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SIN FANG: Landslide/The Only Living Boy In New York 7″ (ANOST 027EP) 7.00
Iceland’s Sindri Már Sigfusson used his time off from touring the world with Seabear to write and record an album of his solo project Sin Fang (formerly Sin Fang Bous). The album is preceded by this 7″ featuring two all-time-classic non-album conversions: “Landslide” by Fleetwood Mac and Simon & Garfunkel’s “The Only Living Boy In New York.” Sin Fang’s versions withdraw some of the glossy sweetness of the originals and replace it with a pinch of heartbreaking weirdo-folk.


SIN FANG: Because Of The Blood/Two Boys 7″ (ANOST 029EP) 7.00
Icelandic king of lo-fi layered lushness Sindri Már Sigfússon aka Sin Fang (formerly Sin Fang Bous) brings you a 7″ as a foretaste of his album Summer Echoes. “Because Of The Blood” encapsulates the essence of the forthcoming album in a euphoric, orchestral pop song that manages to merge epic tune-sculpting with several layers of choir. “Two Boys” is a heartbreaking ballad, like the essence of pop music in two minutes.


AGF & CRAIG ARMSTRONG: Orlando CD (AGF 014CD) 15.50
Craig Armstrong, a Scottish composer of modern orchestral music, electronica and film scores and AGF (Antye Greie) collaborate once again. In 2001, Armstrong invited Greie to contribute a song to his second solo record As If To Nothing (2002); subsequently, both artists collaborated on Piano Works (2004), The Dolls (2005 with Vladislav Delay), Memory Takes My Hand (2008) and now Orlando. AGF is a digital songwriter, sound composer and poet and has released 20 records and numerous collaborations under such aliases as AGF/Delay (with Vladislav Delay), Greie Gut Fraktion (with Gudrun Gut), and The Lappetites (with Kaffe Matthews and Eliane Radigue). Greie has produced records for numerous other artists, including Ellen Allien (Sool (BPC 175CD/LP). Orlando – The Play: In 2010, AGF composed and performed original music in the Cryptic theater company’s staging of the Virginia Woolf masterpiece Orlando, directed by Cathie Boyd. This staging features live vocals and electronics by AGF and an original soundtrack by her and Craig Armstrong. Orlando – the CD: For this CD, these two very different composers scored this theater piece, combining their work and writing compositions in a cohesive flow following the narrative of the book. This work is meant to take the listener on an inspiring journey. Field recordings and recordings of classical cello, voice and digital processing are the key elements here. The music is lush, clever and beautiful — the combination of Armstrong’s melodic strength and Greie’s delicately-voiced electronic inventiveness working together like a dream. AGF composed and recorded a piece about writing to introduce the nature of Orlando, sitting in his oak tree, secluded from the world, building his own powerful and wonderful universe in nature and fantasy. Craig wrote the opening theme on cello, and AGF used words from the text as well as recordings of her feet breaking dry wood and a sub-bass frequency. Pieces like “The Tree,” “Betrayal,” and “Sleep” see AGF and Armstrong incorporate drone and digital processing. The poetry pieces “Yearning Years,” “I Held A Queen,” “You Sleep On,” “Sex At Thought” and “Rain Falls” are deconstructed texts, as recognizable as any of the poemproducer pieces AGF has written before. The core of this CD bears the mark of the outstanding book which Virginia Woolf wrote 100 years ago, though with a 21st century sound score of magnificent, compelling fragility.


METABOLISMUS: Mauser O.K. 7″ (AMI 043EP) 8.50
“Mauser O.K. celebrates much of what makes this German-ensemble so essential, drawing from a variety of sources and influences to provide listeners with another important indication of the contribution Metabolismus has made to psych and outsider experiments over its almost three-decade-long existence. Whether it be lo-fi pop, free improvisation, sixties psychedelia or music concrete tape manipulation, like the Sun City Girls (who formed around the same year) Metabolismus ‘metabolizes music’ of all styles, shapes and forms; for this release, they transform Crass’ screed ‘Do They Owe Us a Living’ into a Canterbury classic and resituate Brian Brain’s ‘Asthma Game’ into the delicate pastoral landscape of their native Germany. These pieces were recorded and compiled over a fifteen-year span and it has been well worth the wait.”


