|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 05/24/2010
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| || RANKO, SLAVA: Arctic Hysteria LP (ARTT 006LP) 19.00|
“Original sealed copies of this intense synth weirdo LP from 1981..Strange mix of dark synth and Classical Japanese melodies…contains insert. From back cover notes: ‘I do not want to play music which sounds as if it comes from familiar instruments, music which is based on chord patterns, or music which fits nicely within any particular stereotyped tradition… What I want is the terrifying, the menacing, the cruel, the chaotic, the darkly exciting, the ecstatic, the irrational — music that resounds between the cells and in the intergalactic voids…’ –Slava Ranko. Nuff said there really… if you are into fucked up synth records you NEED to own this. He was also the producer for Factrix and Tuxedomoon if that means anything to ya… Highly recommended!” Released on the label run by RE/Search’s V. Vale.
|ALIEN TRANSISTOR (GERMANY)|
| || NOTWIST, THE: Blank Air 7″ (N 022EP) 8.00|
The Notwist releases a song on their own imprint Alien Transistor. “Blank Air” is a smooth song, reflective and haunting, featuring one of those typical, memorable Notwist hooklines. This track was composed for a movie by Jörg Adolph. The B-side features a cover version by Console of Brian Eno & Cluster’s “By This River.” Console has already released a vocal version of this, so here you’ll find an alternate instrumental that has an even more ambient feel than the original.
| || DETROIT, EDDY: Immortal Gods LP (ASSO 004LP) 15.00|
LP release, restocked, last copies. Eddy Detroit is an underground legend. He was a key fixture in the fertile Phoenix, AZ scene of the early ’80s (that included such luminaries as the Meat Puppets, Sun City Girls, Maybe Mental, Feederz, JFA etc.). Immortal Gods was the first release on his Pan Records label (his second LP, Philosopher’s Journey would be the only other). Both records were privately released in miniscule editions, are now and have been rather difficult to obtain for many years, ensuring them as holy grails for collectors of the exotic, cult, folk, beat, punk, and outsider rock musical canon. Immortal Gods was recorded and released in 1982. It features Alan Bishop and Charles Gocher (Sun City Girls), Dan and Mary Clark (Feederz/Victory Acres), Jesse Srgoncik (aka James Verlaine aka J. Akkari from Paris 1942, which featured the Velvet Underground’s drummer Moe Tucker), and Brandon and Audrey Curtis backing Eddy and his African, voodoo, Hitchcock musical vision. It is a timeless masterpiece. The LP jacket cover is quite possibly the apex in outsider photography and demented vision. It features Eddy and a lady friend (a woman he picked up for the cover shot because she had the bone structure he was looking for) on horseback with Eddy holding his head in his outstretched hand. A perfect vision for the music contained within. Assophon Records is proud to present this album in its original format for the current generation to tango with.
| || RAFTER: Animal Feelings CD (AKR 069CD) 14.00|
“Following the pop-leaning lead of his last EP, Sweaty Magic, Rafter’s latest longplayer, Animal Feelings, is a Technicolor pop blow-out that recalls Nintendo composer Koji Kondo leading a fantasy camp super-jam with Cody Chesnutt, Justin Timberlake, and the Tom Tom Club. Rafter’s history and influences, his dreams and ambition, and his love for love, all come together as a sweet, fun, speaker-blowin’, beat-busting ride into the inner-core of pop and R&B music. Ask him to drop names for his latest work and he’ll say Justin Timberlake and Sublime Frequencies’ Radio Phnom Penh without batting an eye. He’ll tell you Animal Feelings is ‘a marriage record, a lust record, a death and sex record.’ Animal Feelings, his fourth LP for Asthmatic Kitty, is an idea-packed picnic of philosophies and fears, of affirmations and questions. Like all of his work, this record is a very personal piece of music and Rafter has a lot to tell you. Whether you choose to listen or not is the difference between you getting down on the dancefloor or simply standing outside the club, listening to the beats, muffled and gutless through the walls.”
| || RAFTER: Animal Feelings LP (AKR 069LP) 15.00|
| || STITH, DM: Heavy Ghost Appendices 2CD (AKR 071CD) 15.00|
“Heavy Ghost, the debut album from DM Stith, cast an almost supernatural effect on reviewers and fans when it was released in March of 2009. Both groups acclaimed it as a stunning debut unlike anything else they’d heard. Stith’s peers received it well too: Ed Droste of Grizzly Bear twittered about it calling it a ‘lovely album,’ and Bat for Lashes picked Heavy Ghost for her New York Times playlist, saying ‘It traverses all these magical landscapes…almost like Alice through the looking glass. Like you’re being sucked into a secret world.’ Heavy Ghost Appendices revisits this secret world and adds to its cartography a series of hidden coves, unexplored forests, and new landscapes. Heavy Ghost was also mystifying and intertwined to David when he wrote it; the Appendices were a means to sort the thing out in his mind. They physically collect the digital trilogy of EPs released over the course of the summer and fall of 2009 into a beautifully packaged limited edition double disc set. The EPs were an exercise in exploring the boundaries of the music contained on Heavy Ghost, revisiting songs, reinterpreting, and displaying some inspiration and influences through covers of other artists. The remixes (remixes by Bibio, Son Lux, Ensemble, Clark and more) helped provide new context and deconstruction of his songs in a way that unearthed the songs’ roles and relationships to one another.”
| || VA: Radio Galaxia LP (BMS 025LP) 17.00|
“Once again, the eponymous globetrotting Mancunian clubnight B-Music has rallied friends from far and wide to pool over 200+ years of crate digging knowledge to present this, a delectable collaborative collection of undiscovered classics! Featuring tracks from future B-Music LPs and long deleted gems, never available in the US. Fealuring 10 mind blowing vintage vinyl discoveries from around the psychedelic globe from the most desirable combined record collection you’re ever likely to find, B-Music stalwarts Andy Votel, Dom Thomas, David Holmes, Doug Shipton, The Gaslamp Killer, Gruff Rhys (Super Furry Animals) and Mahssa Taghinia present tracks chosen from as far and wide as Pakistan, Italy, Thailand, Iran, Germany, Spain and Wales. Limited edition 1,000 copies only record store day exclusive. Available only in the Americas.” Artists: Jean-Pierre Massiera, Noosh Afarin, Billy Green, Soreng Santi, Braens Machine, Sam Spence, Nahid Akhtar, Control, Gaslamp Killer, Edward H Dafis
| || VA: Bird Songs 10″ (BMS 026EP) 15.50|
“Taking self sufficient songbirds and melodic magpies under our frangible wing Bird Records aims to nurture effeminate euphony of every species, vintage or temperament. Apolitical – pro-musical. From the forlorn to the ferocious. From the predatory to the precouscious. Bird Records an independent women’s Institute fuelled by artistic freedom and the simple sound of sonic sisterhood. Magpahi: Falsetto fairy-tale folk songs and 16th century poems from the heart of the black and white birds nest. The Bunyan on the ball of Vashti’s foot from the frost bitten fells of supernatural Lancashire – Alison Cooper is inspired by sepia storybooks, stray animals and flickering visions of the industrial North. Ali Babki: Meet Anna, Ewa, Krystyna, Sylwia, Anna and Wanda. This six fold sisterhood of Polish pin-ups took the Sopot music festival by storm under the direction of orchestrator Juliusz Loranc. One of many indigenous flocks from Communist era Poland who failed to migrate beyond its climate. Jane Weaver: Taking influences from Eastern European children’s cinema, Germanic kunstmarchen, 70s television music and early murmurs of 80s synth-pop. Soledad Miranda: Commonly recognised as Spanish Horrortica director Jess Franco’s most infamous leading lady this Seville born future Vampyros Lesbos actress released two sought after and lesser spotted 7″ EPs containing the only 8 songs she ever recorded. Emma Tricca: Italian born songbird Emma Tricca is a natural product of all those miles travelled and all those songs played. Elegan1 and unvarnished songs 1hat will endure as much as those that inspired Emma to pick up a guitar and start to sing in the first place. Sidan: Translated as ‘Hope’ this Cymraeg 45 by five peice teenage girl group rarely pops up outside its native Wales.” Limited edition 1,000 copies only record store day exclusive.
|BLACKEST RAINBOW RECORDS (UK)|
| || ISENGRIND: Modlitewnik LP (BRR 179LP) 23.00|
“Debut vinyl release from Natural Snow Buildings’ Solange Gularte’s solo project, Isengrind. Modlitewnik continues Solange’s fantastically far-out occult psych-folk-drone trip outs, 12 tracks across the length of this LP, considerably shorter pieces in comparison to her work with Mehdi in Natural Snow Buildings, Isengrind retains a certain amount of the sound of the duo, but it is a whole other beast, in many ways much stranger and darker, but still hauntingly beautiful with some fantastic blissed-out vocal drones, dreamy guitars, and psyche soaked dark drone zones. Heavyweight vinyl, housed in a pro-printed full colour fold over sleeve with all 4 panels featuring stunning artwork by Solange, the inside of the cover is especially spectacular. One time pressing of 640 copies.”
| || CELER: Dwell In Possibility LP (BRR 181LP) 19.00|
“Dwell In Possibility is the debut vinyl LP by the formerly active American husband and wife duo Celer, and is also their first release for Blackest Rainbow. Consisting of 15 different sections sprayed across two sides of vinyl, with little if any distinctions, Dwell In Possibility is arranged as a muted patchwork of keyless voices blinded by sunlight, hollow echoes from unlit interiors, and scrolls of unrolled piano tunes. Enclosed in empty shadows, with vague slides of unanswered prayers, these two sides etch a dateless form into weak ends, and pyrrhic dells. Everydays are left empty-handed, and enjoyed only then. Positions change, and rely only on your imagination to wake from this, to sleep, in hope to feel again. Full-colour fold-over pro-printed covers featuring vintage photography. Limited to approx. 420 copies.”
| || BEST COAST: Where The Boys Are CD (BRR 185CD) 9.00|
“Reissue of the long sold out cassette-only debut from Bethany Cosentino (formerly of Pocahaunted). These five tracks were released in an edition of only 200 copies on cassette back in the summer of 2009 on Blackest Rainbow. Here these 5 tracks clocking in at a total of 14 sweet minutes are reissued. Copies of the cassette have been extremely hard to come by with Best Coast’s growing popularity following a series of excellent 7″s on PPM, Group Tightener, Art Fag, Black Iris and Atelier Ciseaux, so the time definitely seemed right for this reissue. This will be the very first Best Coast CD! Glass mastered CD edition of only 1000 copies packaged in pro-printed CD wallet with new artwork featuring beach loving ’80s kids.” “Best Coast songs are narcotically hazy, with surf-rock churn, garage-rock distortion, and a sense of purpose derived from early-1990s alternative-rock acts like the Breeders.” — New York Times
|BOXER RECORDINGS (GERMANY)|
| || DUOTEQUE: Neon 12″ (BOXER 077EP) 12.00|
In anticipation of a Duoteque retrospective, Boxer Recordings proudly presents this 12″ teaser that is truly amazing. Apart from the gorgeous, mind-blowing “Intro” and the vibrant, house-y “Neon,” Marascia and The Dolphins make themselves heard with remixes of classic Duoteque hits. Worth mentioning is Duoteque’s not-so-secret star: the bass line. It’s either fat and mighty, or fluffy and easy-going. And once the spark has ignited the flame, the party is on fire.
| || BRAIDA & GIANCARLO LOCATELLI, ALBERTO: The Big Margotta LP (BRS 045LP) 17.00|
“This marks the third release for the duo of Alberto Braida and Giancarlo Locatelli, the first being the incredibly austere Diciannove Calefazioni which was our initial introduction to perhaps the premier group of purpose and restraint in improvising music. Big talk I know but the fact is that these two have developed a dialogue thru their long partnership and friendship that stands as reminder of the potential that contemporary improvisation has always held and the manifestation of many of it’s myriad possibilities. Our primary regard for Diciannove Calefazioni [Nineteen Calefactions] and our recent regard for the slightly more boisterous Big Margotta is how well considered their approach to reduction is. Rather than the methodology of Berlin or of Boston, what the group did was to take Beckett’s approach to language and apply it to music; that is, to reduce it right to the point of collapse. In Beckett’s case language still operates within the rules of grammar and in this duo’s case they still operate within the rules of harmony but sans goofball mawkishness, tropes or boring melodicism. If there were fewer notes it wouldn’t work and if there were more it would be overbearing. The duo language here is so fleet and well-handled it gives the listener an opportunity to hear experimental music that fulfills both of those qualifications. Pro-printed sleeve/edition of 300.”
| || JOHANSSON, SVEN-AKE: Cymbals In The Night LP (BRS 046LP) 17.00|
“Heavy solo release from deep as Marianas Trench Swedish drummer Sven-Ake Johansson. Johansson is primarily known in the US as the drummer on the two hugely influential Brotzmann recordings: For Adolphe Sax and Machine Gun. However, the Berlin-based percussionist/composer/filmmaker/performance artist/painter — all of which he is remarkably adept at — also has numerous FMP releases and a well documented relationship with Alexander Schlippenbach. Notable contributions to the canon of experimental music include his Concert for 12 Tractors and performance piece for movement performed with Neubauten singer Nick Cave guitarist Blixa Bargeld. Johansson’s mode here is pure clarity in terms of form, technique and content. Quiet as a kitten on clouds in social settings, this recording ranges from pure Krupa swing on corrugated cardboard *cymbals* to dirty styrofoam shrieks and then even further out to close-mic’d cymbal investigations of tone and vibration. In performance, he’s a pro and even in a recorded situation he manages to engage the listener with humor and experiment. Pro printed sleeve/edition of 300.”
|BUREAU B (GERMANY)|
| || MOEBIUS & PLANK: Rastakraut Pasta LP (BB 048LP) 17.00|
Vinyl release. Dieter Moebius and Conny Plank got to know each other through their work on Cluster’s 1971 album and remained close friends until Plank’s death in 1987. They made a congenial pair as musicians, as amply demonstrated by their first album as a duo, Rastakraut Pasta, originally released on Sky Records in 1980. On this album, drums, electric guitars and bass are the cornerstones of every track; they provide the framework to which Moebius adds fresh color and life with his synthesizers. Thanks to the technical merits of Plank’s studio, the keyboards sound barely distinguishable from one another. No samples — strictly analog from start to finish. Holger Czukay (Can) plays bass on three pieces and his consummate professionalism sees his virtuosity finely-tuned to the concept of Moebius and Plank. Moebius has a predilection for surrealist cascades of noise, heard throughout the album, grotesque yet playful. An enigmatic form of pop music came into being on this LP, a breakneck, elegant mix of diverse elements: a touch of Krautrock, some avant-garde pop, new German electronica, even sporadic echoes of reggae. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens.
| || MOEBIUS & PLANK: Material LP (BB 049LP) 17.00|
LP version. On their second album Material, originally released on Sky Records in 1981, Moebius & Plank ventured far, far away from the double coordinates of the Harmonia world and pop music cosmos. Amazingly, they did not find themselves floating in space, but made an exemplary landing, avoiding getting caught between a rock and a hard place. Material saw them generate a form of genre-busting electronic music, more radical than anything one might have expected to come out of Germany, not even from the likes of Cluster or Harmonia. Having said that, one should add that the album is in no way a copy of the new wave and industrial scenes that were enjoying such prominence at the time. Material is, in the best sense of the word, without style, that is to say, it cannot be aligned with any of the conventional styles available. On their two first albums, Moebius & Plank take up their place in a lengthy list of musicians and composers who, from roughly the end of the 1970s, gave up caring about which stylistic category their music might belong to, no longer looking upon experimentation as a strategy of reckless abandon, but as a perfectly normal course of action. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens.
|CHOICE CUTS (IRELAND)|
| || HYPNOTIC BRASS ENSEMBLE: Heritage 12″ (CC 001EP) 16.00|
“Five re-workings recorded late last year in Dublin — hypno-tized hip-hop, indie dance pop and Afrobeat — for the new Choice Cuts imprint. From Jay Z — the Kingdom Come overture — to Fela, via an Art Of Noise (Moments In Love), an Outkast (from Aquemini), and a Madlib & MF Doom, scored for the Hypnotics by Mos Def.”
