collaboration between the Bristol-based experimental techno duo Emptyset and the Detroit vocalist Cornelius Harris aka Atlantis from Underground Resistance. The project marks their first-ever joint production and is backed up by a creative label partnership between Multiverse and CLR, who will release different versions of remixes of the original in a mutual promotion and release approach. CLR starts this series with the release of the stunning original and a slamming remix by Chris Liebing.
CNS 039EP CHYMERA: Ghosts EP 12″ (CNS 039EP) 12.50
Ghosts is Chymera’s second cooperation with Connaisseur. Apart from his already very strong Detroit-ish output, he has started experimenting with house, disco and electronica to create a new subtle and more diverse sound spectrum. “Ghosts” is a very touching Detroit epic with a highly-motivating groove and a goosebump-inducing string theme. “These Jagged Shards” is the definition of deep — a slow builder with an imperative dub groove, chopped-up vocals and driving drums, ensnaring the listener from beginning to end.
DELVAL 006LP MOBY GRAPE: Legendary Grape LP (DELVAL 006LP) 11.50
The final Moby Grape reunion album — not featuring Skip Spence. LP reissue, originally released in 1989 — only on cassette.
This is the fourth album and long-awaited return of Italian quartet 3/4HadBeenEliminated. The group (guitarist/double bassist Stefano Pilia, turntablist/sound assembler Claudio Rocchetti, tape manipulator/vocalist/guitarist Valerio Tricoli and percussionist Toni Arrabito) has created a work which is at the same time new and refreshing and yet completely consistent with their vision: a deep interaction between human, environment, traditional instruments and live electronics that creates a floating atmosphere filled with a natural energetic flow, which borders on the psychedelic. Thanks to the versatile use of the voice, capable of experimenting with new solutions and suggestive ways of emission, and to the instrumental and electronic atmosphere, they are able to create a three-dimensional space that switches between a concrete, rough world and a dream-like one. Oblivion is a further confirmation of the outstanding talent of these Italian musicians.
Die Schachtel is proud to present a recording that embodies the virtuosity of piano soloist/composer Thollem McDonas and contrabass soloist/composer Stefano Scodanibbio, in the spirit of Claude Debussy’s rebellious creativity. As Terry Riley wrote: “Anyone who has heard Thollem or Scodanibbio as a soloist might well imagine what a combination of their unique genius could produce. Awesome, well-matched virtuosos in an ocean of sound.” During the listening of this CD, you will witness the renowned talent of Scodanibbio, a 21st century Paganini, whose innovations on the contrabass inspired some of the most important composers of the 20th century, such as Cage, Berio, Scelsi and Stockhausen. Thollem devised the improvisational scheme specifically for this occasion, demonstrating once again his distinctive sound and his unique approach to music. This album was recorded on the only piano Claude Debussy owned the last 14 years of his life, kindly loaned by the City of Brive-La-Gaillard and Musée Labenche of Art and History. Thollem and Scodanibbio’s improvisational style creates a sonic flow, resulting in a unique combination of historical and contemporary musical genius. In his liner notes for this album Terry Riley continues, “an imaginative idea, wonderfully realized with virtuosity, improvisational mastery and intuitive communication of deep sensibility all residing here in the magical marriage of their artistry.”
DPROM 079EP FAUST/BAND OF PAIN: John Cage – Radio Music (1956) 10″ (DPROM 079EP) 12.50
John Cage composed the piece “Radio Music” in 1956. It is scored in 8 parts (A-H) with each part to be performed either individually or together with other parts as an ensemble. The performers follow a score that is a sequence of radio frequency tunings and silent parts. Obviously, each time the piece is performed, it yields a different end result. Here are 4 solo versions on this limited edition 10″ EP, performed by members of Faust (Jean-Hervé Péron and Zappi Diermaier) and Steve Pittis’ project, Band Of Pain. All tracks were recorded live in the studio with absolutely no overdubs. The 10″ vinyl EP is packaged in a superb gloss laminated sleeve and is strictly limited to 500 copies.
DC 447CD DEATH: Spiritual-Mental-Physical CD (DC 447CD) 13.50
“Spiritual-Mental-Physical is a collection of wild early Death demos, presenting the three young Hackney brothers consolidating their powers as they embark on a trip into pure rock and roll music. For many years following the emergence of punk rock, nothing changed. Punk bands either signed contracts and played the rock band game or they lived in a world parallel to the world of commercial rock and roll. Farther along came ‘the year that punk broke,’ a puzzling decade and a half after the whole thing had first been absorbed into the mainstream in the last of the 1970s. And so it was. The books were written; the pronouncements made. Then came news of Death. They’d self-released a single in 1976; the tracks made it onto an unheard punk compilation a couple decades later. In 2008, an obsessive young man tracked them down and found that the surviving two brothers had master tapes from all those years ago. These made up the truly senses-shattering album …For The Whole World To See. Suddenly, the book was open again and the history of punk rock needed to be rewritten to include Death. The sounds on …For the Whole World To See are those of young men, scorching their influences in the process of becoming new. Spiritual-Mental-Physical gives us Death by transistor radio, with a tinny yet- furious sound representing the 1970s environment of Death. Here, the musical landscape that inspired them is more clearly defined as they demo material that didn’t make it to the studio, but shares the same ferocious bent as ‘Politicians In My Eyes,’ ‘Keep On Knocking,’ and the rest of …For The Whole World To See. Spiritual-Mental-Physical is an inside look at Death’s early days, one that fans of the group and fans of punk rock (and, indeed, rock of all kinds) are sure to enjoy for the rest of time.”
DC 447LP DEATH: Spiritual-Mental-Physical LP (DC 447LP) 15.00
LP version.
DC 454CD MONOTONIX: Not Yet CD (DC 454CD) 13.50
“Not Yet, the second Monotonix full-length album, focuses the band’s energy like a beam, searing away everything extraneous, leaving only the essentials. Monotonix are kicking it with pure, slamming rawness from start to finish on Not Yet, with short and fast songs, direct to the point; Yonatan’s riffs, doubled up and driving forward, Haggai rattling jaws with blow after blow on the kit as Ami sings and screams of you and me, of the thrill and dismay of too much, of action and release, his voice almost swallowed in the din but cutting through with the rigor of a scalpel and the fury of a fanatic. These enhancements are due in some degree to Monotonix recording with Steve Albini. They booked time at Electrical, then went about writing the music back in Tel Aviv in between tour runs. While writing the songs, they cut to the chase, feeling the joy in the bones of the songs and the way they fit together. This made working on the record very easy and fun. The finished sound is trembling with distortion, screaming with release. Even the extended break on ‘Late Night’ is a surging, rhythmic outing — one that conveys the very real qualities of Monotonix in an inspired performance Not Yet is the livest, loudest, most focused set of songs and sounds that we and Monotonix can have. The question you have to ask yourself is, if Not Yet, then when?”
DC 454LP MONOTONIX: Not Yet LP (DC 454LP) 15.00
LP version.
DC 455CD SIC ALPS: Napa Asylum CD (DC 455CD) 13.50
“Napa Asylum is the Sic Alps in 2010 — two and one half years since the fabled release of US E.Z.! Napa Asylum accounts for the swift tilt of time since aught-eight with twenty-two crafted tracks bubbling in the reverb tank. The Alps are in the summer of their years, where they suddenly find a minute to reflect on the breaking down of the years previous. Napa Asylum is overfull with Sic pleasures, echoing half-emptily like they do as the hooks slide into your flesh, animating you marionette-style to tip-tat your way across the dance-floor. Let’s away to the Tascam 8-Ball! Themes from Napa Asylum include re-incarnation, magic and schizophrenia. SUCH AS: ‘The First White Man to Touch California’ ties the ‘discovery’ of California to the recent mortgage crisis. ‘Zeppo Epp’ tells parallel tales from Midwestern homes: Zeppo Epley drives off to never be heard from again while Charlotte Muldeen breaks up with her girlfriend and joins the Navy. And there’s more, lots of it there, all dripping through a $100 preamp for your misunderstanding. Yeah, the sound reflects a minimal set-up, but don’t let them fool you. The process is the flavor — and three albums in, you can still get in on the ground floor, ’cause Sic Alps always record in the basement. Get down your steps while you can, the songs are as short as they are bitter-sweet. But the one that ends just makes way for the one coming next.”
DC 455LP SIC ALPS: Napa Asylum 2LP (DC 455LP) 20.00
Deluxe heavyweight gatefold 2LP version.
ECHO 049EP MIKKEL METAL: Pamon 403 EP 12″ (ECHO 049EP) 12.00
Echocord is proud to release a new killer EP by Mikkel Metal. All 3 tracks are made for the dancefloor — stripped-down, dubby techno tracks. Again, Mikkel moves into another direction, more dirty, raw and minimal, but at the same time you can immediately hear that it’s a Mikkel Metal release. Fans of Omar S. and Kassem Mosse should pick this one up.
OPX 006CD ITO, ATSUHIRO: Experimental Music of Japan Vol. 6: R.G.B./Pre OPTRON 1999 CD (OPX 006CD) 25.00
This CD is a remastered reissue of a very limited CD-R released by Omega Point in 1999. This is the sixth volume in Edition Omega Point’s Experimental Music Of Japan series. Atsuhiro Ito was born in 1965. He launched his career as a visual artist in the late ’80s, and in ’98 began presenting sound performances at art exhibitions. Ito made use of fluorescent lighting (which is also an element of his art installations) in the creation of an original musical device called the Optron. In addition, Ito is active in a number of musical units. One of these is Optrum, the explosively loud “extreme optical noise-core band” consisting of Ito and drummer Yoichiro Shin, and another is free jazz trio Kazuo Imai Trio with Kazuo Imai, a guitarist who is also a member of Marginal Consort, and Manabu Suzuki (electronics). He published his own label Gotobai Recordings in 2009. “My homemade instrument is called the Optron — it outputs flicker-noise of fluorescent lamps as sound directly. In the early years of its conception, it was not only uncontrollable and unstable, but also the sound was so barbaric. However, I had no intention of controlling the system and performing it as music. I recorded the electric ‘phenomenon’ by flicker of fluorescent lamp innocently. I first named the Optron sound system when I performed a live show after the release of the CD-R. The sound materials of this CD-R were not recorded as noise-performances, but rather, they would be called recordings of phenomenon as effect from experimental works, and an extension of my installation works. This ‘fluorescent performance’ had not gotten a good reputation from my acquaintances in those days. However, I was interested in the lights and sounds simply, and it is not too much to say that it’s only a feeling of ‘wow, it’s so exciting!'” –Atsuhiro Ito; Housed in a cardboard paper gatefold sleeve with newly-written liner notes in Japanese & English by the artist himself. Limited edition of 400 copies only.