BLAKE, JAMES: Limit To Your Love 10″ (ATLAS 001EP) 12.00
“So far 2010 was a stellar year for James Blake; first with his critically acclaimed The Bells Sketch EP then the huge underground smash ‘CMYK’ on R&S, he’s gone from a left field beat-maker operating on the fringes of dubstep to one of the brightest new names to watch in British music today. A second R&S release — the brilliant Klavierwerke EP – was released in September 2010, and immediately set about defining the sound of James’ future as he cut and spliced his own voice to create an EP of emotive, insular genius, knowingly paving the way for his full vocal debut with Limit To Your Love. Off the back of this EP, some bloggers claimed to have been reduced to tears by the simplicity and beauty of the sounds the 21-year-old teases from his home studio. James now rounds off an unparalleled year of discovery by unveiling one of the most stunning male vocals to emerge this millennium. This version of Feist & Chilly Gonzales’s ‘Limit To Your Love’ will be the first taste of his debut album due in early 2011. Re-worked, recorded and produced entirely alone in his bedroom, this single is also the first time listener will have had the chance to hear James’ incredibly soulful voice. Matching a heart-stoppingly emotional delivery to a speaker-busting, foundation-crumbling bassline, this is a simply exceptional piece of music, the natural successor to Massive Attack’s ‘Unfinished Sympathy’ as the ultimate expression of UK urban emotion.”


GENETIX: Squid Attack 12″ (PHREAK 023EP) 11.50
“Genetix are the amazing and exciting act signed to Audio Phreaks. This 3 track EP is just a sprinkle of what they have lined up. ‘Squid Attack’ is like nothing you’ve ever heard before and sounds like an underwater bass barrage big enough to sink the Titanic! It’s an absolute monster that will eat you for breakfast, lunch, a light snack and then dinner! The production really shines through on their records and you can hear that they have been producing for quite some time. Then we have ‘All that remains’ and ‘Keep it gutter’ that are just as dirty and disgusting as ‘Squid Attack.’ Watch ya bass bins I’m telling ya!”


BARE/SILVER: Haterz/Player Haterz Ball 12″ (BASSHEAD 006EP) 11.00
“The exceptional quality of these two pieces of music, combined with obvious dance floor appeal and a coincidentally similar theme made this pairing a logical choice. One side is a hybrid hip hop/dubstep monster put together by Los Angeles based producer Bare. The flip is a drum & bass stomper created by accomplished British producer and long time BassHead family member DJ Silver. Both songs are a proven commodity for any bass DJ and are causing ruckus on dance floors around the globe.”

BT 005LP

AMBARCHI/O’ROURKE/HAINO: In A Flash Everything Comes Together As One… 2LP (BT 005LP) 26.50
…There Is No Need For A Subject Recorded one year after the international trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi’s first release (Tima Formosa [BT 004CD]), In A Flash Everything Comes Together As One There Is No Need For A Subject presents the entirety of a live performance that took place at SuperDeluxe, Tokyo on January 24th 2010. For their second performance together, the trio opted for an entirely different instrumental configuration. Here they form a classic power trio: Ambarchi on drums, O’Rourke on bass and Haino on guitar, vocals, electronics and, in one amazing passage, lap steel. While the instrumentation has changed, the mysterious atmosphere of their first collaboration remains: far from a rock genre exercise, this performance is steeped in the dark ritualistic mood that characterizes all of Haino’s best work. Haino is in truly phenomenal form herein, foregoing the single-instrument explorations of much of his recent solo work and his more peripheral role on the trio’s first release for a virtuosic and wide-ranging performance that takes in piercing leads, delicate strumming, jarring lap-steel interjections and his inimitable vocal caresses and howls. O’Rourke’s bass sometimes merges with Haino’s guitar to form crumbling walls of noise; at other times his dark ostinatos and runs add melodic weight. Ambarchi’s drumming moves from delicate, propulsive cymbal work to endless thundering streams of free-pulse pounding. The title of the release is appropriate: from the spacious and unpredictable slow-mo interactions of the first piece (reminiscent of some of the greatest Fushitsusha moments) to the wild free-riffing that concludes the performance, the trio seems uncannily attuned to one-another’s movements, and everything truly “comes together as one.” Released as a limited edition double LP in a lavish gatefold with printed inner sleeves, designed by Stephen O’Malley with high quality live shots by Ujin Matsuo and a stunning cover-image by noise-guitar blaster and internationally renowned visual artist Marco Fusinato. Vinyl cut made by Rashad Becker at Dubplates & Mastering.