|CROSSTOWN REBELS (UK)|
| || GLIMPSE: Runner CD (CRM 010CD) 15.50|
One of the most eagerly-anticipated and prolific UK producers of the moment, Glimpse, releases his debut album on Crosstown Rebels. Runner is a truly inspiring, superb album that weaves elements of jazz and soul with house and techno to create something wholly innovative and mesmerizing. Already hotly-tipped by DJ Mag and Mixmag, this is an amazing body of work that is sure to become one of the albums of the year. Glimpse is a DJ and producer’s favorite, a true innovator who is able to explore and master various genres in his own inimitable style. Blurring the distinctions of traditional genres, he appeals to even the most obstinate listeners through his tireless dedication to continual reinvention. His debut studio album is a beguiling, heady mix of house music drawing on the true essence of its rudimentary influences to produce an album of true magic. Runner is the conclusion of a decade of production for Glimpse, touching on the experimental improvisation of jazz, with the endless spiraling loops and fluid instrumental solos of “Feel OK” and “I Know I Show It,” while flirting with the purity of world music in the ethnic outcries of “Alone Again,” and the marimba-driven opener “Walk Tall.” A new album version of the single release, “If I Was Your Girl” comes decked with opulent vocal harmonies and compliments the subsequent energy-charged “Things To Do In Denver,” both scored with a rough and urban edge. Still rooted in the underground, Runner concludes with the dubby electronica cuts, “Enjoyable Employable,” and the crackling sparks of “Thank You,” before the mystical terrain of “Train In Austria” proclaims the final curtain. Christopher Spero (aka Glimpse) has been bubbling gently amidst the waves of the underground dance scene for the past few years, with records released on Carl Craig’s Planet E, Cadenza, Kindisch and Buzzin Fly.
| || WHITE HINTERLAND: Kairos CD (DOC 034CD) 14.00|
“On Kairos, we find White Hinterland exploring the edges of minimal pop, accomplishing a delicate but lively seduction through deep, patient bass throbs, prismatic synth textures, and direct, intimate songs sung with an empowered gravitas. Here Casey Dienel tailors the acrobatics of her former songwriting into a slender focus, folding it into deeper grooves. Beneath the baroque arrangements and intellectual lean of Dienel’s previous musical efforts was a sexiness that Kairos exposes, showing the artist for what she is: powerful and comfortable in her own skin, with a glittery voice weaned on pop R&B. With a sound so modern, so contemporary, Kairos fixes White Hinterland’s gaze firmly on the future. Using just one mic, electronics, programming and an arsenal of percussion and instruments, the minimal, washy ‘Art & B’ of Kairos was born. Dienel compared making Kairos to swimming in a cave, trusting only the instinct to just keep swimming. This image perfectly embodies the enchanting and blue-lit atmosphere of the album. Sean Michaels of Said the Gramophone captured it well, after he witnessed a White Hinterland performance where they performed the bulk of Kairos live: ‘The jazz has been taken out, simply removed. And what is left is so, so, so much space; so much space in which she and Shawn add dark beats, deep bass, dubstep stuff. And she sings in looped curlicues, ivies and gold rings, sampling and re-sampling. They were all new songs and they were utterly astonishing. Here are some names of things it was & wasn’t merely: The Dirty Projectors, The Xx, Burial, Tune-Yards, School Of Seven Bells, The Neptunes, Thom Yorke, Arthur Russell, Giovanni Pierluigi Da Palestrina. Any half-samples so far do it no credit at all. What a rediscovery.'”
| || WHITE HINTERLAND: Kairos LP (DOC 034LP) 15.00|
| || TALLEST MAN ON EARTH, THE: The Wild Hunt CD (DOC 040CD) 14.00|
“When fans lined up to see the sold-out Bon Iver performances at New York City’s Town Hall in late 2008, few of them went with any expectations of the opening act. But the audience that night, and on every other night of Bon Iver’s tour that December, were introduced to something special, something unforgettable: The Tallest Man on Earth. This was the first of several tours for the Tallest Man on Earth (aka Kristian Matsson), with obsessive crowds growing each step of the way. With unbridled excitement, we bring you The Tallest Man on Earth’s second LP, The Wild Hunt. It is all here: The words. The voice. The melodies. Ten perfect songs. The Wild Hunt picks up where 2008’s Shallow Grave left off, with Matsson doing what he does best. It is unmistakably The Tallest Man on Earth, from the urgent strums of ‘You’re Going Back’ and the sweet melodies of ‘Love is All,’ to the playful lyricism of live favorite ‘King of Spain’ and the subtle hook on ‘Burden of Tomorrow.’ The Wild Hunt isn’t just another folk album; this is acoustic rock ‘n’ roll from a man with a story to tell. It is impossible to discuss The Tallest Man on Earth’s music without acknowledging Bob Dylan. The seemingly effortlessness, the melodic sensibility and the deft lyricism all recall Dylan’s early years. But when you witness the Tallest Man on Earth perform live, you are watching a man possessed. The energy pours out with every word. Full of intensity and raw emotion, he paces the stage, bringing the audience into the palm of his hand, completely lost in his songs.”
|EASTBLOK MUSIC (GERMANY)|
| || VA: BalkanBeats CD (EBM 003CD) 15.50|
2006 release. When the first grenades were fired in the disintegrating Yugoslavia of the early ’90s, a young Bosnian named Robert Soko came to Berlin to start a new life. He didn’t care if his neighbor was Bosnian, Serbian, or Croatian. Robert began to throw parties with like-minded emigrants and played the old yugo hits — a symbol of long-gone, peaceful Yugoslavia and vital survival training of emigrants trying to regain a lost past, their own history and identity. After over 10 years, the “BalkanBeats” parties are “legenda.” Twice a month, Balkan beats are blasting in Berlin’s Mudd Club: Gypsy grooves, tribal beats and Balkan ska. “BalkanBeats” became an international cult affair. Now, Soko plays New York and L.A. on a regular basis. Balkan beats are highly addictive — it’s in their savage energy, the colorful, fresh timbres, and passions. The inexhaustible diversity stems from Slavic, Oriental, Jewish traditions, and from the culture of the Roma people. The music’s natural openness enables an easy and exciting transfer to modern times. Fresh Balkan bands pick up those traditions and process them into an individual cultural amalgam. Artists such as Let 3 and Magnifico spoof their own Balkan roots, fuse them with rock, ska, or metal, and nevertheless pay respect. Fanfare Cioc?rlia, Karandila, and the Boban Markovi? Orkestar radicalize classic Balkan brass music with maximum virtuoso skill, thus renewing an old tradition to something sounding fresh and exciting. Many of the bands are inspired by completely different traditions; for example, Mahala Raï Banda throw you out of the Bucharest slums into the heat of New Orleans. BalkanBeats presents the greatest hits from the Mudd Club — traditional and urban sounds — diverse, explosive, and over-the-top. Includes a 20-page booklet and 2 bonus videos. Other artists include: Magnifico & Turbolentza, Besh O Drom, Yugoton & Kazik, Legen, Kultur Shock, Kayah & Bregovi?, Frank London’s Klezmer Brass Allstars, Maya, Ssassa, Sanja & Balkanika, and George Dalaras & Goran Bregovi?.
| || VA: Café Sputnik: Electronic Exotica From Russia CD (EBM 004CD) 15.50|
2006 release. Everything began in 1920, when a young Russian physicist named Lev Sergeyevich Termen presented a highly unusual musical instrument that produced eerie, otherworldly sounds — The Theremin. This was actually the birth of electronic music. In 1957, the successful launch of a small ball-shaped satellite happened to be the starting shot of the Space Race between the USSR and the USA, which led to the notorious Sputnik Crisis in the U.S. Maybe it’s no mere coincidence that in the same year, Soviet Radio founded an institution producing the Space Age’s soundtrack: Vyacheslav Mescherin’s Ensemble of Electro-Musical Instruments. Inspired by the success of Soviet space programs and the conquest of the universe, visions of the future dominated Soviet films, literature as well as music in the 1970s. Remarkable science fiction movies with fantastic soundtracks merging easy listening, electronic psychedelia and beat were shot. Unfortunately, it’s almost impossible nowadays to get hold of this kind of music. This past sonic world full of dated imaginations of the future is a seminal source of inspiration for a new generation of Russian electronic musicians. A both ironic and affectionate retrospect to their childhood in the Soviet Union is paired with present-day sampling and crossover techniques, which results in surreal collages. Igor Vdovin sends Russian sailors to Brazil and a gypsy band to outer space. Dima Vikhornov and Snegopady demonstrate what Russian folk music might sound like when played by Martians. Veteran DJs Krugozory confront pompous military marches with nursery rhymes, refining the melange with a bit of light Soviet jazz. Messer Chups pass Tchaikovsky’s nutcracker into alien hands, where it is deconstructed and reassembled. This highly individual kind of music, located somewhere between lounge, easy listening and radical experimentation is most of all cultivated by Moscow labels Snegiri/Legkie and Solnze Records. This scene’s creativity is getting more and more recognition. Igor Vdovin has been hired as a producer by Russian superstar Zemfira. Bands like Messer Für Frau Müller and Messer Chups are gaining popularity in the Western world. This mix of old and new, mysterious East and modern Europe makes this music so unique and fascinating. Features two bonus video tracks. Other artists include: Netslov, Kim & Buran, Oleg Kostrow, Andrei Zuev, Dzuma, Nezhnoye Eto, Notkin, Our Man From Odessa, and Ensemble Mescherina.
| || HAYDAMAKY: Ukraine Calling CD (EBM 005CD) 15.50|
2006 release. When the Soviet Union collapsed, the Ukraine started to breathe the fresh air of independence again. At that time, during the early ’90s, a group of students set up the band Aktus, which quickly made itself a name in the underground Kyiv music scene. Aktus turned to the sounds of reggae, ska, and punk. With the addition of vocalist Olexandr Yarmola and accordionist Ivan Lenyo, both well-known and respected in folk circles, the band increasingly incorporated elements of Ukrainian folk music into their compositions. At the start of the new millennium, the band realized it was time to establish an even firmer tie to their own culture, and changed their name to Haydamaky, in honor of the historical Haydamaky’s rebellion, which took place in Ukraine in the 18th century. The music of Haydamaky is inspired by various ethnic sounds from around the world, especially from various regions of the Ukraine. The band calls their music “Carpathian Ska.” Haydamaky’s hope is to forge an inherently Ukrainian popular music style, which looks back on its own heritage and traditions as a source for inspiration. Their self-titled debut album was released in January 2002. Since the time of the album’s release, the band has participated in various festivals and also played a club tour in Western Europe. Their colorful live shows are unique, displaying bright costumes, special lights and, of course, the pure mountain energy and musical mastership of the band. Haydamaky play a unique mixture, which has not been heard so far on these shores. Haydamaky manage to build bridges and combine Ukrainian roots, which spring in the mysterious Carpathian Mountains, ska, dub, reggae, punk, and of course, Ukrainian melodies and Western production standards. They fit this mixture into tight arrangements, which are only let loose in their fierce live experience. Their music live and on record is characterized by turbulent energy and a rollercoaster of tempo and moods. Even if you can’t understand the lyrics, you will be filled with the music from top to toe. Includes one bonus track.
| || LITTLE COW: I’m In Love With Every Lady CD (EBM 008CD) 15.50|
2007 release. Every kid knows Little Cow in Hungary. There is a very popular animation series with this little yellow cow figure. This release was thought up and produced by László Kollár, Little Cow’s frontman and mastermind. He also composed a few songs for the films, which became very popular. So he gathered some of Budapest’s best musicians and the band Little Cow (in Hungarian — Kistehén) was born. The group — as it is now — was formed in 2005 and that was also the year of the incredible Hungarian success of their song “Cyber Boy.” Thanks to this, they were invited to festivals, village days, town cultural celebrations and TV shows — and in the meantime have grown into a great live band. By 2006, they became one of Hungary’s most popular bands and have played major festivals and big cultural events. The song “Cyber Boy” and its video (included here) made the band well-known and popular in Hungary. The clip was distributed through e-mail and internet by fans. No commercial channels wanted to play the song (apparently, it was too alternative) or the clip (which cost about 1,000 Euros to make), and it had a marketing budget of zero — but the whole country was singing the song all year. The album went gold in Hungary in August 2006. “Cyber Boy” broke the ringtone records and the clip became #1 on the video chart of Hungarian VIVA television. The song was eventually chosen by the audience as “Song Of The Year” in Hungary at the Fonogram Awards. Their second beautiful video “Virágok A Réten” (also included here) was made together with members of the gypsy band Romano Drom. In Hungary the band call their music the “cultural wedding sound” — which sounds strange in English, as well as in Hungarian. They also refer to it as crazy listening or “Village Beatles.” Little Cow handle genres and rhythms as they wish — gypsy, Balkan, rock, ska, pop, brass, and dance rhythms are all mixed and matched. The music and the words are fun — simple and naive, but not necessarily light-hearted. These are timeless tunes somewhere between melancholy and joy.
| || MIKKEL METAL: Passenger EP 12″ (ECHO 044EP) 12.00|
Mikkel Meldgaard aka Mikkel Metal explores new facets of his sound and takes a detour from his usual dub-techno trademark. While obviously still retaining a “Metal” signature, there’s a raw, dirty Detroit sound here that is new to his production. “Further” is a slow, tough track with a heavy kick-drum and a simple theme that is reminiscent of early Metal productions. “No Starts Today” and “I Dream” both build on simple, dirty grooves with synth layers and distorted themes on top.
|EDITIONS MEGO (AUSTRIA)|
| || FENNESZ: Endless Summer CD (EMEGO 135CD) 17.00|
This version features new artwork by Tina Frank based on the original 2001 Mego release. Endless Summer, originally released in 2001 by Mego, was a breakthrough album for Christian Fennesz — the album which brought his name and music towards the first steps of mainstream recognition. Following on from the more experimental Hotel Paral.lel (EMEGO 016CD) and the Beach Boys-homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to become a classic of its time, topping many end-of-year polls. This CD has the same audio content as EMEGO 035CD — it is the 2007 released newly-mixed version by Fennesz, which resulted in a more open-sounding version of the tracks, especially the marimba-driven “Caecilia,” the hypnotic “Before I Leave,” and the towering “Happy Audio.” It also contains the 2 extra titles from the updated 2007 version: “Badminton Girl,” originally released in 2001 as part of the Split Series #15 12″ with Main on Fat Cat Records, now out-of-print, and “Endless,” which had been previously-unreleased.
| || HOOKER TRIO, WILLIAM: Yearn For Certainty CD (E 032CD) 13.00|
“Building a masterful solo as revenge, as fuel to the scheme of dreaming.” — William Hooker. “It is too simplistic to categorize William Hooker as a fiery drummer who constantly explores structure and genre. As evidenced by the quote above from the spoken piece at the end of this recording, William’s playing is connected to an emotional world and the world at large. Bookended by two spoken word pieces, ‘Ingratiated Beam — Leroy’ and ‘Yearn for Certainty’, the title refers to the desire to know specifically and certainly how the world is to evolve forward. In between there is the down home banjo/sax of ‘Century’s Soles’, the rainy bluster of ‘Commonplace Travels’, and the drum solo-clarinet solo-trio explosion of ‘Magistrait.’ Joined by multi-instrumentalists David Soldier (classical guitar, banjo, mandolin, and violin) and Sabir Mateen (saxophone, flute, and clarinet) the William Hooker Trio is both tender and thunderous on Yearn for Certainty.” Personnel: William Hooker (drums, spoken word); David Soldier (mandolin, banjo, violin); Sabir Mateen (saxophone, flute, clarinet).
|FAT CAT (UK)|
| || FRIGHTENED RABBIT: The Winter Of Mixed Drinks CD (FAT 084CD) 14.00|
“With their sophomore outing The Midnight Organ Fight a fixture on 2008’s Best Of The Year circuit, a fanbase increasing in both size and devotion, and multiple sold-out tours of ever-larger venues under their belts, Glasgow-based Frightened Rabbit are releasing their third album to towering expectations. The Winter Of Mixed Drinks — a collection of ambitious, moving, and gloriously accomplished songs — more than meets this challenge.”
| || FRIGHTENED RABBIT: The Winter Of Mixed Drinks LP (FAT 084LP) 15.00|
Gatefold LP version.