OPX 008CD UEHARA, KAZUO: Experimental Music of Japan Vol. 8: Assemblage CD (OPX 008CD) 25.00
This is the eighth volume in Edition Omega Point’s Experimental Music Of Japan series. Japanese composer and synthesizer artist Kazuo Uehara was born in Osaka in 1949. He studied composition in Tokyo and in New York and is a Professor of Music at the Osaka University of Arts, teaching composition, experimental music and also multi-media performance. His music has been performed in France, Germany, the U.S., and other countries and he has also performed his interactive live music and multi-media pieces at major festivals in Sweden, Bulgaria, Russia, France, Poland, Brazil, China, Korea and other countries. He was the main prize-winner at the Bourge International electroacoustic music competition in 1983. In 1990, he was awarded a grant from the New York State Council on the Arts. He has been producing the International Festival for Contemporary Music in Japan since the 1980s. “‘Assemblage’ is a word from the domain of modern art. This is one of the techniques in the expression of art. The word means ‘mixture,’ originally. I decided that assemblage would be the concept of this CD. A collage by Picasso is similar example. Dadaism is also another similar example. I try to express new directions in music by using the assemblage technique. ‘Music Collage Re-Mix Version’ is based on the live recording of a performance from Brazil in 1989 — a collaboration with a Brazilian dancer and her voice. ‘Pont De l’Alma De Paris’ was a piece composed at INA-GRM, which is well-known as the place where musique concrète was created by Pierre Schaeffer. The title of this piece ‘Pont De l’Alma’ is the name of the metro station in Paris. I tried to express the harmony between traditional images and contemporary images of Paris. ‘OTO Mandala 2’ — usually a mandala is created as a visual image but in this piece I tried to create a mandala image by using sound with bandoneon by Miho Kurosawa. ‘Sound Work 1’ is the first piece I composed by using a personal computer. I used NEC PC 8-bit which came out in the beginning of the 1980s. I tried to create very simple synthesized sounds. ‘Forest Of Gombe’ is a piece on the subject of nature from a chimpanzee’s forest in Africa. ‘Assemblage 2004’ was composed using the assemblage technique using various sounds, noises from nature and instruments like piano and biwa. ‘Meteora Version 1.0’ is the name of a strange rock from the northern part of Greece. ‘Meteora 1’ is created as acousmatic music.” Housed in a cardboard paper sleeve. Including newly-written liner notes in Japanese & English by the artist. Limited edition of 400 copies only.
DEMEGO 015LP THYMOLPHTHALEIN: Ni Maître, Ni Marteau LP (DEMEGO 015LP) 19.50
A key ingredient in disappearing ink, Thymolphthalein describes the working method of this brilliant French-Australian quintet. Leader Anthony Pateras (Pivixki) conceived a detailed hour-long structural premise for the group’s first tour in 2009, creating a masterful pastiche of richly dynamic, timbrally-devastating explorations for electroacoustic ensemble, melded by his own distinctive prepared piano and analog electronics. Natasha Anderson combines buzzing slabs of electroacoustic sound with fractured acoustic gestures, sculpting exquisite perceptual explorations with recorders and electronics, producing a poetic and uncanny otherness. Will Guthrie expertly fuses the drum kit with an array of homemade electro-acoustic devices to produce a fluid cataclysm of sonic richness, melded by his searing technical prowess and faultless ear. Jérôme Noetinger is THE live concréte maestro, electro-acoustically manipulating his bandmates with expert timing and breathtaking invention, scrambling proceedings with the occasional ring-modulated depth charge. Clayton Thomas’ thoughtful and virtuosic prepared double bass playing has taken Europe by storm since moving there from Sydney in 2007 — part groove cannon, part kinetic sculpture, all parts BAD bass skills. Natasha Anderson (contrabass recorder and electronics), Will Guthrie (percussion and electronics), Jérôme Noetinger (tape machines and electronics), Clayton Thomas (double bass and preparations), Anthony Pateras (prepared piano and analog synthesizer). All music by Thymolphthalein, performed live at SWR2 New Jazz Meeting, Gare du Nord, Basel, November 15th, 2009. Cut at Dubplates & Mastering, Berlin — 45 rpm. Edition of 500 copies.
Lavish gatefold for the vinyl 2LP version. It would be too easy to simply call IIRON the COH metal album, as it goes way beyond that. True, this album of classic Ivan Pavlov stompers contains more than its fair share of guitars both acoustic and electric, yet it still maintains that sense of power and purpose through electronic music which stands out as the COH “raison d’être.” Coming 11 years after IRON (Wavetrap, 2000), which also tackled the sound of rock with alarming results, the new album features not only recent guitar tracks recorded at Music Research Centre at York University, but also recordings made during Soviet-era Russia, which refer to Pavlov’s underground music activities in the early ’80s when making or even consuming of “metal music” was forbidden. IIRON is a powerful, well-executed electronic rock record, with just a dash a humor to keep it from becoming pompous, as so much of that kind of music can be sometimes. With stunning artwork by Stephen O’Malley (Sunn O)))). Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, November 29th, 2010. HAIL TO WORLD PEACE AND DEATH TO FALSE METAL. In memoriam: Satoshi Kon and Peter Christopherson.
EF 031EP BASANOV & VIDIS (FEAT. KATHY DIAMOND), MARIO: In My System 12″ (EF 031EP) 12.00
This is the debut release from Lithuania-based producers Mario Basanov & Vidis on Endless Flight. They have also released on Future Classic, Under The Shade, Mantis, and their own imprint, Silence Music. One of their tracks was licensed for a Gilles Peterson mix CD and supported by Ewan Pearson. This time, they teamed up with nu-disco diva Kathy Diamond. The original version is dark, dubby, downtempo vocal stuff and Soft Rocks’ remix is slo-mo ambient house. There’s also a dub version.
ENS 1010LP HAYES, ISAAC: The Isaac Hayes Movement LP (ENS 1010LP) 11.50
Exact repro, originally released in 1970 on this Stax subsidiary label. Four magnificently-orchestrated tracks including “I Stand Accused” and “Something.” If Hot Buttered Soul was for love-making, The Isaac Hayes Movement is for getting it on.
With a similar interest in urgent, atmospheric moments for the dancefloor, Berlin-based Ed Davenport & Oliver Deutschmann are both established producers in their own right. “Trump” runs over ten minutes, focusing on a central, ethereal theme that resonates above a rigid wall of percussion. Jerome Sydenham’s dynamic, accurate remix draws us deep into his mechanic-organic sound. NYC-based Brendon Moeller’s bass heavy, urgent mix honors the groove of the original and morphs it pleasingly into more spaced-out zones.
FAUXPAS 001LP DESOLATE: The Invisible Insurrection LP+CD (FAUXPAS 001LP) 22.00
This is the fifth release by the Hamburg-based record label Fauxpas Musik. Just in time for their first anniversary, they publish German anonymous producer Desolate’s debut album The Invisible Insurrection. In January 2009, his first EP was released and now the time has come for his first LP, and of course, this imprint is pressed on vinyl. The dark but dynamic sounds of Burial and the spheric, spacy atmosphere of Boards Of Canada seem to be basic inspiration points for Desolate. Available in a limited 180 gram vinyl edition plus a bonus CD with extra tracks.
SFIRE 1581EP SPACEMEN 3: Walkin’ With Jesus 12″ (SFIRE 1581EP) 15.00
“First 12″ single for Glass Records released in 1986. Contains the early version of ‘Walkin’ With Jesus (Sound Of Confusion)’, the full 17-minute monster rampage through the 13th Floor Elevators’ ‘Rollercoaster’ and the original ‘Feel So Good’. Comes with the original insert.” 180 gram vinyl.
GF 247CD DIRTY MARTHA: This Is It CD (GF 247CD) 13.00
“From New Jersey, the ‘sister band’ Of Chaplin Harness. Their great and unreleased 1969 psych gem recorded in the same studios as Chaplin Harness I & II.”
GH 246EP AUTHORITIES: Soundtrack For Trouble 7″ (GH 246EP) 4.50
“Snarling straight out of Stockton, California and back on vinyl for the first time in over 25 years, the Authorities have re-released their classic and much coveted Soundtrack for Trouble EP 7″. Originally released on Selecta in 1982, it features the Killed by Death classics ‘Radiationmasturbation,’ ‘I Hate Cops,’ ‘Achtung!’ and ‘Shot in the Head.’ The reissued EP also includes 2 never before released recordings of ‘Between the Thighs’ and ‘LSD.’ Find out why record collecting scum have scoured the earth trying to get their filthy little mitts on this rare 7″ gem.”
HIGH 089EP ANDRI: Up Lantis EP 12″ (HIGH 089EP) 12.00
Swiss artist and producer Andri says: “The people on the dancefloor should be able to experience the story of my sets and completely forget themselves.” But while his sets and tracks are carefully composed, they also retain a sense of humor. This is the case with this Highgrade release: the tracks skillfully play with original samples, crackling beats and sexy bass lines, developing a very unique field of tension, punctuated with a lot of fun-filled Andri groove trademarks.