BOYS NOIZE & HOUSEMEISTER: Shizzo 12″ (BNR 056EP) 12.00
Boys Noize and Housemeister are two good old friends from Berlin with a lot of love for analog. After their first collaboration in 2006 as Eastwest, they now present three new jams. “Shizzo” is loud, noisy and stupid and shakes the club like you were sitting in a rollercoaster. “nBaxx” is a new breakbeat track. Breakbeat? Yeah! “Saturday” is a disco-tech track, with moving arpeggios and a big melodic break where spheric disco pads cool you down before you jump up.

BB 062LP

ROEDELIUS, HANS-JOACHIM: Geschenk Des Augenblicks – Gift Of The Moment LP (BB 062LP) 17.00
LP version, on 180 gram vinyl. This is the tenth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1984 on Editions EG. On Geschenk Des Augenblicks – Gift Of The Moment, Roedelius broke away unequivocally from purely electronic music. If Lustwandel (BB 055CD/LP) and Jardin Au Fou (BB 023CD/LP) had seen the process set in motion, this was the album that completed the transition. Following the Selbstportraits, which had at least been created through the use of electric organ and synthesizers, Roedelius focused on the grand piano, sometimes accompanied by a cello, violin and guitar. Distant echoes of a not-so-distant musical past could only be detected in the occasional appearance of sparse chords played on a polyphonic synthesizer. Significantly, his arrival in Austria (having moved there a few years earlier) was much more than a geographical relocation. Roedelius responded to the musical culture of romanticism and the Biedermeier tradition, their influences seeping into his essentially modern understanding of composition in bewildering fashion on Geschenk Des Augenblicks – Gift Of The Moment. It was all too much for his listeners, reared on the more familiar sounds of Cluster and Harmonia. Moreover, the album wore a veil of delicate melancholy: no vibrant folk dances, no colorful carousels, no cheerful melodies. Instead, Roedelius offered a calm, almost detached form of music, openly acknowledging romantic heritage. Geschenk Des Augenblicks – Gift Of The Moment eluded contemporary definitions of the “experimental” concept, as Roedelius was now experimenting in new, eclectic areas, too weighty, too grainy to be labeled “proto New Age.” Roedelius was not striving for perfection, but for authenticity — a music stripped of disguise; and to this end he left little playing errors in the mix, fading out tracks rigorously to eliminate any bigger blunders. Such artistic honesty bears no relation to reality-free New Age music. Printed inner sleeve with notes by Asmus Tietchens.

BB 070LP

KREIDLER: Tank LP (BB 070LP) 17.00
180 gram LP version with free download code. Bureau B presents a new album by Germany’s legendary Kreidler. “A simple plan: five days recording, three days mixing. One would hope that after over fifteen years of playing together, we might have acquired a certain degree of dexterity. Even for the last album Mosaik 2014 (Italic, 2009) we shut ourselves into Kreidler’s own Shed In The Park studio in Cologne for five days without any warm-up and began recording. The band was geographically divided equally between Berlin (Alex Paulick, Andreas Reihse) and Düsseldorf (Thomas Klein, Detlef Weinrich). The actual recordings took place in September 2010 at Tobias Levin’s Electric Avenue Studio in Hamburg. The idea behind the simple plan, of course, is rock’n’roll — the energy of a live show captured on record. But it must sound good. Especially the drums. And Tobias Levin was the man for the job, a master of miking and a multiplier of the moment. We knew what we wanted: first take, no shake, followed directly by mixing in Kreuzberg with Hannes Bieger, namely analog, on tape. A bit of editing work was needed nevertheless, and in the end the post-production lasted eight days. So what do the pieces mean? Well, the titles may offer a few hints. A dystopia? In some places, perhaps. A positive utopia? In other places, for certain. A description of the present time? Kreidler think in terms of records and in the arithmetic of the great disco albums: NEU! 75, Saint Tropez or Patrick Cowley, examples from the ranks of legendary six-song albums, or the unpolished wildness in Tobias Levin’s studio met with the controlled artificiality of Hannes Bieger, all mastered to the appropriate dimensions by Bo Kondren and the unsettling sublimity of Andro Wekua’s cover painting. Indeed, Tank does relate to the narrative of Mosaik 2014, but Tank also deals with the break from that narrative. And in some respects, the album recalls our very first effort, Riva from 1994, which may lie in the pace of its development, or the fact that we have tried to keep the structure of the pieces simple and direct, that we used the computer more as a canister, a container or a vessel and less as an operating room. And of course, the fact that Kreidler has once again become a four-piece band, a band with a clear understanding of roles: a drummer, a bassist who can also reach for the guitar, a keyboard player and a man for the electronics.” –Kreidler