| || WE WERE PROMISED JETPACKS: The Last Place You’ll Look CD (FAT 102CD) 8.00|
“2009 saw We Were Promised Jetpacks storm the US from their native Edinburgh, releasing debut These Four Walls to a #12 debut on the Billboard Alternative New Artist Chart and widespread love at press and radio, before touring the country supporting label-mates Frightened Rabbit and The Twilight Sad. The Last Place You’ll Look is a ?ve-song EP featuring three new songs and two alternate versions of tracks from These Four Walls. The new EP is quieter, more drawn out, using strings and piano where the album focuses on distorted guitars and big drum sounds. This alternate sonic palette reveals a no-less-appealing side of the band: less spiky and urgent, but with songwriting chops and melodic mastery to spare.”
|FLIPPED OUT RECORDS|
| || WOVOKA: Blessing LP (FOR 026LP) 21.00|
“Earthly shimmers of hazy acoustic guitar figures are rang, strummed and chimed in a stately walk of beauty and grace with spaced soul singing blurring all edges and corners. Rippling electric guitars mesh with hand drums and more to fry the celestial sounds together. Bill Nace and Tom Carter join in for a supreme four-guitar extrapolation on one of the six tracks presented here. Come pack the peace pipe with Wovoka and follow them into the medicine tent raga that they have unleashed with these deep heavy vibes. This is a co-release between Flipped Out Records and Holy Room Records. Silkscreened covers, numbered edition of 99 copies.”
|FREUDE AM TANZEN (GERMANY)|
| || TARON-TREKKA: Blue Random EP 12″ (FREUDE 048EP) 12.00|
DJ/producer duo Taron-Trekka present a 4-tracker that is full of musicality and history. Their unmistakable Trekka signature plots a course between deepness and compulsive wholeness with a sample artistry that reveals their encyclopedic knowledge. On every track, there is a fully-breathing house construct taken apart, where a bridge to ethereal, jazzy techno is a possibility. “Blue Cinema” is old, disco-trance house that opens into a dance bar of jazzy riffs. Full bass with congas trace an irresistible impulse to groove.
| || MIMICKING BIRDS: Mimicking Birds CD (GP 006CD) 14.00|
“What started out as a solo project under the moniker Neight (a portmanteau of ‘Nate’ and ‘eight’) has evolved into the trio now known as Mimicking Birds. Originally from Portland, OR, flock lead man Nate Lacy initially learned to play guitar during his senior year in high school. Shortly after graduating, he moved south to Eugene, OR for two years and began writing music. Once he became acquainted with a Yamaha 16-track digital recorder, Nate began recording his songs while playing all of the instruments himself. Recently, Nate was joined by his childhood friends, drummer Aaron Hanson, whose talent is constructing spacious, purposeful beats while Tim Skellenger, being the least structured musician in the band brings a lighthearted and buoyant sound on guitar. Think ethereal melodies by way of cosmic folk. Nate masters the use of reverb to create ambient sounds. Accompanied by a voice so delicate and seraphic, Mimicking Birds play lachrymose songs that synchronously evoke warm-heartedness and an overall compassion for life without coming off dilettante or sending you an invitation to a pity party. It’s the band you find out about, listen to incessantly, want so much to keep a secret, but can’t resist the urge to play for everyone you know.”
| || MIMICKING BIRDS: Mimicking Birds LP (GP 006LP) 19.00|
| || NEW BLOCKADERS, THE: Meta-Klamauk (For Jean Tinguely)/Crincum-Crancum LP (HN 191LP) 22.00|
“Meta-Klamauk seems to return us to that garage of doom featured on Changez Les Blockeurs, only by now the mechanics have installed a noisy fan-heater device, and they are getting a lot more work done. Crincum-Crancum is, relatively speaking, a near-musical concoction. Perhaps twenty plus years hath mellowed their saturnine psyche and dulled their appetite for relentless noise; this is less urgent, and there’s almost an air of resigned weariness to this 2002 work. That said, it is no less bilious, the reservoir of hatred still fuells the evil intent.” –The Sound Projector. “Both sides originally appeared on the Gesamtnichtswerk 4CD boxset (Hypnagogia). This is their first appearance on vinyl! Limited edition of 300 copies, full color labels, heavy duty silk-screened covers w/ the usual Hanson Droll-Flaps.”
| || NEW BLOCKADERS, THE: History Of Nothing LP (HN 199LP) 22.00|
“Sheer sheets of onanistic sound ruin the rack and explode across the consciousness. Imagine what it would’ve been like to hear this in 1982, when it was completely new and very few frames of reference were hanging on any wall, anywhere. This is the hard rain that’s promised to fall — this sound is a rage against loneliness in one of the loneliest places on earth while pursuing one of the loneliest forms of expression. Totally interstellar, completely vital, utterly timeless.” — Freq. “Tracks originally released on History Of Nothing CD (Siren). This is their first appearance on vinyl! Recorded 1982-1992. Limited edition of 300 copies, B+W labels, B+W insert, heavy duty silk-screened covers w/ the usual Hanson Droll-Flaps.”
| || WATKINS & BROOKS POSTON, PAUL: Young Girl 7″ (HS 666EP) 7.00|
“Breathtaking, innocently sinful folk obscurity from Paul Watkins & Brooks Poston of the Manson clan, developed in their wholly insular community of impulse, drugs, violence and marked creativity. ‘Young Girl’ reveals a softer, affecting beauty, the antithesis of their well-known exploits at the fringes of sadism and hatred: a spontaneous convergence of raw, self-taught instrumentation and the stupefyingly gorgeous voice of these outcastes. Fallen down a rabbit hole beyond their own comprehension, their song elaborates the fable of a similarly embattled youth, assaulted by the harsh landscape of adulthood and her struggle to retain the purity of childhood, free from the insanity of maturity and civilization. A search for key answers of adolescence and a simultaneous refutation of the intellect, ‘Young Girl’ reminds us that even in the depths of darkness, ignorance and despair, the most beautiful specimens of creation and transcendence can flourish.” One-sided release.
| || VA: Ten Years Of Highgrade 2CD (HIGH 075CD) 21.00|
Highgrade presents a 2CD compilation celebrating their 10 year anniversary, with the latest gems from the label’s artists. A brief history: 79 vinyl releases, 31 digital releases, and 9 artist albums. The Highgrade family consists of 14 permanent artists and 80 guest musicians. It was the beginning of the new millennium when Tom Clark, the Berlin DJ, decided to start his own label. He began by signing Sebo K, James Flavour and Guido Schneider, the major players of the Berlin club scene. The second batch of talented recruits were Todd Bodine, Jens Bond, Dub Taylor, Phage, Daniel Dreier and Sven Brede. Highgrade has made it a point of ignoring the genre boundaries, instead deciding to concentrate solely on musical highlights and individuality. It has always been important to Highgrade to support new artists like Format:B or Heinrichs & Hirtenfellner. Whether deep house or crackling minimal loops, the label determines the sound of the city and has always had followers from all over the world. Tom has found himself the right partners in Todd Bodine and Mariana Luzardo, and together they’re leading the label to “higher” levels. For the 10 year anniversary, old and new Highgrade artists celebrate the best sounds, the most unforgettable parties and all the good times. Other artists include: Prompt, Tigerskin, Homm & Popoviciu, Dirty Boots, Marcus Sur, Ludwig Coenen, Demir & Seymen, André Galluzzi, Simon Beeston, Benno Blome, Dale & Daniel Dreier, Jackspot, Marc Antona, Asem Shama, and Adriano Filippucci.
|HONEST JON’S RECORDS (UK)|
| || ACTRESS: Splazsh 2LP (HJR 049LP) 20.00|
2LP version with embossed printing on cover. This is the eagerly?awaited second album by Werk Discs founder and controller Darren Cunningham. Splazsh is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville (WERK 005CD). Determinedly off?the?map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations alongside Theo Parrish, Anthony “Shake” Shakir, Daft Punk, “binary codes and numeral systems,” and The Avengers. He’s a hard man to pin down — somehow a key player in the post?dubstep diaspora and yet not there at all — but everything comes across in his shape?shifting, richly-textured music. The South Londoner’s acclaimed debut lived up to its name: a series of dream-like sketches and ideas. For Splazsh, the fog has lifted, the sounds are less submerged than before, but still sticky and close — a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal clichés of the dance music he loves, Actress’ melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like “Get Ohn” and “Lost.” A range of musical influences is redrawn, from speed-garage to grime, with none crowned king. There is a reflectiveness — the ambient drift of “Futureproofing,” the radiophonic judder of “Supreme Cunnilingus” — in amongst the industrial, synth?wave flavors of “Casanova,” and the stirring, stately “Maze.” Actress has quickly and justly become one of the most respected names in the UK’s new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste?making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress — a substantial and eccentric work from a brave and coolly individual artist.
| || PLASMIK: Retune EP 12″ (HYPE 017EP) 12.00|
Hypercolour presents basement house music from Plasmik — four tracks of robust, deep modern house packaged with a remix from the label’s Alex Jones. Whether it’s the simplicity of the title track and its one chord stab motif, the warped vox of “Faces,” or the dense, off-kilter melodies of “Smoothy,” each track is imbued with an earthy, analog feel. This feel, in no part hampered by some excellent FM bass tweakery and 909 work, is pure Plasmik.
| || GRAILS: Black Tar Prophecies Vol’s 1, 2 & 3 LP (IMPREC 105LP) 17.00|
“LP version of Grails’ pivotal 2006 release Black Tar Prophecies 1,2,3. Released to coincide with the debut of Black Tar Prophecies 4 being released simultaneously on Important Records. Cut and pressed at RTI for maximum fidelity. Heavy duty tip-on gatefold jackets by Stoughton. At the start of 2005 Grails returned to the U.S. from a month long European tour. Stepping off the plane, most of the band walked in one direction and the violinist strayed off in another. It ended up being the last time most anyone would see or talk to him. A bandmate of three records and five years had vanished only to exist in the form of vague rumors (violin hocked for petty cash, living on the streets, etc.). As the varied reports of brief encounters and sightings grew stranger and darker, the band started a series of recordings called Black Tar Prophecies. The remaining members had particular dissatisfactions with how the band had been grouped into the innocuous contemporary ‘post-rock’ movement. This frustration, combined with newly liberated instrumental roles, introduced new possibilities for the band’s sound. In this way the collected Black Tar Prophecies ends up being a more idiosyncratic mission statement for future Grails recordings, revealing their fondness for the ground floor ’60s and ’70s experimental artists that saw music as a process of discovery as opposed to the pre-conceived, pre-parametered, commodified sport that underground music has become. A parallel is now forming between Grails and old-school experimental bands like Faust who, rejecting their past, started over from the beginning to build new languages in music. Grails’ third full length recording, and first full length since leaving Neurosis’ label Neurot, is The Black Tar Prophecies. Seven of the nine tracks from this full length were released in small, highly sought after pressings of 12″ vinyl on two European labels. Important is proud to release The Black Tar Prophecies in its complete form, including two tracks not available on the vinyl releases. The Black Tar Prophecies is a massive evolutionary step in the established Grails sound and it is shrouded in change and pain. The somewhat clinical studio sound and recording style which has established them a tremendous following has been replaced with a much more free and conceptual recording style. This method liberated the group in the studio and these recordings feel much more open, heavy and for lack of a better term ‘psychedelic.’ We’re not talking about the cliché co-opted psychedelic fashion, but psychedelia as a reckless embrace of new states of mind and possibilities. This sound has always existed within a Grails song but now it has been heavily pushed to the foreground. Perhaps even more eloquently and simply stated, Black Tar Prophecies 1, 2, & 3 is their best record yet.”
| || AUN: VII CD (IMPREC 289CD) 14.00|
“Aun’s bi-polar output generally shifts between dreamy, lulling harmonic distortion and sheer gut-wrenching, ultra-down tuned, avant black dirge. Aun’s VII is of the latter. Of strong melodic and compositional sense, impossibly detuned guitars and electric power surges, soar through deep space and into black holes. While demented acid-fueled fiddlers torment the high ends, ghostly cow-boy melodies and industrial strength psychedelia are time-kept by Away of prog-speed legend Voivod. Playing an uncharacteristic strain of jazzy, motorik and tribal rhythms, Away traps the surreal electrocution state of VII, which is complemented by a mystical and symbolic heavy Justin Bartlett adornment.”
| || MASTER MUSICIANS OF BUKKAKE: Totem Two CD (IMPREC 301CD) 14.00|
“Echoing like a long lost Werner Herzog soundtrack, Totem Two is a record of subtle meditations and deep electric hallucinations from the Crystal Caves of the Northwest to the orchestral desert portals of Turkey. Totem Two finds MMOB exploring the disappearance of the mystic and the schisms of our age. In times when forces move against our souls, these are the first sounds of music that can only be described as No-Age, a resistance is making itself known. Featuring members of Earth, Asva, Burning Witch, The Diminished Men, and more, as well as special guests from Secret Chiefs 3 and the thriving Istanbul music scene. MMOB has now solidified into a 7-piece cosmic psych force. Like a reverse dark side of the new age sound, on the Totem series Master Musicians of Bukkake perform ritualistic electric excursions into the outer and inner reaches. Relying more on the electric power of psyched guitars, analog synth chants, and exotic heavy percussion. This Totem Trilogy echoes with the delusions of a west coast death cult. Outer-spaced gamelan, dusty fuzz rock from celestial deserts, meditations of a deranged Krishna gathering, and the blurry acoustic guitar majesty of the Cascade mountains all reveal themselves here in epic form. Master Musicians Of Bukkake’s newest offering in the Totem Trilogy, Totem Two marks yet another psychic and sonic shift from their first record Visible Sign Of the Invisible Order (Abduction Records 2005/LP via Important Records 2010) and its predecessor in the trilogy Totem One (Conspiracy Records 2009). On Totem Two, Master Musicians explore and meditate deep on the death of the Mystics, the Forgotten Ones, the Schisms of our time, and the inability to realize the primary clear light for what it is. Totem Two shifts from electronically altered Bön cult rituals to outer spaced Sufi Sects. Finally succumbing to the fully orchestrated No-Age darkness of the religion of the future only to end in delusional ‘enlightenment’ atop Mt. Shasta, scrawling the deranged rambling of new age psychosis on the crystal walls of a cave. Every sound and note played is put to tape by a group with a singular purging purpose. Recorded, mixed and produced by Randall Dunn (Six Organs of Admitance, Sunno))), Earth ,etc.), at Aleph studios in Seattle, WA. ‘Perede Kaldirma’ was recorded in Istanbul, Turkey at the legendary ADA studios, November 2009. Featuring a collaboration between MMOB and Turkish musicians from the Istanbul music scene, it features amazing Ney solos by Serkan Bagkenesen. Over the years, ADA studios in Istanbul has been the host for records by Erkin Koray and Baris Manco to name a few. Inspired by and for lovers of: Popul Vuh’s work with Werner Herzog, early Vangelis and Tangerine Dream, as well as Philip Glass’ Kundun soundtrack.”
| || MASTER MUSICIANS OF BUKKAKE: Totem Two LP (IMPREC 301LP) 19.00|
| || GRAILS: Black Tar Prophecies Vol 4 LP (IMPREC 302LP) 17.00|
“With Black Tar Prophecies Vol 4, Grails reawaken the series that initially began the run of records that mapped their rise to the forefront of modern instrumental music. While recording their full-length records with an eye towards cohesion and epic production, the Black Tar series affords Grails a backdoor to a black lodge where they can explore total head music. With a more lawless atmosphere and an overtly dark aesthetic, Black Tar’s relentless re-mixing and sonic juxtapositions return the listening experience to a more innocent position, where expectations can be exploded and insidious sentiments come dressed in gently poisonous forms. In this volume, Grails combine back-masked satanic tape collage with old Emmanuelle soundtracks, pushing them further in the direction of a classical Italian melodrama soundtracked by Nurse with Wound. The Black Tar material is conceived slowly, in between tours and full-length albums, giving Black Tar its own experimental space and keeping its final sum unknown even to its practitioners. Like the slab of black slate in the opening of Kubrick’s 2001, Black Tar is an attempt to bring the ritual act of music back to it’s original mysterious genesis, where the listener and artist both stare into a nebula’s electric cloud before it takes its inevitable shape as a planet.” Comes with a heavy duty, tip-on style jacket.