HMC 007CD ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O./STEARICA: Stearica Invade Acid Mothers Temple & The Melting Paraiso.. CD (HMC 007CD) 18.50
“The long-anticipated collaboration between Acid Mothers Temple & the Melting Paraiso U.F.O. & Stearica. In November 2008 AMT and Stearica toured extensively around Europe. Acid Mothers Temple & the Melting Paraiso U.F.O. is a legendary Japanese psychedelic band founded in 1995 by members of the Acid Mothers Temple soul-collective and have a reputation for phenomenal live shows and releasing frequent albums on a number of international record labels. Stearica lives a rare story for an Italian band, made of international collaborations with artists like Dälek (Ipecac), Amy Denio (Fred Frith, Derek Bailey), Jessica Lurie (Bill Frisell, Nels Cline), Nick Storring (Damo Suzuki network, Picastro). This record is a picture which was shot on the 32th day of AMT and Stearica European tour 2008.”
HMC 007LP ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O./STEARICA: Stearica Invade Acid Mothers Temple & The Melting Paraiso.. LP (HMC 007LP) 32.00
Gatefold LP version.
HYPE 019EP DEMAC, TOM: Swimming In My Mind EP 12″ (HYPE 019EP) 12.00
Tom Demac presents an EP of depth, girth and weighty cuts for Hypercolour. “Swimming In My Mind” boasts swirling synths, punchy toms and church organ bass, collectively structured to create a future house cut of the finest pedigree. The mixes come firstly from Tom himself, who turns in a non-4/4 bass-heavy workout. Dave Aju matches Tom’s original with his own forward-thinking take on electronic music — shuffle house vibes with bass bubbles throughout, underpinned by an off-kilter sub bass.
HDB 045EP TERROR DANJAH: Grand Opening (Undeniable EP 1) 12″ (HDB 045EP) 12.50
“Three contrasting cuts from Grime Super Producer Terror Danjah’s Hyperdub debut CD Undeniable, housed in a color jacket replicating the album’s lush sleeve artwork. The first track, aptly titled ‘Grand Opening,’ pits Dream Mclean’s masterful myth-making lyrics and uber-brags against portentous choral samples and jabbing bass synths. ‘Story Ending’ contrasts in mood and feeling, opening with lush trance string arrangements and off-beat kicks and scattered snares laced by an R&B vocal, before the track breaks into some seriously warped synths.”
HDB 046EP TERROR DANJAH: Minimal Dub (Undeniable EP 2) 12″ (HDB 046EP) 12.50
“The second EP taken from Terror Danjah’s Hyperdub debut CD Undeniable features three different styled cuts landing for the vinyl lovers. ‘Minimal Dub’ starts proceedings, switching between half-time and full pelt with stop-start drums and a catchy rubber band-like melody played out in the bass. But it’s the unexpected tech breakdown in the middle, and the synth-line that appears on the drop that makes this the dance floor slayer that it’s rapidly become. Its growing momentum has already been infecting ears across genres.”
HDB 047EP TERROR DANJAH: S.O.S. (Undeniable EP 3) 12″ (HDB 047EP) 12.50
“The third EP taken from Terror Danjah’s Undeniable CD kicks off with one of the big surprises of the album, the inimitable genre-traversing ‘S.O.S.’ with a simple melodic riff played out over drum patterns that shift up in down in rhythm and tempo, grinding to a halt in the middle of the track before starting up again. ‘Sonar (Selassi Mix)’ is a beatless mix of Terror’s classic grime riddim ‘Sonar,’ where the originals rhythmic fx and melody pulse in and out of the mix creating strange smeared textures as sounds rub against each other.”
IDEAL 015EP SEBROK: Out In Miami 12″ (IDEAL 015EP) 12.50
Berlin producer Sebrok makes his debut on IDEAL with an homage to one of his favorite cities. The Out In Miami EP sees the German matching dark electronic touches with fresh, organic, percussive sounds on both tracks. Not just an artist, Sebrok (alongside good friend Marc Miroir) is also the owner of Paso Music. Recent releases have seen Sebrok’s Dangerous EP as well as his huge co-production with Tassillo.
IA 122CD JUNK CULTURE: Summer Friends CD (IA 122CD) 11.00
“Junk Culture developed the sound for his newest release, Summer Friends, from sounds captured on a handheld recorder. Drawing on the vibrant harmonies, psychedelic noises & dance rhythms that saturated his environment, he created alluring melodies using guitar, keyboard, & percussion & his own explosive vocals. The warm euphoric tunes he emerged with reflect a compelling range of influences that include everything from west-coast style pop to hip-hop mash-ups & raw punk-informed electronic dance tunes.”
IME 024EP MANABOO: Delinquent/SB Massive 12″ (IME 024EP) 12.00
The next single release from the Immerse label sees Brendon Moeller and Shigeru Tanabu reappear under their Manaboo moniker for some superb electro-techno and broken beat mayhem. “Delinquent” is a wonderful slice of electro-fuelled techno that comes on like the modern bastard child of Lil’ Louis and Model 500. “SB Massive” is a dubbed-out journey into the outer realms of bass-heavy electronica, taking in off-kilter drums, delayed chords and the heavily effected “Sound Boy Massive” vocal — pure class.
INTSPE 003EP LEUTWYLER, MATHEW: The Wilderness EP 12″ (INTSPE 003EP) 12.00
Internasjonal presents Mathew Senick aka Mathew Leutwyler. Mathew got in touch through the web from Mexico and it took the label only a brief listen to this troika of wonderful sounds to convince them. Now decide for yourself if there’s something wrong with their ears. P.S.: my computer tells me he’s had releases out on Perspectiv and Traum — I’ll definitely investigate further, so should you.
ITS 005CD RVDS: Moments CD (ITS 005CD) 17.00
This is the first full-length album on the It’s label for Germany’s Richard von der Schulenburg aka RVDS. It’s deep, acid, fragile, party, lonely, and special. After the EP Waiting, Kiss And Love comes Moments, inspired by classic deep and acid house. Old instruments such as the TR-808, Roland JP-6, Wurlitzer E-Piano and some others are combined with new accents, but always with a special bent towards Detroit music. Special tips go towards the tracks “Acid Dream” and the vocal track “Pain.”
“With The Outsiders still spoken of in hushed tones in even the deepest circles, we’re thrilled to help shine some light on what might be one of the most underrated bands ever. Originally released in Holland in October 1968, CQ (pronounced ‘Seek You’) was the third and final album by Dutch garage punks The Outsiders. These rowdy teenagers from Amsterdam were part of the thriving ‘Nederbeat’ scene with the band taking their cues from British and Stateside garage acts of the day (including singing entirely in English). ‘CQ’ spans R&B, spacey experimental numbers, folk rock and a revved-up kind of punk that pre-dates the angular moodiness of what would become the no wave/post punk sound a decade later. This unpredictable stylistic approach, when coupled with across-the-board amazing songs, make this one of the masterpieces of late ’60s psychedelic garage rock, and a cornerstone album of the genre. Pressed in a vinyl-only limited edition, this deluxe reissue is replicated precisely with gorgeous silver foil cover art. Extensive liner notes include a 2009 interview with lead guitarist Ronnie Splinter about the recording of the album and an exclusive introduction by Mike Stax, editor of Ugly Things magazine.” Gatefold sleeve.
LDN 019EP LHF: EP2: The Line Path 12″ (LDN 019EP) 12.00
“Together, LHF have got this sound like Sun Ra’s hijacked Rinse FM and is using it to communicate with the heavens. Buried inside one corner of the LHF collective is a junglist fighting his way out: these guys have got drumz. Other members of the collective remind me of Horsepower’s ability to transport you to lands far, far away: to Bollywood films or damp Brazilian riverbanks. I’m just lost in their sound right now…” –Blackdown
MJJ 310LP MOLOCH: Moloch LP (MJJ 310LP) 27.00
“Formed in Memphis in 1968 by blues guitar legend Lee Baker. Upon hearing Baker play, Jimmy Page is said to have commented, ‘that’s the best white bluesman I ever heard!’ Produced, written and arranged by Don Nix (Mar-Keys and Paris Pilot) at Memphis’ Ardent Studios, Moloch’s 1970 debut album was an excellent mix of hard blues and acid rock, with amazing guitar solos by Baker. It was also the first time the song ‘Goin’ Down’ appeared on record (famously covered by Jeff Beck). Although Moloch definitely had the chops to make it big (apparently Freddie King covered a few of the band’s songs and would hang out and jam with Baker whenever he was in town), they lacked distribution. The band also got panned in Rolling Stone magazine, but Rolling Stone also panned Led Zeppelin’s first albums, so…”
KOM 224EP FEHLMANN, THOMAS: Titan One/DFM 12″ (KOM 224EP) 12.00
On October 16, 2010, Thomas Fehlmann performed in Montreal at the historic Molson Coors Brewery building together with members of the Montreal Symphony Orchestra. Together, they sought to recreate a version of Gustav Mahler’s classic “Symphony No. 1 (Titan).” This is a new recording inspired by that performance renamed as “Titan One.” The B-side features a new recording inspired by the second piece of the performance — a new version of Fehlmann’s “Du Fehlst Mir” from his 2006 album Visions Of Blah (KOMP 020CD/KOM 067LP).
KOMP 087CD VA: Pop Ambient 2011 CD (KOMP 087CD) 14.50
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.
KYE 004EP VINCENT OVER THE SINK: Dust Studies 7″ (KYE 004EP) 9.00
“Memorial release from the Sydney-based duo of Matthauw Hopkins and Christopher Schueler (RIP). Over a handful of lathes/CD-Rs and the mind-boggling 22 Coloured Bull-Terriers cassette, Vincent Over The Sink managed to cloud the backwaters of Australian culture with a haze of rustic electronics, late-night guitar habitats and broken song. This is music made by and for those who find themselves ‘thinking about music but then digging a hole.’ Dust Studies offers up four distressed miniatures that put the fortunate listener somewhere between Ladder of Souls and Golem. The perfect place to pay a final respect. Dust Studies comes in a hand-numbered edition of 300 copies with cover art by Graham Lambkin.”