BB 071CD

A damn good one-million-euro question: Who was the first German musician to have his likeness displayed at the Tokyo Wax Museum? Answer: Mani Neumeier, founder and drummer of the legendary Krautrock band Guru Guru. And how come? Simple: The Japanese simply have fine taste in music. Not only are they the most enthusiastic classical music listeners, they’re also wild about Teutonic avant-garde rock (aka Krautrock) — which is no better embodied by anyone than by Mani Neumeier.The affinity, by the way, is based on reciprocity. Ever since 1996, the same year his wax figure was inaugurated, when he toured through the country for the first time with Guru Guru, Neumeier has been so enthusiastic about Japan that he journeys there at least once a year. The following year, he performed there with the Damo Suzuki Network. Later he was usually traveling solo, seeking out the best improvisational musicians that Japan had to offer to take part in his concerts. Some of these musicians told him of a completely freaked-out guitarist. He was the wildest of them all — in other words, exactly the right thing for Mani Neumeier. Kawabata Makoto was his name, and he was/is the head of the band Acid Mothers Temple. Neumeier had already played together with their bassist, Tsuyama Atsushi, and to satisfy Neumeier’s curiosity, Tsuyama arranged a concert. That was in 2006. The three harmonized perfectly: The chemistry was right and they brewed up a massive storm. They sensed that they had created a mighty psychedelic monster and called it Acid Mothers Guru Guru. A year later, they completed a 10-day whirlwind tour of the United States, where they were met with wild applause. During each of the four tours of Japan that have followed so far, they have also been celebrated in packed concert halls every time. But Mani Neumeier also very much enjoys playing as a duo, so he organized numerous concerts just for himself and Kawabata. The desire soon emerged to record a CD in the studio with just the two of them. The result is Samurai Blues: high-grade psychedelic improvisations by two absolutely unrestricted professionals. With their tempestuous guitars and thundering drums, Neumeier and Kawabata demonstrate just what is possible in acid rock in 2011.


FRIVOLOUS: Meteorology CD (CADENZA 008CD) 17.00
This is the first full-length release on Cadenza from Canada’s Frivolous (Daniel Gardner). To Frivolous, dance music is about living life to the full, about acting out all possible human emotions in the eccentric, sweaty arena of a club. Gardner’s tracks engage the crowds with grooves bursting with life and startling, eerie atmospheres. Exotic samples arranged into improbable yet emotionally-charged sound-scapes create a very special Frivolous experience: the sounds of a primeval forest encounter a dignified, aristocratic piano, a beautiful Russian waltz gets twisted into an overturning house groove. Romance turning into contempt, one’s home becoming alien and strange, Metereology deals with the experience of emotional extremes. Focusing strongly on the rhythmic sides of things, this album is denser than its predecessors. The grooves have an enhanced inertia. Short melodic sequences create sustainable loops superseding elaborate forms on top. Frivolous merges his seminal genre-bending qualities and jazzy intricacy into grooves that push the house sound as far into the experimental realm as physically possible. The sonic arrangements are fused into one immersive idea that engages dancers completely. With these sonic landscapes, one is never quite sure which objects exist in their immediate environment and which objects are super-imposed. The sounds become a reality of their own, creating imaginary spaces. In an experience as exciting as uncanny, everyone on the dancefloor realizes that the other, sonically-projected environment is more real than anything else. The album represents a journey with different emotional chapters: disappointment, depression, relief, excitement and exuberance for life. The eleven tracks span the spectrum of existential extremes and all the subtleties of emotional dissonance that exist between them. There is a mystical, idealistic side to Metereology, yet there is the isolated, angry, frightened side to it as well. The songs explore the whole range of experience from devoted love to detached solitude, from social commitment to radical autarchy. These contradictions separate the music from obliging escapism in order to express a significant human experience.