| || BESNARD LAKES, THE: The Besnard Lakes Are The Roaring Night CD (JAG 126CD) 14.00|
“There is a war now. The message has been sent through short wave in code. The Besnard Lakes’ twisting chronicle, or fever dream, of spies, double agents, novelists and aspiring rock gods has turned violent. Loyalty, dishonor, love, hatred all seen through the eyes of two spies, fighting a war that may not be real. One follows the other as they receive coded messages and spread destruction. The city is burning, and it’s to the benefit of music obsessives everywhere. Once again, the husband-and-wife duo of Olga Goreas and Jace Lasek has crafted a majestic, sprawling vision of guitar bombast and captivating pop experiments. With the aid of Besnard members Kevin Laing on drums and Richard White on guitar, The Besnard Lakes Are the Roaring Night is a dense, ambitious recording, experimenting, as always, with the studio as instrument. The Besnard Lakes Are the Roaring Nightcalls upon the influence of ELO and finer parts of the Alan Parsons Project in its orchestration. Still helped by the Ghost of Beach Boys Past, the album is more Dennis Wilson than Brian, and more Peter Green Fleetwood Mac than Lindsay Buckingham. The album is a dark bliss-out that folds the eerie guitar epics of the Montreal band’s breakthrough into a wall of affected drones and atmospherics, but with a toughened immediacy and grit that gives the form a much-needed shove over the cliffs, making for a haunting, provocative swan dive into the crushing tide.”
| || BESNARD LAKES, THE: The Besnard Lakes Are The Roaring Night LP (JAG 126LP) 15.00|
| || PETER WOLF CRIER: Inter-Be CD (JAG 160CD) 14.00|
“Inter-Be is the debut album by Peter Wolf Crier, the Minneapolis-based duo of Peter Pisano and Brian Moen. The album was born on a single summer night when Pisano felt a torrent of creativity after what had felt, to him, like an interminably long dry spell. He shared the songs with Moen, and over the months that followed, at Moen’s home, these rough-hewed tunes became what they are now: a confident collection of songs, but deceptive in that their very guts still reflect the thoughts of a man in transition. Pisano’s is not a new songwriting voice. He is best known for being part of the Wars of 1812, an ascendant Wisconsin-bred quartet. Their first album together, Status Quo Ante Bellum, was more than just an album. It was relocation and aspiration and Pisano’s lyrical Eden. As the Wars went on hiatus, Pisano continued to hone his craft, keeping his days full as a teacher at a small private school while fine-tuning, at night, the songs that would soon become Inter-Be. Feeling confident in the songs, Pisano approached Moen, a seasoned drummer and engineer best known for his involvement in Laarks and Amateur Love. After being asked to add some percussive elements, Moen added his thundering drum rolls and perfectly timed fills, but he also added something much more: a melodic soundscape that would complete the evolution of the songs. So was born the partnership that is called Peter Wolf Crier.”
| || PETER WOLF CRIER: Inter-Be LP (JAG 160LP) 15.00|
| || SIGHTINGS: City Of Straw CD (JAGBR 017CD) 13.50|
“Crafting a lasting personal aesthetic in the midst of our ephemeral music culture is as rare as it is cause for celebration. With the release of City of Straw Brooklyn’s Sightings can be counted among the few contemporary bands who have forged a unique voice amongst the racket. Recorded over a number of months in 2009 at The Ocropolis (Oneida’s Brooklyn, NY studio), the band’s seventh studio album becomes the crucible from which their grandest and most coherent statement finally emerges. Sightings has never presented a particularly welcoming façade and their sui generis music has perhaps been passed over by less discerning listeners over the eleven years of their existence, but throughout this they have created a singular body of work appreciated and touted by the likes of Thurston Moore and Andrew WK. Sightings will insist (and we agree wholeheartedly) that at their core they are a rock band working within the context of pop song-craft. As bassist Richard Hoffman told us recently, ‘I think everyone in the band tries to remember the value of minimalism. Ultimately I think we try to write pop music, where there’s no chaff and everything has a place.’ With a deep reach beyond the spirit of their influence from greats like Birthday Party, Dead C and Jesus Lizard, City of Straw finds Sightings working at the peak of their creative powers and is the perfect re-introduction to one of New York’s most accomplished bands.”
| || SIGHTINGS: City Of Straw LP (JAGBR 017LP) 15.00|
| || VA: Jahtarian Dubbers Vol. 2 LP (JTR 002LP) 21.50|
| || VA: Jahtarian Dubbers Vol. 2 CD (JTR 004CD) 18.50|
“Like its predecessor, Jahtarian Dubbers Vol. 1, this deadly disc is about to wreak havoc on terran speakers and walkman personal stereos alike. Filled to the rim with fresh and hitherto unknown hit tunesm the green matter powered Jahtarian warp drive continues to run in the red area. Our collection of new nerve-stunning soundwave modules includes the whole happy space invading posse: Clause Four, Black Chow, Soom T, Solo Banton, Tapes, El Fata, Illyah & Ltd. Candy, Ras Amerlock, John Frum, Disrupt and the almighty Jahtari Riddim Force. May cause heavy gravity disorder in your neighbourhood when set on autopilot. The CD version contains three bonus tracks.”
|JAZZMAN RECORDS (UK)|
| || BROOKS & THE ARTISTIC TRUTH, ROY: Ethnic Expressions CD (JMAN 034CD) 17.00|
Easily one of the most coveted and sought-after of all jazz LPs is the elusive Holy Grail that is Roy Brooks’ Ethnic Expressions. It’s not just rarity that makes a record of this nature so desirable, nor is it the compelling music within — sometimes, like a Van Gogh or a Picasso, it’s the personality of the artist himself that’s inexorably entwined with the record itself that lends a fascinating, mesmeric and mythical quality that simply can’t be contrived. The sixth release in Jazzman’s Holy Grail series is an attentive reissue of one of Detroit drummer Roy Brooks’ two LPs for the tiny Im-Hotep label out of New York. This Jazzman release is in conjunction with P-Vine Records of Tokyo, whose Japanese reissue has already vanished with only a handful having reached these shores late in 2009. Ethnic Expressions was recorded live in NYC in 1973, and exhibits a powerful message of black consciousness and spiritual freedom. This is post-Coltrane progressive jazz of the highest order! With a cry to his African roots, Brooks’ music combines modal, rhythmic and Afro-centric jazz with politics, spirituality and positive vibes. The result is deep, esoteric spiritual jazz that any fan into real-deal, vibrant jazz will require as essential listening. The CD also contains a color booklet with extra pictures and liner notes translated from those written by respected Japanese jazz collector Yusuke Ogawa.
| || MBARGA & ROCAFIL JAZZ INTERNATIONAL, PRINCE NICO: Cool Money LP (MJJ 305LP) 27.00|
“Prince Nico Mbarga (1950-1997) was a half-Cameroonian Nigerian highlife vocalist and guitarist whose music played a significant role in the evolution of African pop music. His 1976 hit song ‘Sweet Mother’ (which sold more than 13 million copies) is so popular that is sometimes called ‘Africa’s anthem’, no small feat for a continent with such a rich musical tradition! Like many, Prince Nico began playing with a hotel band in 1970, and by 1973 had his first local hit. Cool Money is a rare 1979 album, originally released on the Nigerian RAS (Roger’s All Stars) label, when the artist was at the height of his success. Prince Nico was unfortunately killed in 1997 in a motorcycle accident, which of course, has only added to his legend.”
| || CARRION, GUSTAVO CESAR: El Vampiro/El Ataúd Del Vampiro LP (MJJ 306LP) 27.00|
“Gustavo César Carrión’s soundtracks to the classic Mexican horror films El Vampiro (1957) and its sequel El Ataúd Del Vampiro (The Vampire’s Coffin) (1957), both directed by Fernando Méndez and produced by Abel Salazar’s famed Cinematografica ABSA, which inspired by Salazar’s love for the Universal horror films of the ’30s and ’40s, produced 8 horror films from 1957-1964. Salazar was so involved in these projects that he actually plays the role of the doctor in both El Vampiro and the sequel! Black and white gothic gems with swirling fog, dark externals, campy effects, rubber bats, and believe it or not, the first vampire to ever sport fangs on film (played by Germán Robles)! Called a ‘masterpiece’ by many fans of classic horror, and listed as one of the Top 100 Mexican Films of all time, El Vampiro is definitely a cult flick worth rediscovery, thanks in no small part to Carrión’s dark and foreboding soundtrack. El Vampiro and El Ataúd Del Vampiro can also be considered direct precursors to the well-known Christopher Lee movies from Hammer.”
| || KEEPAWAY: Baby Style LP (LEFSE 007LP) 13.00|
“Keepaway’s twisty triangle of Mike Burakoff, Frank Lyon, and Nick Nauman have been swimming around the recesses of your imagination for awhile now; they found a lot of interesting stuff there, and they’re squishing it together into some serious future pop. They’re based in Brooklyn, NY, where they daily hone their synthesis of big city booty beats, wall-wobbling psychedelia, and soul-bending hooks. Their sound lands them right between Black Dice and Lady Gaga. They recorded their debut EP, Baby Style, in Brooklyn. They went hard. The result is a trip down memory lane you haven’t yet visited, an immersive take on their wicked live sound.”
|LILITH (RUSSIAN FEDERATION)|
| || TANGERINE DREAM: Run To Vegas LP+CD (LR 306LP) 27.00|
“A compilation of rare tracks by German avant pioneers, Tangerine Dream, beginning with a rare single from Edgar Froese’s pre-TD band, the Ones (a psychedelic affair recorded in 1967, before Froese had fully distanced himself from rock music by selling off his guitars for a host of constantly changing electronic gizmos). The remaining tracks come primarily from their successful ‘Virgin period,’ with Christopher Franke on drums and Johannes Schmölling on keyboards. Features the CD-only bonus track ‘Landing On 51.'”
| || BRAINTICKET: Celestial Ocean LP+CD (LR 307LP) 30.00|
“1973’s brilliant Celestial Ocean, by the legendary Swiss Krautrock band Brainticket, is a concept album that details an ancient pharoah’s journey into the afterlife (substitute the word ‘journey’ for ‘trip’ and you’ll get what they were driving at). However, Brainticket were not mere products of their time, they explored some truly compelling musical territory and produced a superlative blanket of sound — featuring a pioneering mix of early synthesizers, flute, zither, sitar, and male / female stream-of-consciousness spoken word vocals — that ebbs and flows in the same general cosmos as classic Gong, going on to influence bands like Sonic Youth, Stereolab, Skinny Puppy, The Legendary Pink Dots, and more! This reissue is fully remastered from the original master tapes.” Gatefold sleeve.
| || TINSEL TEETH: Trash As The Trophy LP (LOAD 127LP) 14.00|
LP version with full-color insert. “Their brand of wiry songsmithery is sure to embarrass those with weak kidneys and delicate sensibilities, but, for the rest of us, this will provide some proof that life is not quite over, and there are others looking to spoil the cultural soup. Adult topics for times of missing children. Milk cartons featuring pictures of missing middle fingers.”
| || CLUBROOT: II-MMX CD (LODUBS 10001CD) 14.00|
“With the benefit of almost zero British press attention, Clubroot’s self-titled debut CD gained quite a cult following last year, with plenty of enthused chat on message boards like Dubstep Forum, while both Mary Anne Hobbs and Rob Booth commissioned Clubroot mixes for their respective (and much respected) radio shows. His sound is often compared favorably with Burial’s more atmospheric sequences, and with a similar air of anonymity characterizing his public (non) profile, he seems already to be attracting an audience who betray a certain obsessiveness in their listening habits. There are distinct and catalytic events and occurrences in our lives, and when thinking of these events in retrospect, unusually vivid mental pictures sometimes remain. For some, the summer of 2009 will carry a soundtrack of Clubroot along with the stories of their life, and when they mentally mark said period, will always conjure up along with it the music of the grey album, with the fog enveloped tree on the cover. The moment the elements of the debut release were sealed and disseminated, our artist set out on a new path involving visits to such disparate locales as Türkiye and Polska, which became parts of the cinematic ambiance that is the new Clubroot album, II-MMX. In doing so, our artist has created a series of images, with sounds so absolutely married to its accompanying elements that it seems as if it was unearthed in complete form as opposed to constructed. It possesses some of the most pronounced and arresting bass-lines ever heard, delivered musically in a language as ethereal and intense as, say, Dead Can Dance, Cocteau Twins, or perhaps Muslimgauze, but couched in a language informed by the scene around dubstep and UK garage.”
| || CLUBROOT: II-MMX 2LP+CD (LODUBS 10001LP) 19.00|
2LP version, including full-length CD release.
| || CHILD ABUSE: Cut And Run CD (LPU 030CD) 12.50|
“In their five years of existence, Child Abuse have become much more than a (shocking) name. The legendary NY trio has fused elements of noise, death metal, free jazz, and grind (among other things) for something entirely their own. On their 2nd full-length and 3rd Lovepump release, Child Abuse has reached the apex of weird: Cut And Run is a monument of bizarre brutality.”
| || CHILD ABUSE: Cut And Run LP (LPU 030LP) 15.00|
| || DENGUE FEVER: Sleepwalking Through The Mekong CD/DVD (M80 102CD) 15.00|
“Dengue Fever’s psychedelic take on the Cambodian pop sounds of the ’60s makes them one of rock’n’roll’s most unique success stories. They draw enthusiastic crowds from LA to the UK, from Maui to Moscow, and leave critics rummaging through their thesauruses looking for new superlatives to describe their sound. The band’s documentary feature film Sleepwalking Through The Mekong (a DVD/CD Soundtrack) continues the story and evolution of the band as they travel to Cambodia as the first Western group to perform the music of Cambodia since the fall of the Khmer Rouge. Sleepwalking Through The Mekong has received an enthusiastic reception at international film festivals, as well as the Tucson Film Festival, the Silver Lake Film Festival in Los Angeles, the Hawaii International Film Festival and the Margaret Mead Film Festival in New York.”
|MADLIB MEDICINE SHOW|
| || MADLIB: Madlib Medicine Show No. 5 – History Of The Loop Digga CD (MMS 005CD) 16.00|
“Madlib follows 420 Chalice All-Stars: All Jamaican Sounds with the fifth installment in his Madlib Medicine Show, History of the Loop Digga: 1990-2000. Back in the 90s, ‘beat tapes,’ as a hip-hop producer’s demo-reel is now quaintly referred to, were literally that: cassette tapes of beats that a producer made either for himself, his friends, or for potential collaborators. As you can imagine, Madlib made a bunch of ’em in the days between his early productions for the Alkaholiks (circa ’92) and the release of his Quasimoto album (2000) — after which he took a couple of years off of the beats to focus on making jazz music with his fictional five piece, Yesterdays New Quintet. This collection of beats showcases the way that Madlib’s early hip-hop demos were filtered out to his friends and associates and provides an opportunity for a unique view into Madlib’s working process: these beats, often freestyled on whatever machine he had at the ready, were picked up by rappers over a period of many years. Trainspotters will find it interesting that beats later destined for the likes of Wildchild and Percee P were made some years before those albums saw release. This album is punctuated with a series of early solo-raps by Madlib and his Quasimoto alter ego and features the cadre known collectively as CDP — those rappers who worked side by side with Madlib during the days of his Oxnard-based ‘Crate Diggas Palace’ studios.”
| || VA: Been Here All My Days LP (MR 064LP) 14.00|
“Throughout the 1960s and 1970s, George Mitchell recorded extensively in the South. Mitchell concentrated mainly on local blues traditions, recording some famous bluesmen and many otherwise ignored artists. The George Mitchell Collection was originally released as a series of forty-five EPs on Fat Possum; this LP contains our favorite fourteen tracks. This LP represents songs from many well-known blues musicians such as Fred McDowell, Furry Lewis and Joe Calicott as well as some from criminally under-represented artists like Jessie Mae Hemphill, Rosa Lee Hill and John Lee Ziegler. Comes with a short booklet of photos, discographical notes and recollections.”