LP version, limited to 1000 copies. “Limited edition of 1000! Here Alexander Tucker carefully constructs his Latitude session, layering fully orchestrated pieces from deceptively simple beginnings using guitar, mandolin, cello & most importantly his voice. It’s Tucker’s voice which has always set him apart from other psych/folk explorers: wonderfully English & simultaneously other-wordly, something of his humble & extremely thoughtful nature comes through his self-harmonising & often wordless refrains. Along with a playful sense of humor you can sense something quite melancholy at its core.”
GMT 022LP NADJA: Sky Burial LP (GMT 022LP) 17.00
LP version, limited edition of 1000 copies. “Limited edition of 1000! Crafting two lengthy slabs of crushing yet ethereal instrumental material, Nadja have once again upped expectations. Their highly unique strain of doom-infused shoegaze is little short of trance-inducing beauty.”
GMT 024CD MASTER MUSICIANS OF BUKKAKE: Elogia de la Sombra CD (GMT 024CD) 14.00
“Limited edition of 1000! Master Musicians Of Bukkake are an enchanting collective, comprising a fine pedigree of musicians from bands as diverse as Earth, Sun City Girls and Burning Witch. With an amalgam of global influences drawn from music, philosophy, mysticism, and the kitchen sink, they are difficult to pigeonhole, but this is to their credit as Master Musicians are entirely original and when they come together, the result is truly magical.”
LR 322LP JOHN, ELTON: The Covers Record LP+CD (LR 322LP) 27.00
“Back in the days when full-length LPs were still considered a luxury item, record labels devised a way to get people to buy them: hire an unknown singer to do a full-length album’s worth of cover versions of all the latest hits. People bought these albums because it was an affordable way to amass a collection of the latest hits, and cheaper than buying the original singles. In the late sixties Elton John was one of these ‘unknown singers’ and although the cover albums did not afford him with much creative room (given that by contract he was not allowed to reinterpret any of the covers), they did pay the rent. An interesting glimpse at Elton before he became a pop star…who knows if his mastery of the pop song is not in some small way owed to this early apprenticeship inside the belly of the beast. Includes ‘Lady D’Arbanville’ (Cat Stevens), ‘Cottonfields’ (Beach Boys), ‘I’m A Natural Sinner’ (Fair Weather), ‘Travelin’ Band’ (Creedence Clearwater Revival), ‘It’s All In The Game’ (Four Tops), ‘Signed Sealed Delivered’ (Stevie Wonder), ‘Spirit In The Sky (Norman Greenbaum), and more!”
LR 323LP SANTANA: Tiger’s Head 2LP+CD (LR 323LP) 37.00
“In 1969 at Woodstock, a relatively little-known band from San Francisco, led by a young guitar virtuoso named Carlos Santana, wowed audiences with their new breed of Latin-tinged rock. The festival catapulted Santana’s self-titled debut album to the number one spot on the U.S. charts and on to superstardom. However, before Woodstock, Santana had been playing live around the Bay Area for more than two years, as these recordings, a collection of live tracks recorded during that early period (1968/69) at different Bay Area locations, can attest. Featuring Gregg Rolie (later of Journey) on organ. Features early versions of classic Santana tracks ‘Jingo’, ‘Soul Sacrifice’ and more.”
MOBILEE 073EP MISS KITTIN: All You Need 12″ (MOBILEE 073EP) 12.00
Mobilee brings you a very special release from Caroline Hervé aka Miss Kittin. “All You Need” brings her sultry yet punchy vocals back to the floor with a classic electro bass line. With a remix from Lee Van Dowski, it’s not for the fainthearted. Enjoy!
LOVE 067CD DEMDIKE STARE: Tryptych 3CD (LOVE 067CD) 25.50
2011 sees the release of Demdike Stare’s Tryptych, a lavish triple CD production that brings together three albums that have previously only been available on vinyl (Forest Of Evil, Liberation Through Hearing, Voices Of Dust), plus an extra 40 minutes of bonus material recorded during the same sessions. Demdike Stare is a project made up of two insatiable vinyl collectors based in the north of England: Sean Canty (who works for the esteemed Finders Keepers label) and Miles Whittaker (a long-time producer and DJ who has released music under the MLZ moniker and as part of Pendle Coven) The music Demdike Stare make is hard to pin down, based largely around archival musical sources ranging from obscure library records to long-forgotten jazz, early electronic, and industrial recordings, alongside an array of Iranian, Pakistani, Turkish and Eastern European material largely unknown in the Western world. Demdike Stare absorb and re-align these found sounds via their ever-expanding array of analog machines, ending with something that is in part plunderphonic, but ultimately completely new. Their music has sometimes been lumped in with the hypnagogic, hauntological and, most recently, “witch house” movements, but ultimately, Demdike Stare should appeal to anyone with an interest in everything from classic KPM Library records through to the music of Basic Channel and all the way to the smudged, altered-realities of James Ferraro and The Caretaker. That is, at least until the next record, when the frames of reference might just change up and take them somewhere completely different. Housed in a beautiful triple gatefold fold-out profile pack. Mastered at Berlin’s D&M. Artwork by Andy Votel.
MK 333LP SMITH, BESSIE: Them’s Graveyard Words LP (MK 333LP) 22.00
“Bessie Smith was the greatest of all pre-war blues singers, and perhaps the greatest female blues singer of all time, as these meticulously restored sides from the very apex of her career in 1927 so divinely prove. At six feet tall and over 200 pounds, she belted out the blues of America’s poor and downtrodden with a passion not heard before or since. In her short lifetime (she died in a car accident at age 42), she made close to 200 recordings, teaming up with just about every talented black musician of her day, including Clarence Williams, Charlie Green, Joe Smith, James P. Johnson, Louis Armstrong and Fletcher Henderson, to name just a few. The ‘Empress of the Blues’ fought her way to the top of the recording industry to become the biggest selling and highest paid black recording artist of the roaring twenties, and it was also in no small part thanks to the sales of Smith’s ‘race records’ that Columbia Records was saved from bankruptcy. These recordings all made in New York City in 1927 include her best known sides, including ‘Back Water Blues’, ‘Nobody Knows You When You’re Down And Out’, and ‘After You’ve Gone’.”
MK 334LP ELLINGTON & HIS ORCHESTRA, DUKE: Jubilee Stomp LP (MK 334LP) 22.00
“During a career spanning half a century, Duke Ellington and his orchestra composed enough songs to keep jazz musicians busy for the next half. During this time he also popularized jazz as a legitimate form of music to white audiences through his nightly performances at Harlem’s legendary Cotton Club, beginning in 1927. 1927 was a watershed year for Duke Ellington, not only did he land the prestigious Cotton Club gig (and the nationwide radio broadcast that went along with it), but it was also the year that Ellington signed a lucrative deal with agent Irving Mills. Mills introduced Ellington to an even wider audience, getting him recording sessions with Victor, Columbia and Brunswick. His reputation grew and by 1929 he was starring in the groundbreaking all-African American RKO short film Black And Tan. These recordings, all from 1927 and 1928, mark those significant years when Ellington was a swiftly rising star.”
MK 335LP MCTELL, BLIND WILLIE: Searching The Desert For The Blues 2LP (MK 335LP) 34.00
“The ‘King of the Georgia blues’ and a master of the 12-string guitar, Blind Willie McTell is credited with having created an entire subgenre of the blues by mixing the hard roots of the Delta style with the more refined East Coast style (Piedmont Blues). Although McTell had been busking for change since his early teen years, his official recording career began for Victor in 1927 in Atlanta, Georgia. This 32-track collection of rare sides — originally released on Okeh (as Georgia Bill), Victor (as Hot Shot Willie) and Vocalion (as Blind Willie) — finds McTell playing alongside another amazing Georgia blues guitarist, Curley Weaver, and backing two fine Atlanta blues singers Ruth (Mary) Willis and Ruby Glaze.”
MUSIQ 052EP VA: African Calling Vol. 1 12″ (MUSIQ 052EP) 14.00
“Mule Musiq proudly introduce the new artist & music in South Africa. There are huge deep house scene in South Africa. You already know the one of the star in South Africa ‘Culoe De Song’ who release on Innervisions and Mule Musiq. On a side, the music remind Joe Claussell or that kind of music but ‘Moodswings’ put more unique touch. On b side, the music is bit closer with Chilean stuff than Afro house. So their unique music is like a fusion of Joe Claussell and Henrik Schwarz and Luciano.”
ZEN 166LP IGOR BOXX: Breslau LP (ZEN 166LP) 17.50
LP version. “Igor Boxx known also as Igor Pudlo (from Ninja Tune’s Polish act Skalpel) is opening a new decade with his first solo album, Breslau. Skalpel have released two acclaimed albums on Ninja Tune — Skalpel (2004) and Konfusion (2005) have become one of the most important Polish music exports, well received both in Poland and internationally. In Igor’s solo debut album, the inspiration comes like before from his home country and his home town. Breslau tells a tale of 1945 siege of Festung Breslau undertaken by the Red Army. The historical background might mean nothing to an average listener not familiar with the multinational and multicultural history of Breslau (now known as Wroclaw) but this journey is musically so emotional and powerful that it allows anyone to follow the story.”