FRIVOLOUS: Meteorology 2×12″ (CADENZA 060LP) 25.50
2×12″ version.

BEC 5772808

CASSIUS: I 3 U SO 12″ (BEC 5772808) 12.50
Cassius’ Philippe Zdar received a Grammy for his work on a Phoenix album and released 3 classic 12″s back in the mid-’90s, a couple of years before Daft Punk and the rest of the French sound. Here are some remixes by Skream, Bowski (featuring Tom Cowcher), Neon Dreams and Gesaffelstein.


DJ LE ROI: Valdemossa EP 12″ (COMP 370EP) 12.00
DJ Le Roi is one of the most exciting house music exports Switzerland has to offer. His tracks come with tough beats and a warm vibe, based on the rich treasure of classic New York house in terms of early Strictly Rhythm records. DJs like Luciano value his clockwork-style precision grooves. This man is on a mission! These tracks on Compost Black Label are repeated chimes in hypnotic space, with tough, powerful beats and chords. Energy with warmth and vibe.


JOHNWAYNES: Cut Out (City Raw) feat. Disconine 12″ (COMP 373EP) 12.00
Sizzling hot boogie house stuff from Portuguese duo Johnwaynes, combining a diverse blend of styles between acid house, full-on orchestra, disco funk and boogie. After a package of releases on labels like Brique Rouge and Bloop Recordings, Johnwaynes found their way to Compost Black Label, opening doors to further releases on labels like Mule Musiq, Endless Flight, Groovement or Optimus Discos. Their uplifting sets are a universe of possibilities with constantly exceeding style barriers and an assured, catchy energy.


CRASS: Penis Envy CD (CRASS 003CD) 19.00
“After many years of being out of print, this legendary album has been repackaged & bolstered by rare & unreleased tracks, and stunning new artwork from Gee Vaucher, who has lovingly created what could only be considered a real artifact. Included in this package is a 64-page booklet featuring extensive liner notes from band members Penny Rimbaud & Eve Libertine which sheds light on the making of the record, plus a recreation of the original poster sleeve.”


VA: Neurotic Reactions 2: 16 Obscure Mod Smashers, 1965-1970 LP (CRAP 1050LP) 24.00
“In 2008, the first volume of Neurotic Reactions was released. It was received with great success and it was a good example of the kind of sounds that were spun in the Euro sixties scene. Obscure singles from the 60s and 70s were rescued and different genres like freakbeat, garage, psych and hard rock mixed to create the ultimate dancefloor soundtrack. Now we’re back in action with a brand new second volume. This time the focus is in 60s mod sounds: beat, freakbeat, garage, wild R&B, mod-soul, groovie ye-ye… You’ll find the usual dose of obscure gems and dancefloor friendly tracks. Highlights include the terrific garage sounds of Don & Jerry, killer R&B by The Sting Rays and Measles, mod-soul dancers by Barry Window and Combinations, fuzzy freakbeat by Sparklings and Norma, psychedelic ye-ye sounds by Katty Line and Jack Treese, mod anthems by Virgil Murray, Dave Peace Union and Goodies…and much more! Professionally remastered sound and liner notes about each artist.”


DEWALTA & SHANNON: No Rest For The Wicked EP 12″ (CYN 045EP) 12.00
Cynosure presents a killer collaborative project by label head Mike Shannon and Berlin producer David DeWalta. This offering leans on the darker edge of syncopated synth-funk. “No Rest For The Wicked” is a swinging, shifty groove, full of razor-sharp analog synth work. “Joe Louis” features a deep groove that powers the train of a lead synth-line that explodes into a killer, swinging hi-hat line. A great track to bridge the gap between peak-time and deep-time.


BREAKAGE: Fighting Fire 12″ (SBOY 037EP) 9.00
“Breakage aka James Boyle is perhaps the most prodigious talent in the fast-moving world of British dance music. After his slew of successful remixes, his star is shining bright over his South Bank studio, and he felt it was time to put out a piece of 100% Breakage material. And in true Boyle style it’s a track that doesn’t allow itself to be pinned down. Part trance, part progressive house, part dubstep, it’s a track that defies categorization while remaining resolutely Breakage in sound. Featuring the enigmatic vocals of Jess Mills, it’s the magic combination of James’s punchy production and Jess’s cinematic vocal performance, which makes the track as powerful on your headphones as it does in the club. Look out for plenty more from these 2 throughout the year as James is adding his production to her debut album for Island Records. An exciting prospect indeed. Also check for a heavy remix from Foamo & Ram Records duo Loadstar.”