| || JAY, ABNER: Folk Song Stylist LP (MR 068LP) 14.00|
“Long awaited follow up to the True Story of Abner Jay LP. Abner Jay was a man who had a grand sweeping vision of what folk music was. In his lifetime his expression of what folk music could be encompassed some serious stylistic variations. Sometimes he was a one man band traveling troubadour playing an electric banjo, harmonica, & drums who tried to hoodwink audiences into believing that he was 150 years old & the standard bearer for authentic Americana. Sometimes he played in electric straight up R&B bands such as ‘Koko Joe & the Jobhunters’. Sometimes he claimed to be the ‘black Bob Dylan’ strumming an acoustic guitar & singing socially conscious urban folk. On this LP we find Abner in all of these modes & more. (He also does a pop song about a submarine disaster & a beautiful gospel song). Culled from a mix of Abners’ 45’s & LPs spanning the period 1964-1973, including Abner’s first long lost LP, which we reproduced the cover image for this LP from. We hope that this release will help to further the current wave of understanding that Abner Jay is an important artist who deserves a wider audience than he ever received during his lifetime. Comes with a self promotional pamphlet penned by Abner & a color photo of Abner. Housed in an old school tip on sleeve. We are very proud to get this incredibly hard to find material out into the world.”
| || ESTES, SLEEPY JOHN: I Ain’t Gonna Be Worried No More 2LP (MOK 325LP) 34.00|
“A retrospective of 24 songs recorded between 1929-1937 in Memphis, Chicago and NYC, when Tennessee native, Sleepy John Estes was at the height of his abilities. Despite the fact that Estes wasn’t the fastest or most technical blues guitarists out there, his distinct and emotional vocals, and uniquely relaxed style more than compensates for this, making him one of the genre’s true geniuses. Estes, in fact, perhaps because he wasn’t a guitar virtuoso, usually preferred to play in a group setting, and on these recordings he is often accompanied by great players like ‘Yank’ Rachell on mandolin or Hammie Nixon on harmonica. He is also frequently accompanied by piano and sometimes second guitar. Estes is also well known for his lyrics which talked about places and people he knew. I Ain’t Gonna Be Worried No More contains all of his best songs, including blues favorites like ‘The Girl I Love, She Got Long Curly Hair’ (covered by Led Zeppelin), ‘Drop Down Mama’, ‘Milk Cow Blues’ (covered by The Kinks), and ‘Someday Baby Blues’ (covered by Muddy Waters, Bob Dylan).”
| || DJ 3000: Flamuri I Popullit Remixes 12″ (MOTECH 022EP) 10.00|
“The art of the remix has always been an important part of the electronic music genre. The ability to take parts of an existing track and mold it into your own composition, while infusing your own style, is not a skill possessed by every producer. ‘Flamuri I Popullit’ stood particularly strong on its own on DJ 3000’s Galactic Caravan LP. So to add remixes by Belgium’s Buscemi and Japan’s own JAKAM afforded the already cultural soaked track with an extra dose of global influence. The original mix of ‘Flamuri I Popullit’ is a prime example of DJ 3000’s progression as a producer. It is composed of an exact blend of the culturally rich sound that has been ever present since Motech Records’ earliest releases with an evolving funky swagger that is more and more apparent on each DJ 3000 release. The Buscemi remix of ‘Flamuri I Popullit’ is a seductive, almost dream like composition that draws you in with every passing second. And just as you are drawn in fully, the beat drops and you are forced to move. This remix is a guaranteed floor burner that will certainly captivate crowds across the globe and appear on DJ charts worldwide in the coming months. JAKAM (also appearing as Moochy, Juzu) is a producer without pre conceived boundaries and classification. This self proclaimed freestyle is readily apparent on his remix of ‘Flamuri I Popullit.’ JAKAM retains the original vibe of the track, but adds a darker and driven feel. If the Buscemi mix aimed for our carnal appeal, JAKAM has certainly aimed for our cerebral response to the track. Whether it is through individual effort, collaboration or through the remix, Motech Records continues its never ending push towards achieving a global sound and vision. From every corner of the world we converge under the Motech banner to present you with our sound.”
| || QUA: Q&A CD (MH 265CD) 13.50|
“Q&A, the latest release from Melbourne, Australia’s Qua (Cornel Wilczek), is a collection of twelve compositions brushed with strokes of guitar and electronics on a canvas of drums provided by James Cecil (Architecture in Helsinki) and Laurence Pike (Savath + Savalas, Pivot, Triosk). Qua has made the mastery of breathing life into every blip his stock in trade, and Q&A is no different. This music is very live — there are more drums, guitar and analog synths than computers — and explores tempos far north of those found in his previous work. In addition to the top-flight musicianship on display, Qua’s deft knack for arrangement adds an uncanny vibrancy to each zero and one. With his feet on the dancefloor and his hand on vintage equipment, Qua has taken one step closer to perfecting his painstaking yet playful style.”
| || DERU: Say Goodbye To Useless CD (MH 268CD) 14.00|
“Say Goodbye To Useless is Deru’s third full-length release, and his first for Mush Records. While you will find similar aesthetics to his previous releases — moody, atmospheric sounds, haunting melodies and organic textures — they are augmented by his most mature song-writing and cutting-edge beats to date. The album pays homage to classic genres and structures while cultivating a 22nd century smart-party ethic that will snatch the ear of the snobbiest beat head. Deru’s listeners will continue to appreciate his drive for challenging them as much as he challenges himself.”
| || DRUMM & JOHN WIESE, KEVIN: Untitled LP (NIHIL 063LP) 23.00|
“Very long-awaited collaborative record by two fellows that need no introduction. Mania-inducing heavy waves of suffocating bass frequencies with ripping and tearing, hissing and speaker-destroying hell-storm. Recorded in Chicago in 2006, cover art by Alex Decarli. Pro-pressed covers pressed on black vinyl. 500 copies.”
| || BURNING STAR CORE: Papercuts Theater CD (NOQ 022CD) 12.50|
“Ah, the live album: often a tool for bands looking to wiggle out of contracts or perhaps, squeeze a few more pennies from a loyal fanbase. Rare is it a work of art. Inspired by these singular instances (Grayfolded, The Grateful Dead; Sonic Death, Sonic Youth; In Search of Spaces, Flying Saucer Attack) C. Spencer Yeh, the lone constant of the long-running Burning Star Core project, conceptualized Papercuts Theater: one long piece (broken into four movements) culled from over sixty live performances, spanning years and continents. These formerly disparate relics of time and space now exist as one: a sonic document of the present.”
| || BURNING STAR CORE: Papercuts Theater 2LP (NOQ 022LP) 17.00|
Gatefold 2LP version.
| || COCONUTS: Coconuts CD (NOQ 023CD) 12.50|
“Words that come to mind while listening to Coconuts’ debut album: ugliness, despair, un-marketability. Theirs is a sound rooted in inherent darkness, influenced by early-’80s post-punk, no wave (fellow Australians The Birthday Party come to mind) and the bleakest of world-views. It’s an almost disorienting experience, created by homemade guitars that seem to leak feedback, built by founding members Tim Evans and Jordan Redaelli (the aforementioned Australians). The duo met up with Oacific-northwesterner Daniel Mitha in New York City, whose primitive drumming completed the group. We should also mention: the record has killer harmonies.”
| || COCONUTS: Coconuts LP (NOQ 023LP) 12.50|
| || VA: Eccentric Breaks And Beats CD (NBR 001CD) 14.00|
“Over the course of seven years and over 70 releases from the acclaimed archival label the Numero Group… …a fan began to create a mega-mix of his favorite loops, breaks, and vocal snippets, chopping them all up and piecing together an incredible musical narrative — a 40 minute, white label 12″ boot that was pressed and seeded to a handful of DJs and producers. Naturally, word got back to Numero, but instead of issuing the obvious cease and desist letter, the label decided to go one better. Imitation is the sincerest form of flattery, so in a true nod to all fans out there, the Numero Group, via their Numbero imprint, is issuing Eccentric Breaks & Beats as an homage to the breaks and beats collections of yore, bootlegging their own bootleg, as it were. It took some time and effort, but Numero was finally able to track down the creator of this essential collection, and delighted to discover that it was the apocryphal label and production team, Shoes, who have previously re-worked Moodyman, Al Green, Miles Davis, and dozens more. Featuring over 50 tracks from some of the best artists associated with Numero, it’s both an essential turntable item and an intriguing musical puzzle.”
| || VA: Eccentric Breaks And Beats LP (NBR 001LP) 17.00|
| || ANTENA: Camino Del Sol 2LP (NUMERO 002LP) 20.00|
“1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule to make an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, they manage to make a contemporary bossanova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. Antena’s album would be issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover’s patio furniture at rest in the south of France, we scooped up Camino Del Sol immediately, giving it the distinction as the second record in our library. Six years later, we’re finally issuing it on LP. The original Camino Del Sol has been given back its spacious mini- LP quarters, packaged in a replica of its Benoit Hennebert-designed sleeve, while the remaining tracks (including all four songs from the ‘Boy From Ipanema’ session, ‘Seaside Weekend,’ two Crepescule compilation cuts, and four period outtakes) have been given their own LP, recasting this short-lived combo’s forward-thinking mile marker as a modern-day masterstroke.” Deluxe gatefold sleeve with full-color printed inner sleeves.
|OSTGUT TON (GERMANY)|
| || SUMO & PROSUMER, TAMA: Rarified 12″ (OSTGUT 036EP) 12.00|
Tama Sumo & Prosumer journey further into classic analog territory with a wild, rough and direct remix from Detroit’s The Oliverwho Factory. “Rarified” flows like a classic Chicago cut — reduced, metallic and full of warm bass pressure — while the left-field melody evokes memories of early Warp electronica. The Oliverwho Factory’s remix effortlessly flows through jazz to powerful house and raw, room-filling electronics. “Flow Figure” is a freaky, funk-infected concoction of electricity, human energy and booty-shakin’ grooves.
|OUT HERE RECORDS (GERMANY)|
| || VA: Ayobaness! The Sound Of South African House CD (OH 015CD) 15.50|
Ayobaness! The Sound of South African House is an introduction to the vibrant urban club culture that rules the dancefloors from Johannesburg to Durban, giving you the full experience of South Africa’s house craze. “Ayoba” is a catch phrase born in the townships of Johannesburg which is used to express excitement. Right now South Africa is excited: in June and July millions of football fans worldwide will be turning their eyes on the rainbow nation for the 2010 World Cup. This could also be the time for probably the most crazy house culture in the world to shine. Recent years have seen a growing interest in local music styles from around the world such as favela funk, cumbia or kuduro. DJ Mujava from Pretoria came up with one of the major global club anthems called “Township Funk,” and the DJ and producer is a part of a huge rebirth of black culture that has been taking part in South Africa since the end of apartheid. When apartheid finally came to an end in 1994, the South African township youths had created their own club music called kwaito. At the beginning, kwaito was not much more than slowed-down house beats over which raps in Zulu, Xhosa and broken township English were laid. The heartbeat of urban SA music has always been house. From copying international house beats and mixing them with Shangan, Zulu or Xhosa township raps with early kwaito, it has now gone full circle. The compilation starts off with Durban heavyweight L’Vovo Derrango, who shows that kwaito is still alive and kicking. The title track “Ayobaness” comes from South African President of Youth Culture, Pastor Mbhobho, a crazy priest sporting a huge Afro, next comes DJ Cleo, who has shaped the South African urban music scene like nobody else, soon followed by Afro house vocal crew Shana. DJ Clock and Big Nuz, Tzozo & Sox give a taste of the Durban house breeze with their hit single, and straight from the townships of Jo’burg is Mgo. His track was mixed by Hamburg-based production team Bongo Disco. Other hidden gems include “Mexican Girl” by Aero Manyelo, a heavy bass track from Midrand Johannesburg, or DJ Steavy from Nelspruit whose offering is a mix of ghetto and disco sounds. Each artist here is a superstar in their community, and you’re about to hear why. Includes a detailed 20-page booklet featuring info on each artist. Other artists include: Bleksem, DJ Sumthyn, Ntsiki Mazwai, Survivor, DJ Bongz, Mampinsha, DJ Fresca & Kudoskelem and Lelethu.
|PAST & PRESENT (UK)|
| || VA: Mind Expanders Volume 3 CD (PAPR 2115CD) 17.00|
The Past & Present label reissues volume 3 of the Mind Expanders compilation series, for the first time ever on CD. This series just gets better and better. We think you’ll agree that Past & Present’s Dutch compiler has pulled out all the stops for this, Volume 3; offering up the rarest, most funky, weird and downright excellent instrumental tracks in existence. From the voodoo intro to the lilting finish, there’s every mind-expanding vibe in between, a cosmic blast of psychedelic, exotic, go-go, groovy tunes with lots of strings, tribal beats and fuzzed-out guitars and some gorgeous vocal harmonies. It’s beyond words, just listen. Includes a full-color booklet. Artists include: The Hard Rockets, Popcorn Rebellion, Delfini, Satisfaction, Les Guitares De Dimanche, Electric Max Band, Bernard Gérard, Zoo, The Electric Tomorrow, Greenlight, Beatniks, Damned, Peter Pan And The Good Fairies, Yan Tregger, Rimington, and Up’N Adam.
| || AMPS, THE: Pacer LP (PLAIN 148LP) 17.00|
“The one and only full-length from Kim Deal’s post-Pixes and Breeders group, released in 1995. Though The Amps were originally intended to be a solo project for Deal, they quickly developed into a full-fledged band, recording tunes that were slated to be part of the 3rd, never recorded, Breeders’ album. Sloppy, raucous, and life-affirming rock and roll that owes more than a little to their fellow Dayton-ites Guided By Voices, Pacer is as good or better as any of the Breeders’ releases.”
| || CHESNUTT, VIC: About To Choke CD (PLAIN 158CD) 13.00|
“His only album for Capitol Records (originally released in 1996) was another exceptional batch of songs. An edgy slice of country-folk showing his unique version of Americana that was usually several things at once: his craggy voice, raw honesty, an acoustic guitar (or a piano) and an outrageous imagination. Vic Chesnutt was a rare kind of artist and definitely one of the most relevant songwriters of the last 20 years.”
| || OUS MAL: Nuojuva Halava CD (PRE 029CD) 15.50|
This is the debut album from Helsinki, Finland’s Ous Mal. Ous Mal is the recording project of Olli Aarni. With previous CD-R releases for both Finland’s 267-Lattajjaa and the UK’s Under The Spire, Ous Mal has already gained notice for his expansive sound, further developed in widescreen on Nuojuva Halava. Finding common ground between the dusty tenor of old-school hip-hop cassettes and the fog of deep ambience as a base, the music of Ous Mal also takes on an ingrained influence of traditional Finnish folk for an epic, otherworldly take on sound and song. These atmospheric pieces can slowly swell into ecstasy or settle into hazy shades and spring into moments of joyful pop abandon. That line back to tradition — with some pieces using the age-old Finnish stringed-instrument, kantele and others drawing from old Finnish hymnal albums — makes for a lyrical imagery that evokes an elusive sense of place. It’s a sound with the lingering presence of the past but with one eye set firmly on taking it into the future. Roughly translated, “nuojuva halava” means “swaying bay willow.” The way things in nature change through time and surroundings is a recurring inspiration for Olli’s music, heard especially in the way he often takes his textures towards compelling points of decay. UK artist Jenkins conceived the images for Nuojuva Halava’s artwork, creating free-falling geometric shapes against backdrops of epic spaces to connect perfectly with the music packaged within. Nuojuva Halava creates a picture of great scope in its colliding of ideas into kindred spirits, arriving at a zone that’s bold and blissful as it is personal. Mastered by renown Italian composer Giuseppe Ielasi (Pimmon, Heather Woods Broderick).
| || NERVE CITY: Sleepwalker EP 12″ (SBR 034EP) 14.00|
“The 6-song Sleepwalker EP by Nerve City — a one-man home recording project out of Richmond, VA — is the next installment in the Sacred Bones 12″ EP series. Awash in the whips and twangs of a spring-loaded reverb tank and faint hints of a distant drum kit, Nerve City’s hook-driven songs recall the hard charging down-strokes of the Velvet Underground’s more driving moments or, more recently, the psychedelia of west coast kindred spirits Sic Alps and the Gris Gris. Over the past several years, the band has cemented a rep both live and on record. First came the Catholic School demo tape and the follow-up, Hell (both via Amateur Depression); then quickly sides on Severed Hand, Kill Shaman, HoZac, and Sweet Rot.”