NOF 004LP GONZALES: Solo Piano LP (NOF 004LP) 23.00
Originally released in 2004, the No Format label makes this highly-acclaimed record available on vinyl. Over the last 10 years, Gonzales has transformed himself from Berlin-based underground entertainer to Paris-based pianist and producer. From a collaboration with Daft Punk to a piano concert for David Bowie’s Meltdown Festival in London Royal Festival Hall, Gonzo straddles the underground and the overground. Since 2003, Gonzales has been based in Paris, producing with Renaud Letang (Manu Chao’s co-producer). His role is to arrange and play all the instruments, on albums by Jane Birkin, the Canadian singer Feist and Charles Aznavour — until Mr. Aznavour fired the Gonzo-Letang team late in the game and started over. This gave Gonzales even more time to prepare Solo Piano, 16 themes for left hand accompaniment and right hand melody; the influence of French piano style (Ravel, Satie) as filtered through Canadian folk and American jazz (Nina Simone, Keith Jarrett). Throughout the album, Gonzales’ former job as silent film accompanist shines through. Pressed on white vinyl housed in a full-color inner sleeve with an insert.
NOF 013LP LAVEAUX, MELISSA: Camphor & Copper LP (NOF 013LP) 23.00
LP version. Camphor & Copper is Mélissa Laveaux’s first genuine album, produced from the base tracks of her self-produced debut. So is it fair to refer to Mélissa’s sound as an eclectic mix? Without a doubt, how else could it be described? Born in Montreal in 1985 to immigrant Haitian parents, she grew up in Ottawa, Ontario in a mostly Anglophone community. One of her first challenges then was to integrate herself in her new environment without leaving behind anything cherished from her original Franco-Creole culture. Apart from Elliot Smith’s “Needle In The Hay” and Eartha Kitt’s “I Want To Be Evil,” two masterful reinventions that somehow fix the imaginary boundaries of her musical universe, Copper & Camphor is composed of entirely original pieces which combined, reproduce that impressive and paradoxical mixture of maturity and freshness that characterizes all great songwriters. With this album, all of Mélissa’s pent-up creative energy accumulated over years of apprenticeship seems to explode at once, immediately hitting the right note, the minimalist arrangement providing a perfect setting for the poetic impact of the songs’ lyrics. And last but not least, there’s her voice. It unfurls, majestic yet fragile, profound and sensual, deliciously young and immediately seductive. Almost unconsciously, it seems marked by the ever-present trilingualism that has undoubtedly marked her own life: the rhythmic fluidity of English, the nonchalant syncopation of Creole, and the harmonic sophistication of the French. There is no doubt that this album guarantees the singer’s entry into the ranks of the most promising singer-songwriters of our times. Pressed on white vinyl housed in a full-color inner sleeve with an insert. Includes one vinyl-only bonus track.
Originally released in 2009, now available on LP once again. One bare room in Salif Keita’s Moffou studio and three recording sessions without overdubs were woven inside the protective cocoon of the Mali night. Sheltered from the agitation of mankind inside the heart of the world, Ballaké Sissoko (kora player) and Vincent Segal (cellist) chased out of their minds everything that can distance a musician from his art — all the vain considerations of genre and style that only have interest for collectors of labels — the better to concentrate on the essence: harmonious imbrications of language and signatures, and the interlacing of their inner song, to which the subtle waves of improvisation and the secret vibrations of silence contributed additional density. Their complicity is such that the kora and the cello, far from resulting in an overly formal exchange of rejoinders, seem to express themselves here with a single voice: Sissoko and Segal mix their blood and their sounds to conclude a pact that aims to cause a (precisely) unified world to spring forth with incomparable clarity. What the listener hears in Chamber Music is both rare and precious: two sensibilities in unison, on the same wavelength, creating music which, literally, follows naturally. This art of conversation based on understanding, on the attentiveness of one musician towards the other, is developed here to its highest degree of exactness. The care brought to the human aspect of all music is something that Sissoko and Segal have been cultivating for more than two decades. Sissoko’s strings have notably crossed paths with those of Taj Mahal and the pianist Ludovic Einaudi, while Segal has enjoyed many roles as an accompanist, arranger and producer with such diverse performers as Cesaria Evora, -M-, Blackalicious, Piers Faccini, Sting and Marianne Faithfull. Formerly stable-mates at the same label (Label Bleu), the two men formed a close bond of friendship, and you can hear this clearly. Pressed on white vinyl housed in a full-color inner sleeve with an insert.
PAPRBOX 009CD VA: Circus Days: Pop Psych Obscurities 1966-1972 6CD BOX (PAPRBOX 009CD) 67.00
Roll up! Roll Up! Spread over six discs, the Past & Present label proudly presents over 100 of the finest pop, psych and popsike gems ever mined. Dating from the glory days of British flower power, the set encompasses performances both by familiar acts (Vashti, Arzachel, The Factory) and lesser-known ones (Rhubarb Rhubarb, Blue Yoghurt, The Katdz), and even a smattering of clowns (Bob Monkhouse, Peter Cook & Dudley Moore spring to mind). Coming complete with a packed program featuring many rare pictures and sleevenotes by Nick Saloman (The Bevis Frond), this is one freakshow you’ll want a ringside seat for! Other artists include: Clover, Los Brincos, Lomax All-Stars, Stars, Head West, Waterloo, Johnny Burton, Tandem, The Penny Peeps, Jon Plum, Nick Garrie, Dry Ice, Alex Harvey, The Fruit Machine, Orange Peel, The Smoke, Nimrod, The Fingers, Blonde On Blonde, The Green Scarab, Cirkus, Tamara Koran And Perception, The Wire Machine, Hat & Tie, The Actress, Shy Limbs, The Churchills, The Lovin’, The Summer Set, Thane Russal, Earth, Druid Chase, The Mirage, The Marianne, The Fenmen, The Living Daylights, The Medium, Cat’s Pyjamas, Jerusalem, Kate, Opus, Andromeda, Bent Frame, The Answers, Juan & Junior, Cardboard Orchestra, Broken Toys, Shubert, Temple Row, Jon Isherwood, Peter & The Wolves, The Cortinas, Tuesday’s Children, Tomorrow’s Thoughts, Rainbows, The Worrying Kynde, The Secrets, Threshold Of Pleasure, David Copperfield Style, Jason Crest, The Sweetshop, Dave Justin, Cecil McCartney, Pattern People, Juice, The Scots Of St. James, Together, Price & Sheridan, The Cymbaline, Timothy Grass, Queen Flora’s Recollections, Motivation, Leze Majesty, The Idle Hands, Green Pavane, The Amelia Smile, The Factory, The Essence, The Majamood, and six mystery tracks.
PE 6604LP FRED & THE NEW J.B.’S: Breakin’ Bread LP (PE 6604LP) 11.00
Exact repro reissue of this 1974 release and the J.B.’s last album for the People Records label. Tracks include “Rockin’ Funky Watergate,” “Makin’ Love,” “Funky Music Is My Style” and “Step Child.”
PERMVAC 064LP ROSSI, GIANNI: Star Vehicle: The Original Motion Picture Score LP (PERMVAC 064LP) 17.00
Star Vehicle: The Original Motion Picture Score is classic Gianni Rossi, seamlessly blending disco and rock in ways never before imagined. Italo/Canadian composer Gianni Rossi, once considered the world’s top session keyboardist, has had his share of ups and downs. By age 25, he had scored several minor dance hits in Central America. He owned condos on both sides of the Atlantic and a private jet to get him back and forth. But by 30, he was in a penitentiary somewhere in Eastern Europe — where he would remain for 15 years. In 2009, after a failed political career and many trips to Betty Ford, Rossi returned to the spotlight with Gutterballs: The Original Motion Picture Score. The highly original disco rock sound captivated the world, though Rossi soon found himself back in rehab. But now he’s back again, working once more with director Ryan Nicholson on his latest slasher film, Star Vehicle.
PERMVAC 069EP DMX KREW: The Game 12″ (PERMVAC 069EP) 12.00
Permanent Vacation is very proud to present a four track EP with new material from DMX Krew. “The Game” is a great synth pop/new wave track in the best DMX Krew tradition with a massive Chicago bass line and Ed’s distinctive vocals. In the “Dance Mix” the original gets “electronicized” by Ed himself for heavy dancefloor action. The flipside sees two analog boogie disco house tunes of the highest order.
When released in 1973, Make Up, with its incredible faux-leather imitation attaché case outer bag, looked every bit the last word in over-the-top packaging and now originals, complete and in good condition, fetch hundreds of dollars in the collectors’ market. However, despite the lavish packaging, Make Up did little to enhance the group’s already considerable reputation and the various band members went their separate ways immediately after the album’s release. Although the album has been described as “inconsistent,” there are some definite stand-out tracks, and generally Make Up reflects the varied influences that the band drew on throughout their sadly short career. This double album consists of both live and studio recordings and features keyboardist Nobuhiko Shinohara. 2CD housed in a replica outer slip-case and deluxe gatefold sleeve, including the original LP insert. Numbered, limited edition.
ASH 3034CD STRAWBERRY PATH: When The Raven Has Come To The Earth CD (ASH 3034CD) 17.00
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. Digitally remastered. Housed in a unique LP-replica gatefold card wallet in a numbered limited edition of 1,000 copies only.
ASH 3038CD CHEN, SHINKI: Shinki Chen & Friends CD (ASH 3038CD) 17.00
Shinki Chen was one of the leading figures of the Japanese psychedelic rock scene in the early ’70s, seen as a Jimi Hendrix-type figure in Japan at the time. This record, released in 1971 was some of his last recorded material (he also recorded with the band Powerhouse and Foodbrain) in addition to the different band line-up known as Speed, Glue & Shinki and their debut Eve released the same year. While the band’s style is often compared to its Krautrock cousins, it lacks the dreamy directionlessness that a lot of them have as well as the bore factor of the lighter-weight progressive rock acts. Shinki Chen & Friends might lack Joey Smith’s amphetamine-fuelled drumming, but it is generally bluesier with lots of strange keyboard effects, fuzzy bass lines and a relatively weeping guitar sound. Digitally remastered. Housed in an LP-replica sleeve in a numbered limited edition.
ASH 3039CD MAGICAL POWER MAKO: Super Record CD (ASH 3039CD) 17.00
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 numbered, limited edition has been digitally-remastered and housed in an LP replica sleeve.