INSTRA:MENTAL/VON D & RISKOTHEQUE: Voyeur/Like A Bird 12″ (DISF 011EP) 11.00
“Skream’s label rounds off with a classic release. It’s not often a gem like this comes along and it’s no surprise that fellow production collaborator Skream picked it up for his Disfigured Dubz imprint. Having been a regular floor filler over the past year within the emerging techno x dubstep scene, ‘Voyeur’ has been in high demand and finally sees the light of day to many people’s delight. It was one of Instra:mentals first dabbles with the 4/4 structure but has the maturity and qualities of a rediscovered 90s classic. Lazy robo beats set the tone for a slurred vocal that sounds like a drunken tourist in a red light district. At the same time, spacey atmospheres build in the background until they reach a peak and fade away into screaming stabs that get the crowd going mental. Expect to hear this for many years to come and could possibly reach classic status. Next up we have the AA side from upcoming artists Von D and Riscotheque. With their jazz/soul fueled take on Dubstep they’re building their own little niche within the scene and are sure to shine this year. ‘Like a Bird’ mixes old skool vocal snippets, lurching fizzy mids and Detroit style stabs to create this monster that Skream and his fellow Djs have been rinsing to full effect over the last couple of months. A perfect balance of musical prowess and heavyweight beats and bass, this tune covers all angles nicely.”


GILBERTO, JOAO: O Amor, O Sirriso E A Flor LP+CD (DOK 201LP) 26.00
“Once upon a time João Gilberto was just a reclusive and eccentric bohemian with a guitar, then came ‘Chega De Saudade,’ the song that launched both bossa nova and João’s career. Over the next three years (with the help of song writing masterminds Tom Jobim and Vicinius De Moraes), João revolutionized Brazilian music with the three seminal albums that have become the bibles of bossa nova: Chega De Saudade (1959), O Amor, o Sorriso e a Flor (1960) and João Gilberto (1961).”


SIMONE, NINA: Nina At Newport LP+CD (DOK 202LP) 26.00
“When this album was recorded live at the Newport Jazz Festival in 1960, Nina Simone had just had her first Top 20 hit with ‘I Loves You, Porgy,’ but the ‘Porgy’ found here (written by Jimmy McHugh and Dorothy Fields, most famous for ‘I Can’t Give You Anything But Love’) is actually a continuation of Gershwin’s original version of the story. Other highlights include ‘Flo Me La,’ an African work chant, and ‘Little Liza Jane,’ an African-American folk song.”


SIMONE, NINA: The Legendary First Recordings in New York City, 1957 LP+CD (DOK 203LP) 26.00
“Nina Simone’s first album is quite simply one of the finest debuts in the history of recorded music. Backed here only by Jimmy Bond on bass and Albert Heath on drums, this stripped down trio format brings Nina’s considerable talents (as a classically trained pianist) to the fore. Her soulful versions of songs like ‘Mood Indigo,’ ‘My Baby Just Cares For Me’ and ‘I Loves You, Porgy’ have all become standards in their own right and Nina the declared idol of many.” Housed in a gatefold sleeve.


BAKER, CHET: Chet Baker In New York LP (DOX 849LP) 23.00
“For much of the 1950s the so-called ‘East Coast’ vs. ‘West Coast’ debate raged on in modern jazz circles. Such arguments were not halted by this 1958 album, but it did give listeners some food for thought, for here Chet Baker, one of the stars of ‘cool jazz’, gets together with some of the most representative members of the East Coast’s ‘hard bop’ school. On three long tracks Chet teams up with Johnny Griffin, one of the most talented tenors of his day (associated largely with Thelonious Monk and Art Blakey’s Jazz Messengers) as well as a stand-out rhythm section featuring pianist Al Haig, bassist Paul Chambers and drummer Philly Joe Jones. This all-star rhythm section trio drives Chet through tunes like Miles Davis’ ‘Solar’, and adds texture and lift to ballads like ‘Blue Thoughts’ and ‘Polka Dots’ and ‘Moonbeams’, creating an album unlike any other Chet had recorded before.” 180 gram vinyl.