| || JURADO, DAMIEN: Saint Bartlett CD (SC 192CD) 14.00|
“Saint Bartlett opens up with a grandiosity yet unheard on a Damien Jurado album. It strips away the many layers of paint from the house down the street that we know Jurado has occupied for the last decade. The new coat is exhilarating. It makes the whole neighborhood shine. It’s a modest grandiosity; still homegrown. The mellotron swells, heavenly handclaps ring in stereo and big drums create a sky for the songs to fly in. And the words. Words spring forth from within the volcano of Jurado, full of hope. There’s so much hope, in fact, that album opener ‘Cloudy Shoes’ turns into a call-and-response with himself, as though it were a dialogue between two halves of himself.”
| || JURADO, DAMIEN: Saint Bartlett LP (SC 192LP) 15.00|
| || JJ: nº 3 CD (SC 212CD) 14.00|
“Last summer Gothenburg, Sweden’s jj quietly released one of 2009’s most critically-acclaimed albums. The album was named nº 2 and it was the group’s debut full-length (their first single was nº 1). With the naive swagger of youth, jj have already completed their next full-length. We here at Secretly Canadian are incredibly proud to present nº 3 to you. If nº 2 was (as it was to many) the quintessential summer 2009 album, nº 3 is destined to be the quintessential winter 2010 album, a soft, red smear of blood on a field of fresh snow. jj create R&B and Balearic dub from the ghosts of lost lovers; pop as delicate as a fawn’s nose across blades of frosted grass. It is the soundtrack for friends packed into the town square’s tiniest tavern, their moontanned, apple-cheeked faces glowing, their dilated pupils filled with all the meaning and meaninglessness of a magic 8-ball. Their music is both carefree without carelessness, and self-aware without being self-conscious. With it, they build an ice bridge arching from Gothenburg into the heart of middle America, and everywhere in between.”
| || JJ: nº 3 LP (SC 212LP) 15.00|
| || ZS: New Slaves 2LP (SOCIAL 078LP) 17.00|
2LP version. “Ah, a new decade of experimental music is here and, no, it has nothing to do with making ‘weird’ disco and throwing a Pro Tools filter over the top to make it sound like a cassette tape. Zs are ready to unload their first full-length for The Social Registry. It’s called New Slaves, and is the most physically visceral experimental LP we’ve heard in a minute. Hitting with a similar impact as Oughts giants like The Boredoms’ Vision Creation Newsun and Black Dice’s Beaches and Canyons, New Slaves is a true behemoth — epic, unapologetic, painfully and artfully composed, mind-boggling in complexity, original in sound and intent, while maintaining a minimalist, chugging funk groove throughout its precise post-capitalist haze. It is arguably the most definitive statement from a band that have been challenging listeners for a decade, demonstrating, over the course of 70 minutes, just how versatile their sound can be.”
| || VA: Nigeria Disco Funk Special 2LP (SNDW 010LP) 21.00|
…The Sound of the Underground Lagos Dancefloor 1974-1979. 2010 repress. Double LP gatefold version. Lagos, Nigeria, 1974-1979: the funk & disco capital of West Africa. More nightclubs, bars, spots and dancefloors than any place along the coast from Dakar all the way to Kinshasa. Nigeria Disco Funk Special is an amazing collection of heavy dancefloor grooves from urban Lagos in the ’70s — hot and driving slices of funk, disco and boogie that show just how vibrant the music scene was in one of West Africa’s most populous and culturally diverse cities. In the ’70s, it wasn’t just James Brown who influenced the musicians playing in the nightspots of Lagos — the loose-structured and elongated jams that he was pioneering in America had been a part of Nigerian music much longer than that. This album is the sound of Cuban-heeled and micro-minied Lagos youth soaking up the sound of the American discotheque and putting their own inimitable twist on the proceedings. The CD and double gatefold vinyl include rare tracks from famous musicians like Bongos Ikwue & The Groovies and Mono Mono’s Joni Haastrup, as well as selections from cult bands like Asiko Rock Group, SJOB Movement and Jay-U Experience. Other artists include: The Sahara All Stars, T-Fire, Voices Of Darkness and Dr. Adolf Aonotu.
| || VA: Nigeria Rock Special 2LP (SNDW 011LP) 21.00|
…Psychedelic Afro-Rock & Fuzz Funk in 1970s Nigeria. 2010 repress. Double LP version, deluxe gatefold sleeve. Nigeria Rock Special shines a light on the flipside of the well-documented sounds of highlife and Afrobeat coming out of Nigeria in the 1970s — young bands caught up in the wave of psychedelic and progressive rock that was sweeping Europe and the States in the late ’60s and early ’70s. As time goes by, the many layers of musical output that formed around the world throughout the 1960s and ’70s continues to be peeled back to reveal many welcome surprises. The explosion of rock n’ roll that erupted out of the USA in the ’50s fanned out around the globe from its epicenter and by the mid-1960s, kids all over the world were picking up guitars and checking themselves in mirrors. Nigeria was no exception. Spurred on by Cream drummer Ginger Baker’s visits to Lagos and his band Airforce (featuring many Nigerian musicians), the sound of fuzzed-out rock reverberated around the universities and nightspots of Lagos and Ibadan. The craze that followed hit the youth and student population of Nigeria hard — mixing fuzz guitar and heavy African rhythms with elements of Led Zeppelin, Traffic and The Chambers Brothers. Fifteen of the best cuts from the scene are available here for the first time in 30 years. Artists include: Ofege, The Action 13, The Hygrades, The Wings, Ofo The Black Company, The Elcados, Mono Mono, Tabukah “X”, The Funkees, Colomach, Joe King Kologbo & His Black Sound, Question Mark, Original Wings, Tunji Oyelana and BLO.
| || HEAVEN AND: Bye And Bye I’m Going To See The King LP (STAUB 098LP) 17.00|
LP version. This is the second full-length album on Staubgold for Heaven And, comprised of members Tony Buck (The Necks); Steve Heather (Efzeg); Martin Siewert (Trapist); zeitblom. Heaven And’s second album simply cannot be attributed to any genre. Earthy bottleneck guitar licks or wailing lap steel harmonies are occasional references to folk and blues, yet they’re only an acoustic sheet lightning on a heaven in which — occasionally — violins play on cloud nine. But the delicately-tared string quartet does not emanate an acoustic cotton-wool coziness. Rather, it’s a precisely-accentuated “European” counterpoint to those seemingly primeval American motifs. A similar ying and yang is evident in the sometimes deliberately jarring, and almost seamless juxtaposition of acoustic and programmed sounds. From the hovering clouds and walls of sound generated by keyboards or an organ unexpectedly emerges a percussive pulse. Digital sizzling, throbbing and clicking stand in contrast to melodic guitar mantras. Monolithic bass patterns mutate into thunderous noise attacks. Electronic tweeting reminds one of flicking across the dial of an analog radio. Massive layers of chords develop the sinister and gorgeous force of a stream of lava. Dark drum patterns, ritualistic trance grooves or the evident use of snare drum and cymbals are proof of drummers Tony Buck and Steve Heather sure feeling for magic rhythms and associative counterpoints. In other passages, the band goes without beats — which gives the music a more cinematic feel. For this album, live improvisations were used as a basis, which were processed and edited thoroughly, allowing all 6 tracks to develop sublime arcs of suspense, sudden changes in dynamic and an intensity which at times almost assaults the listener. Guest pianist Ali N. Askin (who has been vitally involved in the Ensemble Modern’s Zappa projects) arranged the string quartet, trumpet maverick Franz Hautzinger contributed abstract sounds, while Michael Weilacher completed the rhythmic structures with additional marimba or vibraphone patterns. Named after a song by Blind Willie Johnson, nevertheless, Siewert assets that the band’s music “reminds me more of Haitian voodoo masses than of classic blues from Texas … it reminds me of an archaic spirit and unadulterated, transcendental energy.”
| || CASSELL, MATTHEW LARKIN: The Complete Works CD (STH 2244CD) 16.00|
“It’s not often that a sample clearance claim against a record company turns out to be an altogether pleasant experience. Usually it’s a blustery, puffy-chested affair with lawyers on both sides citing arcane copyright cases and threatening court proceedings as if the year were 1987 and Biz Markie had just released his first album on Cold Chillin.’ We inked the deal with singer, songwriter, pianist and man-in-the-know Matthew Larkin Cassell to issue his complete works. MLC hit us up after he heard his ‘Heaven,’ from his superb (and superbly rare) album Pieces on the Madlib production ‘3.214’ from Madvillainy 2: The Madlib Remix. To be fair, Madlib had no idea he was using Mssr. Cassel’s work until he put two and two together and realized that his source material, a Japanese bootleg 12″ labled ‘MLC’ stood for, well, you guessed it. And who wouldn’t want access to the multi-tracks to MLC’s break-beat laded ‘My Life?’ Madlib certainly did. And MLC wanted to see his entire catalog (comprised of the Pieces album, an EP entitled Matt The Cat, a 7″ single and a recently recorded and issued vinyl EP) issued on CD. Less than a year later, here we are. The negotiations – completed (amicably!). Matthew Larkin Cassell – The Complete Works.” Includes 20-page booklet containing never-before-seen photos and liner notes.
|SUB ROSA (BELGIUM)|
| || VA: An Anthology Of Noise & Electronic Music Volume 2 3LP (SR 200LP) 34.00|
Sub Rosa issues the highly-acclaimed Anthology Of Noise & Electronic Music collection on vinyl, containing all of the music on the 2CD version — 3LPs housed in a luxurious triple gatefold sleeve. The story continues with volume 2, featuring slow explorations of the past and the present. Given the present system of production, there are reasons, some of them identifiable, why only a few names emerge in each period. There may also be a preference for concentrating information rather than letting it pile up in disordered fashion. Over the past 40 years, the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). Yet behind them are many other names. Who are they? Second-raters? Not necessarily. For we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist. Great pleasure can be derived from the works of minor artists. The case of Tod Dockstader is instructive: when “for lack of academic qualifications” he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? His name was never seen on the labels of top record companies. But he influenced quite a few people — Richard James quoted him, and others then referred to his work. Some of his records were reissued, and what one could call the rehabilitation process continues. The same applies to many other composers. All such stories spell a passion for music, and weave myth. At the turn of the century, there were efforts to find new sources of sound — a number of machines were exhibited, including Thaddeus Cahiel’s Telharmonium in 1887 and the Dynamophone presented to the New York public in 1906; they generally played well-known romantic or post-romantic pieces. After a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of Wladimir Ussachevsky and Otto Luening in New York’s Columbia-Princeton Electronic Music Center. When audiences of the ’50s and ’60s first heard Varèse, Pousseur, Stockhausen, Berio, Ussachevsky, Yuasa, Dockstader and Mumma, what did they feel? Perhaps a sort of break — an epistemological break, like it must have been for the first audience of Monteverdi’s Orfeo. They left the auditorium completely stunned, because they had never heard anything like it. Artists on volume 2 include: Wladimir Ussachevsky + Otto Luening, Autechre, Luc Ferrari, Laibach, Alan R. Splet, SPK, Tod Dockstader, Johanna M. Beyer, Morton Subotnick, Captain Beefheart, Robin Rimbaud/Scanner, Hugh Davies, Daphne Oram, Sun Ra, Kim Cascone, Yoshihiro Hanno, Meira Asher, Woody McBride, Lasse Steen/Choose, Arcane Devices, and Percy Grainger.
| || Z’EV: as/if/when LP (SR 229LP) 15.50|
Sub Rosa presents works by industrial music pioneer, Z’EV. The physical vibrations of the objects in his works with both text and sound has been influenced by the Middle Eastern mystical system best known as Kabbalah, as well as — but not limited to — African, Afro-Caribbean and Indonesian rhythms, musics and cultures. He has studied Ewe music, Balinese gamelan, and Indian tala. From 1959-1965 he studied drumming with Arnie Frank, then Chuck Flores and then Art Anton at Drum City in Van Nuys, CA. In 1963, he abandoned Judaism and began his life-long relationship with World religions and esoteric systems. 1964 saw the beginning of his initial attempts at writing poetry and explorations of both two and three-dimensional artforms. After studying at CalArts from 1969-1970 with poets Emmett Williams and Michael S. Bell and writer/critic Sue-Ellen Case, he began producing works using the name S. Weisser, primarily concentrating on visual and sound poetries. In 1975, he was included in the “Second Generation” show at the Museum of Conceptual Art in San Francisco. In 1976 he moved from Los Angeles to the Bay Area, ending up with a storefront studio on MacArthur Boulevard in Oakland, pretty much midway between the headquarters of the Black Panther Party, (who dissolved that year), and the Hells Angels (still extant). A primary reason for this move was his association with the San Francisco Alternative exhibition space La Mamelle (run by Carl Loeffler and Nancy Evans). In 1977 he presented his first solo percussion performance under the project title “Sound of Wind and Limb.” In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Critic John Buckley described his performances in this era: “the instruments are collections of objects … strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z’EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer’s every and any movement, an inevitable integrity unifies the act.” Here are two pieces from the artist’s early sound experiments: “As,” recorded in 1978 at the KPFK radio station in Los Angeles, and “If,” recorded at Savoy Tivoli in San Francisco. On clear vinyl.
| || DARA PUSPITA: Dara Puspita 1966-1968 CD (SF 054CD) 16.00|
Dara Puspita (trans. “Flower Girls”) was arguably the world’s greatest all-female garage rock band. The reason you’ve probably never heard of them was that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe. The four albums recorded by the original members between 1966 and 1968 (the material represented on this CD) is one of the great chapters of 1960s popular music history never to be reissued, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. Twenty-six of their most spectacular tracks (from the albums Jang Pertama, Special Edition, Green Green Grass, and A-Go-Go) are now finally available to hear in this essential release. Dara Puspita formed in their hometown of Surabaya in 1964. After relocating to Jakarta, the group began to create quite a stir with their wild stage shows. Their local performances were attended by teenagers grooving to the band’s raw garage rock sound. The first all-female Indonesian pop group that could play their instruments and sing, Dara Puspita also attracted the attention of Indonesian president Sukarno who labeled Western rock music “a form of mental disease.” In 1965 (an eventful and critical year for the group), the girls endured a month-long interrogation by the government for performing “outlawed” rock and roll music, became the house band in a Bangkok nightclub for three months, and were introduced to Dick Tamimi of Mesra records, the man who would launch their recording career. The tracks featured on this compilation were recorded at the height of Dara Puspita’s popularity during the immediate post-Communist era of General Suharto’s new order; a time when Indonesia’s musicians and artists were finally capable of launching their own creative renaissance. This collection is guaranteed to appeal to all fans of the beat a-go-go era of the mid-late 1960s and is a significant missing piece of the global pop music history puzzle. Every single track is a classic, the sound quality is superb, and it should only take one listen to become completely addicted to and charmed by this legendary Indonesian group. Tri-fold digipack CD with 20-page booklet featuring rare & unseen photos provided by Dara Puspita for this specific reissue project and extensive liner notes of the band’s phenomenal history by Alan Bishop.
|SUNBEAM RECORDS (UK)|
| || CHILLUM: Chillum LP (SBR 5070LP) 22.00|
180 gram virgin vinyl version, packaged in a gatefold sleeve. This is in fact the third recording by Second Hand, one of the UK’s most admired underground bands, here known as Chillum. Recorded while they were auditioning for a guitarist, it has a loose, improvisational freak-out feel, albeit with plenty of their trademark intensity. Originally issued in a tiny run in December 1971, it’s presented here in its definitive form, remastered from original tapes, with a packed gatefold sleeve offering rare photographs, detailed liner notes and an introduction from its producer, the legendary Vic Keary. Chillum was included on the Nurse With Wound list.
|SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)|
| || VA: African Pearls 5: Côte D’Ivoire: West African Crossroads 2CD (SYLLART 6145482) 20.00|
2009 release. Here is the fifth release in Syllart Productions’ African Pearls series of compilations, this time coming from Côte d’Ivoire. A natural West African crossroads, the Ivory Coast has always been at the forefront of musical trends, be it black American music, Cuban rhythms, French pop, Mandingo lyricism, Ghanese high-life or Congolese fusions. With its 72 ethnicities, their dances and music, Côte d’Ivoire possesses a strong cultural heritage — and since 1975, all the West-African music seems to gather in the capital of the Ivory Coast, to give birth to a timeless, exceptional music. Explore this double CD that will make you travel through Africa, and discover universes of gifted artists.