PF 018LP WIRE: Red Barked Tree LP (PF 018LP) 24.50
LP version. “At a time when back catalogue outsells fresh creativity and newcomers achieve fame by adding a lick of paint to their parents’ record collections, it’s unusual to find a band who, despite plying their trade for decades, are willing and able to make new work that’s as vital and relevant as their own illustrious past recordings. Wire are such a band, and with Red Barked Tree they have succeeded in making a statement that will sound as strong in 30 years as their celebrated historical oeuvre does today. Red Barked Tree rekindles a lyricism sometimes absent from Wire’s previous work and reconnects with the live energy of performance, harnessed and channelled from extensive touring over the past few years. Red Barked Tree was conceived, written and recorded mostly during 2010 by the pared-down lineup of Colin Newman, Graham Lewis and Robert Grey — with no guests. Ranging from the hymnal ‘Adapt’ to the barking sledgehammer art-punk of ‘Two Minutes’, the album encompasses the full range of style and nuance that has always endeared Wire to pastel-tinged pop aficionados and bleeding-edge avant-rockers alike.”
PSR 1001CD GRAY: Shades Of… CD (PSR 1001CD) 13.50
In downtown New York City, in 1979, painter Jean-Michel Basquiat and performance artist Michael Holman founded their industrial-sound band, Gray. Jean named the band after Gray’s Anatomy, an important reference source for his paintings and the perfect name to capture the haunting, machine-like ambient music the band wrote and performed. In the Whitney Museum’s catalog for Basquiat’s 1991 Retrospective, Robert Farris Thompson, professor of Anthropology at Yale, wrote this about Gray: “They worked the Mudd Club, CBGB’s, and Hurrah’s in New York, where Blondie and the Talking Heads were at that time emerging. They performed, in other words, at the epicenter of New Wave. Here they contended for space and recognition with a style that, in Basquiat’s own words, was ‘incomplete, abrasive, and oddly beautiful.'” In an Interview magazine review (Jan. 1981) Glenn O’Brien wrote: “Gray became an industrial sound effects band. They played on scaffolds … Lately, they’ve really developed their own groove… it’s sort of an easy listening bebop industrial sound effects lounge ensemble.” Besides Basquiat and Holman, other members of the original group were Nicholas Taylor, Justin Thyme and Vincent Gallo. Just after Jean-Michel Basquiat’s passing in 1988, Holman, Taylor, Thyme and Gallo re-united as Gray and performed at Basquiat’s Memorial at St. Peter’s Lutheran Church in the Citicorp Building. In 1996, the making of the MiraMax feature production Basquiat brought Gray’s three original members (Holman, Taylor & Thyme) back together as they reenacted one of their legendary gigs at the Mudd Club with Tony Award-winning actor Jeffrey Wright playing Jean-Michel Basquiat. While reenacting their Mudd Club gig, the members of Gray realized that 1990’s pop/ambient music sounded a lot like what Gray was doing in the past. Inspired by their own historic sound, the band decided to return to the studio to create and record new music. This “new” Gray sound evolved from industrial bebop to electronica with poetic vocals and groovy beats. Michael Holman and Nicholas Taylor have now reunited once again to produce the first Gray album ever, titled, Shades Of… on their own label, Plush Safe Records, that harkens back to Gray’s sonic roots — industrial noise melded with electronic atmospheres. This multi-track compilation includes and involves sample tracks from Gray’s earliest recordings and performances, with samples of Basquiat’s music and voice. Included is a solo performance by Basquiat (recorded by Justin Thyme) called “Suicide Hotline,” where Basquiat, in 1980, called a suicide hotline, and in dramatic, and darkly teasing fashion, reads bits of his poetry to the hotline operator, never allowing the operator to know for sure if the “caller” is insane, suicidal, or simply toying with him. The effect of the piece is powerful and disturbing, yet poignant and moving in a way only Basquiat could produce. The other tracks range from Stockhausen-inspired fugues, to trip-hop lanced throw-downs. Holman & Taylor were fortunate to work with John Cale’s drummer Dean Anthony on this new music, as well as fabled Tubes drummer, Prairie Prince and downtown scenester/drummer, Lenny Ferraro. Shades Of… is not only a living piece of New York history, it’s also an audio interpretation of a journey to where Taylor & Holman see the future of music.
KSD 1063LP BROWN, JAMES: It’s A Mother LP (KSD 1063LP) 11.50
Exact repro reissue, originally released in 1969. Lead cut “Mother Popcorn” may have been the smash of its time, but tracks like the instrumental “Top Of The Stack” and the chill groover “If I Ruled The World” are the real thing.
PD 6015HLP BROWN, JAMES: Slaughter’s Big Rip-Off LP (PD 6015HLP) 14.00
This 1973 soundtrack to the blaxploitation film is a burner on cuts like “Sexy Sexy Sexy,” “Transmogrification,” “Happy For The Poor” and “How Long Can I Keep It Up.” Gatefold 180 gram exact repro reissue, originally released in 1973.
PURPLE 001CD VA: Electric Psychedelic Sitar Headswirlers Vol. 1 CD (PURPLE 001CD) 16.00
The first volume in this historic series! Highlights include the layered sitar narration of Ray Brown & Moonstone, Linn County’s doomy up-front electric sitar, J.K. & Co.’s ethereal ocean sounds, Hungary’s Omega Redstar, fast-paced sitar swirl from Louisiana’s The Basement Wall, delicate folk-psych from Abacus, Germany psych/prog from Broselmachine, ’70s Spanish psych-progsters Gualberto, California’s genius flower child minstrel Darius, UK ’60s flower-raga from Blonde On Blonde and UK supergroup The Pretty Things. Other artists: The Frederic, The Flames, July, West Coast Pop Art Experimental Band, Fraternity Of Man, The Misty Wizards, Ramases, Cob, Lord Sitar and The Vampire’s Sound Inc. And it’s true: all of these songs feature the sitar.
REL 016LP ASTER: Rel016 LP (REL 016LP) 17.00
“Aster rel016 is the first release in the rel live series, which documents a show in Boston from 2009. Aster takes a different form in this set moving away from its distinct style of high pitch sustained overtone bends and song structure, pushing more towards a guttural blend of string scrapes and sustained tones in combination with an aggressive form of saxophone and drum textures. Blending guitars, drums and horn with Paul’s unique green box set up. The music moves slowly and steadily through different areas ending, with a sustained drum, string and saxophone section featuring an aggressive but oddly mellow texture and energy. rel016 is a one sided LP housed in a silk screened black cover with a metallic fold over paper with a unique laser die cut design. The inside has printed notes with the instrument details and information. The record is a one-time limited pressing of 135 copies.”
Mario Schifano was a leading Italian pop artist, and a friend of The Rolling Stones and other prominent 1960s countercultural figures. Inspired by Andy Warhol’s association with The Velvet Underground, in 1967 he decided to sponsor a band. The album that resulted combines a lengthy improvisation with five shorter, psychedelic-influenced tracks, and is a landmark in the development of Italian rock. Pressed in tiny quantities, it was released in November 1967 (with artwork designed by Schifano), and original copies have sold for thousands of Euros, making this long-awaited CD reissue especially welcome. Includes background notes.
REL 3016CD BRITISH NORTH-AMERICAN ACT, THE: In The Beginning… CD (REL 3016CD) 17.00
Featuring members from Britain, Canada and Hungary, this gifted quintet’s sole album appeared in Canada only in 1969. Blending harmony pop, folk-rock and psychedelia into a winning formula, it’s one of the most sought-after records of the period, with originals having sold for over $1,000, and makes its long-awaited return to CD here. Liner notes included.
BH 002CD BON HOMME: Bon Homme CD (BH 002CD) 15.50
Bon Homme is the alter ego of Tomas Høffding, who is also known as the singer and bass player of WhoMadeWho. After playing in bands all his life and always having to make compromises, he decided to create a piece of music entirely his own — so the Dane spent every single minute while not on tour with WhoMadeWho jamming by himself and recording tracks in his newly-equipped studio. The result is a cutting-edge record between sparkling dance pop, driving rhythms and psychedelic electronic sounds, dominated by analog synthesizers and Tomas’ passionate and emotional vocals. Mainly, it makes you want to go straight onto the dancefloor — sometimes it makes you wanna think, but it always makes you feel the music and feel the beat. Its catchy hooks and lyrics, which were written by Tomas’ friend Uzi Frank and Danish poet Rolf Steensig, will get stuck in your head for ages. Without wanting to compare him to anyone, it sometimes feels like Hot Chip teamed up with Kraftwerk, with an emotionality all its own.
RC 027EP MOD.CIVIL: Somebody To Love 12″ (RC 027EP) 12.00
The 27th release on Rotary Cocktail sees contributions from Leipzig and Dresden. The original “Somebody To Love” from Mod.Civil kicks things off, proper rough and intense, jacking house that is completed by the heavy, heavy analog bass drum and his crazy voice. On side B, you will find an excellent, raw, retro Chicago house remix by Jacob Korn.
R1 79941HLP FEAR: The Record LP (R1 79941HLP) 14.00
180 gram Rhino reissue of the 1982 debut from “the band that didn’t care how much they pissed you off.” Featuring “Let’s Have A War.” Brilliant musicianship — specifically from former jazz-worshipping drummer Spit Stix — made this band one of the more captivating anomalies to spluge their rage across the ’80s punk rock ink blot test.
SJR 239A-LP VA: Bossa Nova Volume One 2LP (SJR 239A-LP) 24.00
Gatefold double LP version, volume one. Artists: Elis Regina, Roberto Menescal , Joao Gilberto, Ginga Trio, Jorge Ben, Dorival Caymmi, Sergio Mendes & Bossa Rio, Nara Leao, Tamba Trio, Baden Powell and Vinicius De Moraes, Zimbo Trio, Gilberto Gil, Edu Lobo, Elizete Cardoso, Dom Um Romao and Wanda Sa.