| || VA: African Pearls: Congo: Pont Sur Le Congo 2CD (SYLLART 6147472) 20.00|
2008 release. Syllart Productions presents a 2CD collection of Congolese music from the ’60s and ’70s. In the late 1940s, the combined influences of jazz and European and Cuban music resonated on both sides of the Congo River. Brazzaville and Leopoldville, now Kinshasa, vibrated with a newfound electric modernity. In 1960, the two Congos, Belgian and French, became independent and forged a common Congolese cultural identity, which first expressed itself through music. Western productions like American rhythm’n’blues, British rock, and French pop also infiltrated the local musical customs. The natural fluidity of the Lingala language, a common Bantu language used on both banks of the Congo since the 19th century, allowed many artists to reach out to the largest possible number of people, Lingala being mainly an oral language. Kikongo, French and Spanish were also widely used in popular songs. During the 1960s, both Congos experienced outrageous economic growth, resulting in a pleasure-seeking society. The epic competition between the African Jazz Orchestra and its different off-shoots, such as Docteur Nico, Grand Kallé and Tabu Ley, but also between Franco’s OK Jazz Orchestra and Verckys’ productions, stimulated local creativity. Every one of these Congolese orchestras, from the popular to the most obscure, were absolute dance machines. Interactions between musicians of the big orchestras of Kinshasa and Brazzaville were constant and almost impossible to keep track of. From the beginning of the African Jazz movement at the start of the ’60s, orchestras made a habit of breaking-up after their first hit or at the slightest sign that egos were getting too big. With this competitiveness also came mutual respect. Each side could count on their supporters, like a football team, and every recording or a musician’s replacement was a topic of serious discussion in the local media and in daily conversations. Here is a sampling of music from the region’s most influential acts during a fertile era of cross-cultural pollination. Produced by Ibrahima Sylla. Includes 20-page booklet with full-color photos and liner notes in French and English by Florent Mazzoleni.
| || VA: African Pearls: Sénégal: Echo Musical 2CD (SYLLART 6147482) 20.00|
Syllart Productions presents a 2CD collection of music from ’70s Senegal. More than any other country in West Africa, Senegal has been strongly influenced by Cuban music coming to Dakar through Cuban sailors. Widely broadcast, the Afro-Cuban repertoire stands at the bottom of modern Senegalese music. Mornas and coladeras from Cabo Verde are also to be heard along Dakar streets. Luis Vera Da Fonseca is one of the unsung pioneers of this musical melting pot. Under the name Fonseca & Ses Anges Noirs, he recorded quite a number of records in France and Belgium, starting in the late ’50s. Links between Dakar and Habana seem natural as evidenced by recordings of orchestras such as Star Band de Dakar or Orchestra Baobab and many bands within this musical constellation. The impact of Star Band is pivotal in the history of modern Senegalese music. So are the names “stars” and “étoiles” with bands such as Youssou Ndour’s Super Etoile, Star Number One, Etoile de Dakar and Etoile 2000 studding the musical landscape of the region. The Star Band orchestra was set up by entrepreneur Ibrahima Kassé, one of the founding fathers of Senegalese music and owner of the Miami Club, located in the effervescent Médina neighborhood. The orchestra consisted of musicians of various origins such as Guinean percussion player and singer Amara Touré, Gambian singer Laba Sosseh and Nigerian saxophone player Dexter Johnson. Under Kassé’s aegis, the Star Band turned into a terrific dancing machine, with electric instruments and a powerful horn section. At first, its repertoire was largely based on rumbas, merengué, pachangas and other cha-cha-cha, but wolof, mandingo and peul folk songs slowly made their way into the band’s repertoire as a way to embrace the local musical traditions. As famous as the Star Band outside of Dakar, the Diarama de Saint-Louis was one of the regional province’s better-known orchestras, possessing a strong jazz and Cuban musical culture. Super Diamono was influenced by Ifang Bondi and Guelewar mandingo beat from Gambia, while Xalam was named after a Wolof instrument, restoring traditional sounds such as tama drums. The Senegalese music of this era was a mélange of various influences, musical fusions and explosive new combinations. Includes a 16-page booklet with full-color photos and notes in French and English by Florent Mazzoleni. Produced by Ibrahima Sylla.
|TABLE OF THE ELEMENTS|
| || PARKINS, ZEENA: Between The Whiles CD (TOE 110CD) 15.00|
“Having collaborated with artists ranging from Sonic Youth to Yoko Ono to Bjork, Zeena Parkins proves it: The classical harp is really a rock ‘n’ roll instrument. Forget angelic choirs; Zeena is the Jimi Hendrix of the amplified harp. With more soar, shimmer, screech, whine and wail than ever before, her new album, Between the Whiles, hurls wildly into oscillating soundscapes, showcasing her artistic vision and technical versatility. The sonic scope is immense, and there’s a lot to explore; dive deep, and you’ll come up with some rare and eerie treasures. Liner notes by Terry de Castro of The Wedding Present.”
|TABLE OF THE ELEMENTS/RADIUM|
| || SIMONE, PEG: Secrets From The Storm CD (TOE 820CD) 14.00|
“Guitar lines gather and mass like a blue sky filling with storm clouds. A flicker of lightning here and there, a steady thump of thunder in the distance, coming closer and closer. It takes awhile, so long, in fact, that you can almost be lulled by the patterns that form, the bits of sun that fight through the thickening shadows, the way the air crisps, the breeze playing the leaves like a zither. And the voice, like a ghost, or the radio late, late at night, echoing from an old rusty car in an abandoned junkyard, the dials twisted to an obscure AM frequency. Secrets from the Storm is a unique collaboration between singer-songwriter (and guitarist for Jonathan Kane’s February) Peg Simone and writer Holly Anderson. Poetic shards of raw-knuckled memoir are inspired by everything from the Harry Crews novel The Gospel Singer to Memphis Minnie. The epic opener ‘Levee/1927’ goes far beyond its sources — Memphis Minnie and Led Zeppelin — by turning its premise into a gripping tour-de-force of penumbral willies, sepulchral gasps, sensual jellyroll swagger, and bristling slide guitar that flashes up like a steel wolf trap in the moonlight, by turns furtive and brutal, as if the Velvet Underground had taken Albert King as a mentor instead of Andy Warhol.”
| || QUIN, DOUGLAS: Fathom LP (TAIGA 011LP) 22.00|
Vinyl release, first 150 copies on clear vinyl. Douglas Quin is a U.S. sound designer, naturalist, public radio commentator, educator, and music composer. For over 20 years Quin has traveled widely, documenting natural soundscapes — from Antarctic ice to Arctic tundra and from African savannah to Amazon rainforest. His recordings of endangered and disappearing habitats represent one of the most unique and extensive collections anywhere. Quin recently created the sound design for and mixed Werner Herzog’s Academy Award® nominated film, Encounters At the End of the World. He contributed to the sound design for Spore, a game from Maxis/Electronic Art, and has also worked on exhibits for the Smithsonian Institution National Museum of Natural History, American Museum of Natural History, and the Polish Academy of Sciences, among others. Quin’s Fathom brings together four extended underwater soundscapes — two each from the Arctic and Antarctic. The recordings have been gathered over a period of 15 years, capturing an extraordinary palette of sonic voices, events, spaces, and textures. To the human ear, these soundscapes are haunting and otherworldly; yet they are very much of this world — out of ear-reach. The tracks are minimally-edited and are his first field recordings to be archived on vinyl. Included with the release is a sealed envelope containing an insert with specific locations, animals, and other elements heard, giving listeners the option to absorb sound with or without association. The envelope is printed with liner notes and comments from Dutch journalist and music critic René van Peer. Mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin-vinyl, Fathom comes packaged in custom letter-pressed materials and is presented as a limited edition of 1,000 copies.
| || GUILLAUME PRESENTS WILTRUD WEBER, JEPHTE: Déjà Vue 12″ (TK 2010EP) 10.00|
“Jephte Guillaume’s uptempo masterpiece receives its rightful full release on his own Tet Kale imprint. Deja Vue delivers 3 exclusive 12″ mixes not available on the limited promotional release, featuring variant instrumentals and the full vocal in all its glory, spliced and rearranged for maximum effect. Heralding a new wave of future deep house classics, Déjà Vue”s full release reinserts the skillful musicianship & studio-based expertise that pushes dance music forward beyond the realm of standardized electronic music and into the domain of timeless musical complexity and beauty. But one of a multitude of Guillaume’s newest labors of love, ‘Déjà Vue’ reaffirms the power of vocal house music while exploring new directions off the beaten path of the soulful circuit.”
|THE TAPEWORM (UK)|
| || BUTCHER, JOHN: Trace Cassette (TTW 017CS) 7.00|
Cassette-only release. Edition of 250 copies. John Butcher’s work ranges through improvisation, his own compositions, multi-tracked saxophone pieces and explorations with feedback and extreme acoustics. Originally a physicist, he left academia in 1982, and has since collaborated with hundreds of musicians. He is well known as a soloist, recently exploring unusual site-specific acoustics, and has released seven albums of solo saxophone music. His tape for The Tapeworm features two contrasting performance styles. The first is a live recording in three parts for tenor and soprano saxophones, recorded in concert October 30, 2009, L’Eglise Saint-Merri, Paris. Its flipside is a 20-minute piece for saxophone controlled feedback and piano (one player).
| || DJ DUCT: Backyard Edit Pt. 1 12″ (THINK 004EP) 10.00|
“Duct doesn’t get weird with his beats, he just gets funky. Really, really funky. This is one guy who doesn’t make you pine for golden era beats, he’s doing it right now, and when we say he’s not on some ‘next level shit’, we mean that in a good way? So here it is, five irrepressibly catchy tracks of funky, smokey, fingerpopping and soulful beats by a too often slepton, Japanese master beat maestro. DJ Duct is known as an one of a kind turntablist and a producer in Japan. He has been actively participating in Tokyo’s hip hop and break beats scene as a DJ since late 90s. It was the time when the term ‘turntablism’ was first introduced, and the art of spinning records progressed so dramatically in the hip hop world onto another level. As he witnessed such advancement, and immersed himself deeper and deeper into the art, he began to wonder if he could develop a completely new way of DJing using just one turntable, instead of two or more that all the other turntablists at the time were using. He wanted to be different, and he wanted to be good. DJ Duct’s ‘less is more’ approach to turntablism has led him to establish his current unique style of performing. Using one turntable, a DJ mixer, a sampler, Kaosspads and other effectors, he collages and reconstructs the bits and pieces of sounds he captures from the records on the spot. It involves a lot of sampling, realtime editing, effect mixing and scratching all taking place on stage. Since all the sounds come from the records (and no preliminary recorded materials on the sampler), it’s definitely a live performance, and an extension of DJing more than anything else.”
| || MANTLER: Monody CD (TOM 134CD) 15.00|
“Six years after the release of his previous album Landau, Toronto’s Chris A. Cummings, a.k.a. Mantler, is set to releases his highly anticipated fourth album Monody.” “Cummings’ feather-light vocals and lush instrumentation recall Timber Timbre, though in a more distinctively upbeat way. The disco beats (‘Fresh and Fair’) and Isaac Hayes-style horn-and-string arrangements give the music a slight 1970s AM radio colouring.” — Eye Weekly
| || MANTLER: Monody LP (TOM 134LP) 17.00|
| || NO KIDS: Judy At The Grove 12″ (TOM 136EP) 11.00|
“Judy At The Grove is a pop record of a different order, transcending any expectations of what ‘indie’ music should sound like. Pristine production values, bonkers arrangements, and a star-studded list of talented guest musicians all prove that No Kids are onto some next level shit. Every track on Judy At The Grove points to a ingenuity, maturity, and clarity of vision that lifts No Kids heads and shoulders above their contemporaries.”
| || ALPS, THE: Le Voyage CD (TYPE 056CD) 14.50|
Still comprised of the core threesome of Jefre Cantu-Ledesma (Tarentel), Alexis Georgopoulos (ARP) and Scott Hewicker (Troll), The Alps return to Type in full force for their fourth sprawling long-player. Buoyed by the praise lavished upon its predecessor III, the band were adamant that Le Voyage would be bigger, brighter and better than anything in their catalog to date, and Type reports that they have been successful in their quest. The sun-bleached European movie soundtrack sentiment that underpinned their previous records is still here in full force, but it comes rolled up in something defiantly more psychedelic, and in turn more unpredictable. Sewn together by vignettes which bring to mind Delia Derbyshire’s Radiophonic hiccups or Luc Ferrari’s tape collage, the band have put together an album which genuinely takes you on a journey. Surely it can’t be a mistake calling the album Le Voyage then, a title which simultaneously brings to mind the work of Serge Gainsbourg and Alejandro Jodorowsky — something deeply visual but effortlessly beautiful. With propulsive, break-heavy rhythms sure to appeal to any diggers out there and a blissful, sunny outlook to wipe the frown from the faces of all you dour experimental types, Le Voyage is a crack of light in a dark room. A mysterious record, it is punctuated by the same energy that gave us space rock and psychedelia, and while the band are quick to demonstrate their wide-ranging musical knowledge, there is something incredibly unique about their sound. This is not a lazy soundtrack to a film which might never be made, rather, Le Voyage is a journey for the listener and one you will want to take over and over again.
| || KONER, THOMAS: Nunatak LP (TYPE 069LP) 18.00|
The Type label reissues German music producer Thomas Köner’s debut album, the first in a set of three, on vinyl for the very first time. Originally introduced to the world in 1990, Nunatak (then named Nunatak Gongamur) was shockingly ahead of its time, and it is hard to believe that it has been out of print and difficult to obtain for so long. Köner created the album with mood in mind; he has since been described as a “media” artist, and it’s easy to see why. While the music can be described as “dark ambient,” these soundscapes elicit a widescreen collection of images. Through careful and measured use of gongs (recorded in different rooms and underwater) as well as homemade wind instruments, Köner created an album that would become a cornerstone of the genre and part of a triptych of records which have seldom been bettered. While the album is 20 years old at this point, it still sounds totally alien and totally unique. In these 11 brief, unnamed tracks, Köner guides us among battered lands, barren ice plains and damaged caves. Through the low-end resonance of his percussion, we are dragged into a hallowed chasm of doom-laden drone. There have been many tries at this style since Nunatak was first birthed, and many attempts to draw the genre into fresh and re-imagined territory, but few have come even close to the shadowy exclusion of Thomas Köner. Cut at Berlin’s Dubplates & Mastering.
| || BLACK LODGE: A Black Lodge Edit 2×12″ (BL 001EP) 28.00|
“Featuring 2 rarities re-edited, plus 4 new tracks. Bits of rude boy rocksteady, disco, synth-wave, Arabic pop, rock. 500 only, presented in hand painted sleeves, and numbered.”
| || HELIOS: Unleft CD (UNSEEN 001CD) 15.00|
Since 2003, multi-instrumentalist and composer Keith Kenniff (aka Helios) has been a mainstay in the electronic music/IDM community with releases on influential labels such as Merck Records and Type Records as well as countless remixes and compilation appearances. His signature blending of electronics, ambience and found-sounds have garnered attention from some of the top music critics in the industry. Kenniff’s cinematic soundscapes have also caught the ear of the film world both under Helios and his piano-based alter-ego Goldmund, with music appearing in feature films such as Mister Lonely by acclaimed director Harmony Korine, documentaries for the BBC and a trailer for the film Revolutionary Road. Following the release of the 2008 album, Caesura (TYPE 042CD/LP), on Type Records, Helios returns with Unleft, a collection of previously-unreleased material from his past four releases spanning almost a decade. Songs range in style from the Boards of Canada-influenced “Bounce Dive” to the slow-moving ambient drone of “The Jaguar Sun” to the earthy beats and quietly enveloping melodies of songs like “Carry With Us” that have become part of Helios’ signature sound. As with his previous albums, Helios’ music evokes a certain lost nostalgia from the listener; melancholic and contemplative yet hopeful as the sun’s rays shine in through the clouds. Those already familiar with Keith’s music will find familiar threads leading back to the previous four albums, while giving newcomers a good introduction to his prolific body of work.
| || VA: Cumbia Beat Volume 1 2LP (VAMPI 116LP) 25.50|
2LP version. Subtitled: Experimental Guitar-Driven Tropical Sounds from Peru 1966-1976. In 1960s Peru, a thrilling and unstoppable style of music was born: Peruvian cumbia, also known as “chicha.” Tropical genres such as merengue, guaracha, rumba and cumbia mix with ’60s beat and psychedelic rock, while electric guitars reinterpret folk melodies and traditions from the Andes and the Amazonian jungle, in a musical representation of the exodus from rural areas to Lima and other big cities. This is the first volume of a new series dedicated to documenting this most exciting and popular genre. In mid-’50s Peru, mambo was progressively replaced by preferences for other rhythms like merengue, guaguancó, cha cha cha, joropo, guaracha, rumba and cumbia. In Lima, it’s the golden age of great orchestras and music ensembles which are capable of playing swing and jazz, but especially the diverse tropical variants inundating the market. The most successful of all, La Sonora De Lucho Macedo, released an LP in 1965 consisting exclusively of cumbia. Around this time, the successful folklore group Los Pacharacos released the album Los Ídolos Del Pueblo, which included a cumbia number in the middle of a potpourri of huaynos, waltzes and polkas. The marriage between folklore and cumbia had taken place. The groups preserved the fusion of foxtrot and mambo rhythms along with huayno and cumbia in the execution of their music. That feeling would be the basis for the success of such unorthodox and unclassifiable songs as “La Chichera” or “Petipan.” The recording in 1965 of these two songs by Los Demonios Del Mantaro on a seminal 45 rpm with the Sono Radio label was the jumping-off point for the birth of cumbia andina, also called “chicha” precisely for this song, which is dedicated to a vendor of the well-known Incan liquor. The electric shock of rock guitars enters the world of cumbia in 1968. The cause of such copulation was Enrique Delgado Montes, regarded as the genre’s godfather. He did it as part of his band Los Destellos, on a 45 (“El Avispón”/”La Malvada”) and an eponymous LP. His songs constitute the most surprising musical fusions and amalgams of the time: whether they merge Cuban music and psychedelia, explore the sounds of Andean or Amazonian music, combine the digitalization of the Creole guitar with huayno melodies or abuse fuzz tones and distortion pedals with enormous strength. The metamorphosis of cumbia turns it into a genre that seems to voraciously cannibalize acoustic traditions and modern technologies. There wasn’t an innovation that tropical guitarists didn’t add to their sound: delay, fuzz tone, overdrive, wah-wah, reverb, modulating effects typical of rock bands were assimilated into a stunning sonic cocktail. In this context, cumbia reached the top of the charts in popularity. Cumbia replaced rock as the urban sound. The groups would slowly develop an ethnic sensibility inspired by native Shipibo motifs and an astonishing and bewitching sound that seemed to drink from all the mysteries, secrets and myths of the jungle. Printed inner sleeves with notes in English and Spanish plus full-color photos and insert.
| || VA: R&B Hipshakers Vol. 1: Teach Me To Monkey 10×7″ BOX (VAMPI 122-7) 61.00|
7″ box set version, containing ten singles with replica King/Federal bags and labels. Limited edition of 1,000 copies. The first volume in a new Vampisoul series — an uptempo and danceable collection of ’60s R&B and early soul from the Federal and King vaults, compiled by renowned DJ Mr. Fine Wine (“Downtown Soulville,” WFMU). Most tracks have never been reissued. “When compiling Vampisoul’s dip into King Records’ deep, deep rhythm-and blues vaults, I realized that I’m a sucker for the sounds of ’61. And, well, ’62 too. Not that other years slightly earlier and later aren’t represented as well, but, fully a quarter of the tracks herein are from 1961. What happened then? President Kennedy happened then, for one thing, inaugurated on January 20th. Also: chimps and their perhaps marginally more civilized human cousins in space; Roger Maris eclipsing the Babe, albeit with a conceptual asterisk; Jets vs. Sharks on the West Side; the Cold War in full swing; a hot war in Vietnam just starting to smolder, though few Americans had even heard of the place yet. And brilliant black musicians making timeless records for a Cincinnati, Ohio family of labels — gibbling and gobbling down Broadway, implanting indelible, stinging guitar lines in the public consciousness, and making folks do the ginger snap like there was no tomorrow, which I’m sure there didn’t always seem to be. This collection of genuine King and Federal R&B sides encompasses crazy dances, intense guitar instrumentals, inspired forays into mind-altering whimsy, timeless odes to male horniness, and hook-filled, honest-to-goodness love songs. For a raucous and potentially life-changing R&B dance party in a box, though, you’ll find Teach Me To Monkey to be just the thing.” –Mr. Fine Wine; WFMU’s “Downtown Soulville,” New York City, 2010; Artists include: Willie Wright, Hank Ballard, Lulu Reed, Little Willie John, Lloyd Nolan, The “5” Royales, Little Mummy, The Valentines, Eugene Church, Charles Brown, El Pauling, Roy Milton & His Orchestra, Freddy King, The Drivers, Carol Ford, Little Bobby Moore, Little Emmett Sutton, Sonny Thompson, Johnny Watson, and Eddie Kirk.
|VERY FRIENDLY/SUSAN LAWLY (UK)|
| || WHITEHOUSE: Great White Death LP (VFSL 007LP) 22.00|
“So celebrated are the songs from the classic Great White Death that, upon its release in 1985, it was almost an instant greatest hits compilation, full of memorable, super-sleazy tracks of extraordinarily dynamic yet abrasive production values. This incredible sounding, newly-mastered heavy vinyl LP shows the full range of Bennett’s voice and the accompanying electronics, especially notable on filthy epics like ‘You Don’t Have To Say Please’ and ‘I’m Comin’ Up Your Ass.'”
| || LOS BRAVOS: Los Bravos LP (MRSSS 011LP) 25.00|
Vinyl-only release. The Vinilísssimo label reissues on vinyl for the first time the 1966 debut album by Spanish beat/soul band Los Bravos, the most international Spanish act of the ’60s. Recorded in London under Ivor Raymonde’s direction, it features such powerful tracks as “Trapped” and the worldwide chart hit “Black Is Black.” “Black Is Black” is remembered as the peak of ’60s Spanish pop. However, although Los Bravos came from Madrid, it was a truly international hit: French record company man, Alain Milhaud employed a German singer (Michael Volker Kögel, later Mike Kennedy), supported by British musicians and songwriters. After settling in Spain, the visionary Milhaud flies to London in search of an international release for Los Bravos. The Spanish recordings don’t get much attention, but Phil Solomon, one of the industry’s big fish, sees potential in the singer, who commands soul’s emotion and Gene Pitney’s dramatic flair; he appreciates the project’s strength, with capable musicians and their own songs, written by Manolo Díaz. Solomon suggests they join the star-making machinery of Decca Records, and in the spring of 1966, the band is in London, where they must record — with horn arrangements — tracks approved by Decca. Ivor Raymonde directs the sessions, makes it clear to the Spanish band members: he will only require Mike’s vocal performance; due to union impositions and simple efficiency, he prefers to use session musicians. Hence the urban myth that surrounds “Black Is Black,” which says that Jimmy Page played guitar on the track. With a cover that seems to be an answer to the famous photos of The Beatles arriving at Madrid’s Barajas airport, the first LP by Los Bravos features five songs by Manolo Díaz plus an adapted Italian song (“She Believes In Me”). Decca provided material by multi-faceted songwriters: the exciting “Trapped” is the work of Irish Phil Coulter and Scottish Bill Martin. However, all hopes are pinned on “Black Is Black” and its Motown drive. Released in the United Kingdom in June 1966, it took off immediately, thanks to the support of stations such as Radio Caroline, reaching #2 on the British charts and #3 in the U.S. Pressed on 180 gram vinyl in a limited edition of 1,000 copies, including an insert with liner notes in Spanish and English and a reproduction of the original 45 and EP sleeves.
| || LOS BRINCOS: Los Brincos LP (MRSSS 012LP) 25.00|
Vinyl-only release. Vinilísssimo reissues on vinyl for the first time the 1964 debut LP by Los Brincos, the Spanish answer to The Beatles. Los Brincos were Spain’s first truly pop band and their songs, image and attitude represented a needed breath of fresh air in a stale music scene and a country under a dictatorship. Includes their hits “Flamenco” and “Dance The Pulga.” Almost 50 years after their appearance, it’s difficult to explain the huge break that Los Brincos represented. There’d been young bands in Spain since the late ’50s, but they were limited by the lack of good instruments, scarce information and the lack of liberty under Franco’s regime. Usually, these bands played cover songs of foreign hits and only released 4-song EPs. Suddenly, Los Brincos took it to another level: they wrote their own songs, and introduced themselves with an amazing debut LP supported by two EPs and two singles (until then a rare format in Spain). Novola, the recently created pop subsidiary of Zafiro, funded the adventure. Everything seemed rather impressive, from the looks — Spanish capes, shoes with bells — to the claim that they were going to cause “Brincosis,” with its corresponding dance. However, they had genuine rock credentials: they had been members of Los Estudiantes and the very strong Los Pekenikes; both Juan and Junior had also recorded as solo artists. The Brincos’ debut, released in late 1964, has the stamp of producer Maryní Callejo, whose text on the back cover shows a noticeable skepticism with regards to the “yé-yé” movement, even though she was key in giving shape to such confluence of talent. There are as many ballads as vibrant tracks; both extremes emphasize the band’s vocal skills. Certain details prove that, beyond Liverpool, the band assimilated Mediterranean and Spanish-American melodic models as well. “Flamenco” made them stars. The song revealed the swagger that would become an essential part of their image. Pressed on 180 gram vinyl in a limited edition of 1,000 copies. Features the original artwork, plus an insert with liner notes in Spanish and English, and a reproduction of the original 45 and EP sleeves.
|VINYL LOVERS (RUSSIAN FEDERATION)|
| || WALKER, PETER: Long Lost Tapes 1970 LP (VL 900885LP) 24.00|
“While remaining largely unknown to the general public, Peter Walker was something of a legend along the Boston-New York folk axis of the 1960s, releasing a few celebrated albums for Vanguard during this period. Playing with various folk luminaries like Fred Neil, Joan Baez, Tim Hardin and Karen Dalton, and studying Spanish flamenco and Indian classical guitar with none other than Ravi Shankar, Walker was both a true student of his instrument and a pioneer, using not only acoustic guitar, but, as can be heard on this album, also electric. Recorded in 1970 at Levon Helm’s (The Band) house in Woodstock, with the likes of legendary Detroit drummer Maruga Booker and tabla god Badal Roy, this is an essential release for fans.” CD available on Tompkins Square.
| || TAUSSIG, HARRY: Fate Is Only Once LP (VL 900892LP) 24.00|
“An extremely rare album of instrumental guitar, originally released as a private pressing in 1965 (while Taussig was living in ‘Beserkley,’ right on the cusp of the ’60s revolution) and then forgotten until the album was finally saved from the black hole of music with a re-release on CD in 2006. While this album is a faithful slice of American roots, folk, traditional rags and blues, Taussig is not a mere student of these styles, rather he brings a contemporary approach and a darkly sarcastic humor to the music that is all his own. In the vein of guitarists like John Fahey, Taussig is extremely proficient on his instrument (he even wrote a book called Instrumental Techniques of American Folk Guitar), but never bound by mere technique. An important piece in the puzzle of the American folk revival.” Pressed on 180 gram virgin vinyl.
| || FLAMIN’ GROOVIES, THE: Grease LP (VL 900984LP) 24.00|
“One of the best bands to come out of San Francisco in the 1960s. The Flamin’ Groovies were part of the whole flower power scene, but as a band, they couldn’t have been farther from it. Instead of dressing like hippies and playing like the Grateful Dead, the Flamin’ Groovies dressed like mods and played like a cross between Little Richard and the Yardbirds. Despite never gaining the fame and fortune they dreamed of, the Groovies are often cited as important precursors to the punk scene. This album is a collection of the complete Skydog singles from 1973-1981. The singles were originally issued on the French label, with some produced by Dave Edmunds in the legendary Monmouth Studio in Wales, and some recorded at Phil Spector’s Gold Star Studios. It includes a mix of classic pop covers and Groovies originals. Includes extensive liner notes by Skydog’s Marc Zermati.”
|WARP RECORDS (UK)|
| || HUNDRED IN THE HANDS, THE: This Desert 12″ (WAP 293EP) 11.00|
12″ vinyl version, printed inner sleeve. “This Desert strikes a path that touches on elegant French pop, blissed out dub, house and post-punk. The 6-track EP sets the stage for deeper explorations on a full-length this fall (2010). The Brooklyn-based duo consisting of Jason Friedman and Eleanore Everdell creates emotionally charged and intensely driving music, which harks back to the most classic of dance songs from NYC’s storied underground. The band describes the EP as, ‘The more ethereal, gauzy side of our tastes; the Summertime-Gothic and dreamy tracks we made thinking they’d go well with open hydrants and looks that kill.’ But The Hundred in the Hands’ self-description belies more than just a dance band. Everdell and Friedman bend and blend styles, sounds and eras into something that doesn’t feel confused, fake or forced. It just feels fun.”
| || JULIUS, ROLF: Music For The Ears CD (WEST 075CD) 14.00|
“In 1980 Rolf Julius’ pioneering work Dike Line was presented at the F?r Augen Und Ohren exhibition alongside work by John Cage, Nam June Paik, Bill Fontana, Milan Knizak, Harry Bertoia, and David Tudor. Since then Julius has created some of the most meaningful and moving works in the grey area between music and art, between sound and silence, slowly emerging as one of the most important and influential sound artists of our time. Whether using photographs, ink drawings, audio compositions, or subtle and sometimes almost hidden outdoor installations, Rolf Julius’ works serve as catalyst, increasing our awareness of the great beauty of the world that surrounds us.”
| || TIN MAN: Scared LP (WD 017LP) 14.00|
“Following his masterpieces Wasteland and Cool Wave, Scared is Tin Man’s latest foray into the realm of cold, mechanical, sensual darkness. This brand of narcoleptic techno is entirely his own, pushing true emotion and anomie through wires and electronics. Too pop for techno heads, too dancefloor-ready for ambient lovers, too weird for hipsters, too creepy for children, the eight songs on Tin Man’s Scared are unlike anything else you’ll hear this year. Recommended for fans of Maurizio, Depeche Mode, Drexciya and Cold Cave, in that order.”
| || KUTI & EGYPT 80 BAND, FELA: Big Blind Country LP (YO 132LP) 23.00|
“Totally unreleased album. Lyrics are available on back cover. B.B.C. or Big Blind Country is a real pamphlet against Nigerian’s government and army as famous song ‘Zombie’. This unreleased track until now was recorded with the Egypt 80 including Femi in the early 1990s with top quality sound. A lost and hypnotic tune from the king of Afro beat. Limited to 1000 copies.”
|YOU ARE YOUR ONLY MACHINE|
| || MORRIS/CHRIS RIGGS/BEN HALL, JOE: Glass Key LP (YAYO 001LP) 17.00|
“Perhaps the most brutal and barbed recording in Joe Morris’s catalog, this LP documents the new working trio of drummer and timpanist Ben Hall, young guitar phenom Chris Riggs, slightly older guitar phenom and New England Conservatory contemporary improvisation teacher Morris. This LP is the first release from Morris — perhaps the most important American improvising guitarist ever — recording with another guitarist. Riggs, for his part, is putting all the other stomp box ‘preparers’ to shame with his intensely personal and creative solo output — think human Remko Scha machine. In addition to his solo output he’s one half of the, ahem, lowercase but wearing brass knuckles extended technique unit Trauma. The communication between the two guitarists, Riggs providing huge swathes of tectonic chordal movement and Morris providing fiddle filigree that weaves, cuts, and pierces, is unexplored post-Blue Humans-guitar v. guitar territory that has become a thoroughly beaten dead horse amongst the rock coterie but has never really been taken up in a post-jazz setting. Here with Hall providing ample snare-and-bell patterns, as played by a Tony Williams/Xenakis wannabe, the two do the push-and-pull to great extreme =- all visceral extension without succumbing to the whole improv guitar chest-beating/wank thing. Natch. LP/Custom stay flat sleeve with gloss sticker/hand numbered edition of 300.”
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