SJR 239B-LP VA: Bossa Nova Volume Two 2LP (SJR 239B-LP) 24.00
Gatefold double LP version, volume two. Artists: Elizete Cardoso, Antonio Carlos Jobim, Edu Lobo, Tamba 4, Pery Ribeiro, Maria Bethania, Miltinho, Jorge Ben, Milton Nascimento, Baden Powell & Vinicius De Moraes, Zelia Barbosa, Tamba Trio, Geraldo Vandre, Elis Regina and Marilia Medalha.
SJR 239CD VA: Bossa Nova 2CD (SJR 239CD) 21.00
Subtitled: Bossa Nova and The Rise of Brazilian Music in the 1960s. “This album is a definitive study of the birth and rise of bossa nova in Brazil in the 1960s. Light years away from the cocktail-sipping tropical image that bossa nova became, bossa nova’s origins in Brazil are that of a stunning modernist and revolutionary music that reflected the radical and exciting idealism of the country 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. In 1964, as bossa nova reached its pinnacle internationally with the worldwide pop success of Antonîo Carlos Jobim and Vinicius de Moraes composition ‘The Girl From Ipanema’, an idyllic vision of sophistication, sunshine and beaches, tanks were arriving on the streets of Rio de Janeiro, announcing a coup d’état and the arrival of a vicious military dictatorship that would oppress, censor and torture the country for the next 20 years. Bossa Nova and the rise of Brazilian Music in the 1960s charts the rise of the events that led to the arrival of this new musical movement and what happened next. João Gilberto, Antonio Carlos Jobim, Vinicius de Moraes, Elis Regina, Gilberto Gil and Baden Powell all feature alongside many other Brazilian artists who launched their careers during this amazing period. This double CD is a concise guide to the music and comes with an extensive 76-page photographic mini-book with stunning photographs of Brazilian life during the period as well as extensive sleeve-notes contextualizing the uplifting music with the social and cultural changes in Brazil that enabled the rise of the music.” Other artists include: Roberto Menescal, Ginga Trio, Jorge Ben, Sergio Mendes, Nara Leao, Zimbo Trio, Dom Um Romao, Tamba Trio, Edu Lobo, Wanda Sa, Pery Ribeiro, Miltinho, Marilia Medalha and more.
MPS 8513LP KING, ALBERT: I’ll Play The Blues For You LP (MPS 8513LP) 15.00
Exact repro of the 1981 reissue (remastered at Fantasy Studios), originally released on Stax in 1972. “I’ll Play The Blues For You showcases all of the elements that make Albert King one of the most distinguished electric bluesmen ever. It’s more than a blues album, more than a treasure trove of guitar licks. Originally released on Stax in 1972, it’s a soul record, an r&b fingerpopper in the classic Stax tradition, featuring spirited backup by the elegantly funky Memphis horns and the hypnotically steady, soul-machine beat of the Bar-Kays (if you can keep your seat during ‘Don’t Burn Down The Bridge,’ see a doctor). The lead guitar is mixed way out front, and the soloing on ‘I’ll Be Doggone’ is hotter than a grease fire, some of Albert’s most intense recorded guitar playing ever.”
MPS 8552LP BOOKER T. & THE M.G.’S: McLemore Avenue LP (MPS 8552LP) 15.00
One of the leading, most influential exponents of Memphis soul are influenced by a popular British band, recording a series of medleys featuring songs like “Something,” “Carry That Weight,” “The End, “Here Comes The Sun” and “Come Together.” Exact repro, originally released in 1970.
STS 1060LP BUCKLEY, TIM: Blue Afternoon LP (STS 1060LP) 11.50
Released in 1970, Blue Afternoon was Tim Buckley’s first self-produced record and his debut for Herb Cohen and Frank Zappa’s Straight label. Gatefold exact repro reissue.
SF 064LP VA: Pakistan: Folk and Pop Instrumentals 1966-1976 2LP (SF 064LP) 27.50
Spending the greater part of the last decade assembling this masterpiece while tracking down most of the musicians in the process, Stuart Ellis of Radiodiffusion International has compiled a mind-blowing set of Pakistani instrumentals spanning the period between 1966 and 1976. It’s all here: rock and roll beat, surf, folk traditional mixed with pop, film tunes, electric guitars, sitar and organ solos, brilliant percussion and arrangements crafted by the grooviest bands of the period: The Panthers, The Mods, The Bugs, The Blue Birds, The Abstracts, The Aay Jays, The Fore Thoughts, Nisar Bazmi, and Sohail Rana. Situated between Afghanistan, India and Iran, the collision of cultural influences in Pakistan gave birth to music that was, and still is, unlike anything heard anywhere else on the planet. By the late 1960s, previous restrictions on musical expression began to soften and bands that were playing American and British pop covers became popular in Karachi’s burgeoning night club scene and at private dance parties. Long hair came into fashion among young men and hashish became the popular drug of choice on college campuses across Pakistan. Soon, hippies from both North America and Europe began flocking to Karachi, Lahore and Peshawar. Very few of the bands that formed during this time actually got to record. Like their neighbors in India, the Pakistani record industry was more focused on releasing “filmi” music, which had just started to incorporate the electric guitar and electric sitar. Pakistan’s musical revolution ended in June 1977 after a coup d’état and the establishment of a pure Islamic state governed by Sharia law. This marked the end of the “Swinging ’70s” in Pakistan as night clubs and alcohol were banned throughout the country. Television and cinema, as well as popular music, were now subjected to government censorship. After the clamp-down, many Pakistani musicians left the country and moved to America, Canada and England. The audio quality here is top-notch, sourced straight from the original EMI Pakistan masters. This limited 2LP set is housed in a heavy-duty full-color gatefold jacket with superb photos of the musicians and extended liner notes by compiler Stuart Ellis.
SBR 5006LP MOONKYTE: Count Me Out LP (SBR 5006LP) 22.00
Yorkshire’s Moonkyte only made one album, and — though it was supported by John Peel, who wrote the effusive sleevenotes — it sank without a trace when it appeared on the tiny Mother label in 1971. Now, with originals having changed hands for over £1000, Sunbeam is giving it its first-ever vinyl reissue, complete with lovingly-reproduced die-cut artwork, a replica inner sleeve and a separate insert detailing the band’s history, complete with rare photographs. It’s nothing short of a British acid folk classic, and it is issued in a strictly limited edition of 500 copies only.
TNS 3008LP ISLEY BROTHERS, THE: Givin’ It Back LP (TNS 3008LP) 11.50
Exact repro reissue of this 1971 release. Reworkings of songs by Neil Young (“Ohio”), Jimi Hendrix (“Machine Gun”), James Taylor (“Fire And Rain”), Bob Dylan (“Lay Lady Lay”) and a few other people you always thought should be covered by the Isley Brothers.
SONG 005EP PRONSATO, BRUNO: Anybody But You/Feel Right 12″ (SONG 005EP) 12.00
These are two tracks from Bruno Pronsato’s album, Lovers Do. “Anybody But You” sets a wobbly vibraphone over a steady bass line and threads of indistinguishable vocals. On “Feel Right,” Bruno invites friends, producers and casual acquaintances to lend their voices. With almost 50 contributors including the likes of Vera, Margret Dygas, and Anthony Collins telling you to “feel right,” how can you not? A tangle of noise holds the track together, floating alongside a thick bass line and off-kilter percussion.
THRONE 011EP ULYSSES: Acid Reflux 12″ (THRONE 011EP) 12.00
Ulysses still continues to chart his own musical path. The Acid Reflux EP represents the diversity of Ulysses’ talent, from banging acid tracks to moody downtempo and grooving electronic house. To round things out, Ulysses recruited Prins Thomas to deliver an unprecedented nine-minute rerub of “Acid Reflux” that preserves the original’s 303 groove but injects a heaping dose of cosmic atmosphere and live instrumentation into the mix. Essential!
TRAPEZ 116EP TASTER PETER: Porno Totale 12″ (TRAPEZ 116EP) 12.00
Taster Peter aka Pietro Marsili, former drummer of the Italian band Taster’s Choice, releases a real techno stormer. The opener is a piece of euphoric madness named “Skatebored” that has Trapez go peak-time. This is not about Berlin modernism but about hi-frequency techno at its best. Call it a rollerskating anthem, call it nostalgic or cliché, there are classic leads here, a massacre of vocals and a storming break… total DJ weaponry. Features a remix by Samuel L. Session.
UAJ 14003LP EVANS/JIM HALL, BILL: Undercurrent LP (UAJ 14003LP) 11.50
Gatefold exact repro of this 1962 release, the first pairing from this proficient duo. Pianist Bill Evans and guitar Jim Hall embark on a first-rate jazz set, featuring “My Funny Valentine,” “I Hear A Rhapsody,” “Romain” and “Skating In Central Park.” On the cover: Toni Frissell’s classic photograph, “Lady In The Water,” originally published in 1947 in Harper’s Bazaar
UY 043EP VA: Home Sweet Home Session Chapter VII 12″ (UY 043EP) 12.00
Here’s the fourth Home Sweet Home compilation for your listening and dancing pleasure. The lovely Frenchman Shonky is known for his funky techno style, while Agaric presents a kicking track. Homies Jens Bond and Tigerskin present a furious number followed by Nico Stojan with a nice melodic house track to round things off nicely.
VAMPI 118CD DAVIS, MELVIN: Detroit Soul Ambassador CD (VAMPI 118CD) 16.50
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.
VEEJAY 1044LP HOPKINS, LIGHTNIN’: Lightnin’ Strikes LP (VEEJAY 1044LP) 11.50
Exact repro of this Texas bluesman’s 1962 release. His unique and inimitable take on the blues is apparent on tracks like “Got Me A Louisiana Woman,” “Coon Is Hard To Catch,” “War Is Starting Again” and “Please Don’t Quit Me.”
WLB 007EP 3 CHANNELS/CESAR: E M O Edits 12″ (WLB 007EP) 12.00
WLB presents some serious, serious edit business with 3 Channels’ “I Can Understand” and Cesar’s “Who.”
R1 76446HLP SCHIFRIN, LALO: Enter The Dragon / Original Motion Picture Sound Track LP (R1 76446HLP) 14.00
180 gram Rhino reissue of Lalo Schifrin’s score to the legendary 1973 movie starring Bruce Lee. Argentine composer Schifrin was a television and film score master, also responsible for the music from Mission Impossible and Dirty Harry.
WARP 205CD SEEFEEL: Seefeel CD (WARP 205CD) 15.50
“Conceived by Mark Clifford and Sarah Peacock in the early ’90s, Seefeel immediately became groundbreaking leaders of the divergent quasi-movement known as ‘shoegaze’, by amalgamating electronics in ways most of their peers in traditional bands would never dream of. They managed to fuse the early Acid House and techno sounds with guitar, drums and bass into urgent melodic waves that on early releases like Quique and Succour oscillated between hopefulness, introspection and downright menace. Now comes the all new self-titled full length, as a new generation of young bands the world over look once again to building their own walls of sound, Seefeel stand ready again to play not only the inspired outsiders, but also the inspirational forerunners. With much talk of implied mysticism abound in music these days, Seefeel deals this out in sonic revelations. From the glacial ‘Airless’ to the lumbering intensity of ‘Dead Guitars’ and the ghostly harmonics of ‘Faults’ each step feels of deeply personal progression. Mark Clifford, ‘There is a real dynamic, creative process that’s exciting. I feel the music we have made for these initial releases is just the very start and we already have a number of ideas/tracks in place for future releases that I feel push our own boundaries even further. As well as this, we are growing as a live band, adding elements of improvisation and looser structures unimaginable to us a few years back, and with continued touring I’m excited to see how we develop in that direction.'”
WARP 205LP SEEFEEL: Seefeel LP (WARP 205LP) 20.50
LP version.
WP 045 WAX POETICS: #45 January/February 2011 MAG (WP 045) 9.99
The Dance Issue. On the covers, front: Juan Atkins, back: Bohannon. Contents: Editor’s Letter, Re:Discovery (Cecile Grier, Edgar Winter, Venus Gang, Walter Steding And The Dragon People, First Choice); In Memoriam: Teena Marie; The Record Players (New book traces the history of the DJ firsthand); Floating Points; Jocelyn Brown; Tom Moulton and the Disco Edit; Wally Badarou; Ron Hardy and Chicago House; Konk; The History of Detroit Techno; Bohannon; Frankie Crocker; Underground Resistance; Analog Out. 114 pages, full color, high gloss.
The White Box label presents a release by Polish electronic experimental/harsh ambient drone musician Cezary Gapik. Gapik’s deeply unsettling soundscapes go beyond the primal “power electronics” assaults (which the label adores and thrives on), of early Whitehouse and Sutcliffe Jugend. They go far beyond the capabilities of many of the supposed “dark ambient” artists releasing music today. Primitive forms have been discarded in favor of an articulate attention to detail, all for the benefit of the discerning listener. Fans of diverse, forward-thinking sound artists such as Philip Jeck, Kevin Drumm, Tim Hecker, Carlos Giffoni, Phill Niblock, Peter Rehberg, Fennesz and other SERIOUS people should take note. Gapik’s sonic assaults and tonally perverse audio structures house such progressive depth, that upon discovering this music, White Box concluded there was simply too much good material to contain in a single release. Presented here is part one of a triptych; “Contrast I” comprises two pieces, and perhaps not surprisingly given its title, features two very different compositional approaches from the same artist. From the opening moments of side A’s monolithic “#0473 [Tremor],” Gapik’s music asserts an unflinching, confrontational prowess all its own; an articulate slab of cold, metallic sound, unrelenting, aurally oppressive and executed with total precision. If we’re talking power electronics here (and as far as side A goes, we are), it doesn’t get much more forward-thinking than this. Side B track “#0458 [Drowsiness],” offers an altogether different approach to its side A counterpart, its peculiar, clustered tones slowly creeping in and out of phase, seemingly designed to throw off the listener, traversing dark psychedelic territories. White Box will be releasing “Contrast” Parts II and III further into 2011. Limited edition vinyl release of 400 copies only. Features gorgeous sleeve art from Berlin-based painter Suse Kipp.
The Manchester-based White Box label presents That It Stays Winter Forever, a limited edition three-way split CD album from Machinefabriek, Kleefstra-Bakker-Kleefstra and Liondialer. The project came together when, after playing several shows together in and around Europe, these masters of the dark arts decided it was time to collectively hit the Far East. White Box is extremely proud to present the accompanying tour CD for these three incredible acts, which is nothing short of absolute perfection from all three. Machinefabriek needs no introduction — through what seems to be a never-ending run of exceptional releases, Dutch sound artist Rutger Zyudervelt has solidified his position as master of a sound utterly distinct in the experimental field — his prolific nature, combined with the quality of the material itself, borders on terrifying. Here we are treated to “Instuif,” a 20-minute previously-unreleased work of art in drone and crackle. Machinefabriek’s wonderfully engaging soundtracks to the modern age continue to amaze and perplex with each new release. The trio of Kleefstra-Bakker-Kleefstra cultivate a sound at once so delicate, and at the same time so harsh and intense, you’ll struggle to find an act that can engage and make comatose an audience in equal measures. “Dat It Altyd Winter Bliuwt” (trans. “That It Stays Winter Forever”) is a monument of the trio’s own making; through Jan Kleefstra’s intense vocal delivery, Romke Kleefstra’s Hospital Productions-levels of piercing guitar noise, and Chris Bakker’s laptop drone beauty, this is as melancholic, subtle and as sorrowful as music can get. Liondialer is Greg Haines and Danny Saul, two performers who have an ability to turn up and improvise sets of such depth and imagination on the fly, that they’ve terrified and amazed audiences. Haines and Saul are split between Berlin and Manchester respectively; both solo performers in their own right, they come together as Liondialer to baffle and surprise each other with spontaneous moments of brilliance. This is the first-ever non-live recording released by Liondialer, and it’s based entirely on a live performance they improvised in Gothenburg earlier this year. Needless to say, the results are quite simply extraordinary. CD housed in a beautiful digipack with a cover photo by Hibernate Recordings label-head Jonathan Lees. Limited edition of 300 copies only for the world with no represses.
ROAD 026EP DEEP SPACE ORCHESTRA: Inside Out EP 12″ (ROAD 026EP) 12.00
Deep Space Orchestra are exploding all over the world’s speakers, getting support from Floating Points, Jimpster, The Revenge (who remixes here), Michael Rutten, Scott Grooves, and more. The Inside Out EP is a solid package featuring quality tunes from start to finish. “Midnight Runner” is a heavy plunge into deepest underwater techno and “On The Inside” hovers and builds on a single chord, until breaking into a slinky, deep house groove with a plonky bass line leading the way.
YAZ 1005HLP MCTELL, BLIND WILLIE: The Early Years 1927-1933 LP (YAZ 1005HLP) 17.00
180 gram exact repro reissue of Yazoo’s 1968 compilation of rare 78 rpm recordings from Blind Willie McTell. A record that put Yazoo on the map as an essential archival label of roots music. The very best of the magnificent Willie Samuel McTell — aka Blind Willie aka Hot Shot Willie aka Georgia Bill — exploring spiritual, ragtime, hillbilly, and above all, the blues.
YAZ 1008HLP VA: Frank Stokes’ Dream… 1927-1931 LP (YAZ 1008HLP) 17.00
180 gram exact repro reissue of this 1968 Yazoo anthology documenting proto/prewar blues form Memphis. Three songs are by Frank Stokes; the rest are by Tom Dickson, Pearl Dickson, Furry Lewis, Noah Lewis, Will Weldon, Memphis Minnie & Kansas Joe and Cannon’s Jug Stompers.
ZKR 009CD CAGE, JOHN: Old School CD (ZKR 009CD) 15.50
John Cage’s compositions have been part of Zeitkratzer’s repertoire since the very first day. The pieces presented here justify Zeitkratzer’s reputation as sound specialists. Avant-garde composer Cage is played in a conservative, precise and sensual way, apart from all philosophical ambitions, and hopefully as seductive as a Schubert quintet! Wire magazine acclaimed: “Zeitkratzer convinced us that Cage’s music can still live with all its complexities, stripped of the debris of its iconic-ironic status, if we only give ourselves time, space and ears to hear!” Pieces performed: “Four6” (1992), “Five” (1988), “Hymnkus” (1986). Recorded live at Huddersfield Contemporary Music Festival, UK, November 24, 2006. Performed by: Frank Gratkowski (bass clarinet, clarinet), Hayden Chisholm (clarinet), Franz Hautzinger (trumpet), Reinhold Friedl (piano), Maurice de Martin (percussion), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (double bass) and Ralf Meinz (sound).
ZKR 010CD TENNEY, JAMES: Old School CD (ZKR 010CD) 15.50
International avant-garde ensemble Zeitkratzer continue their Old School series with a release dedicated to the work of American composer James Tenney. This CD presents a new recording of Critical Band — Tenney’s late classic — with maximum clarity. Also included is the first recording of Harmonium #2. Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved by composing with pure tunings. Koan: Having Never Written A Note For Percussion, for tam-tam, completes this CD with an orgiastic listening experience in the form of a huge crescendo on this wonderfully simple instrument — from whispering to singing, culminating in shrill roaring and blustering — and its dark decay. Tenney’s music as a sensual sound adventure! Directed by Reinhold Friedl. Musicians include: Frank Gratkowski (clarinet), Hayden Chisholm (alto saxophone), Matt Davis (trumpet), Hilary Jeffery (trombone), Reinhold Friedl (piano), Maurice de Martin (percussion), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (double bass) and Ralf Meinz (sound). Recorded live at Philharmonie Luxembourg on October 3, 2009.
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