WILLETTE, BABY FACE: Face To Face LP (DOX 851LP) 23.00
“Although not as well known as label mate Jimmy Smith, Baby Face Willette’s (1933-1971) contribution to the jazz organ should not be overlooked. In fact, his 1961 debut on Blue Note, Face To Face — featuring Fred Jackson on tenor sax and Ben Dixon on drums (both unsung heroes of jazz) and the great Grant Green on guitar — is an amazingly groovy soul jazz affair with Smith proving that he isn’t afraid to get downright funky on the Hammond B-3 (check out ‘Something Strange’ and ‘Goin Down’ for proof). Of the album’s six tracks, five are Willette’s own compositions.”


LENOIR, J.B.: Natural Man LP (DOY 644LP) 23.00
“This LP of original Chess recordings (1951-1955), originally released on the label as 78s, is a ‘best of’ Delta bluesman J.B. Lenoir’s early period. Introduced onto the Chicago blues scene in 1949 by Big Bill Broonzy, Lenoir was soon recording regularly for labels like Job and Chess. By the time his ‘Eisenhower Blues’ was released for Parrott Records in 1954, Lenoir’s beautiful voice and talent for songwriting had made him a big man on campus. The protest song, which criticized President Eisenhower and his tax policy, was fast on its way to becoming a hit when it was unceremoniously yanked from shelves by government censors. However, J.B. was not deterred, and continued his social / political criticism with songs like ‘Korea Blues’ – and later ‘Down In Mississippi’ and ‘Vietnam Blues’. However, he was not without a sense of humour as well, and wrote songs like ‘Don’t Touch My Head’ about his new process hairdo. Featuring Alex Atkins, alto sax; Ernest Cotton, tenor sax; Joe Montgomery, piano; Willie Dixon, bass; Al Gavin, drums. Baby Face Leroy Foster, guitar; Sunnyland Slim, piano; Alfred Wallace, drums. Lorenzo Smith, tenor sax; Joe Montgomery, piano; Al Gavin, drums.” 180 gram vinyl.


VA: Tempo Explosion CD (DO AD070CD) 15.50
Moving between New York and Kingston, Jamaica, in the mid-1980s, the revered Black Victory label was a perfect storm, crossing the sainted ranks and deep lineages of Studio One and Bullwackies, together with the first, most celebrated strikes of the digital revolution in reggae. The musicians — for the JA recordings presented as The Studio One Band, in NYC as the Black Roots Players — included Brentford Road legends like bassist Bagga Walker and keyboardist Pablove Black, alongside White Plains Road aces like sax-man Jerry Johnson and percussionist Ras Menilik. The studios were Bullwackies, in the Bronx, where the genius Lloyd Barnes produced Tempo Explosion with Sugar Minott, and Music Mountain, in Stony Hill, Kingston, where David Rowan was the recordist, and the heavyweight Crucial Bunny (from Channel One) mixed the Nitty Gritty LP, General Penitentiary. Business was run from two New York record shops: Madison Records at 125th Street in Harlem, and Wackies. Dancehall savior of Studio One and co-architect of Black Victory, Wackies stalwart Minott himself takes the mic, kicking off the imperious Tempo Explosion version-excursion. Studio One veteran Willie Williams turns in one of his masterworks, a pile-driving Shaka murder, with a deejay cut by newcomer Colorman. Throughout Black Victory, the musicianship and dubwise production magnificently rides the cusp between analog and digital, with masterful live performances and swinging drum programs seamlessly combined. This is an album containing eight versions on King Tubby’s “Tempo” rhythm, originally released in 1985 and produced by Bullwackie and Sugar Minott. Sleeve art by design by Wackies artist Leslie Moore. Other artists featured include: Chris Wayne, Ras Menilik DaCosta, Jerry Johnson and Black Roots Players.


DADAWAH: Peace And Love LP (DO XYZ004LP) 17.00
LP version, repressed, lower pricing. Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road. Pressed on super-fly vinyl and housed in new standard-printed sleeves.


MOUTHCRAZY: Open/Openwide LP (FYPL 033LP) 13.50
“1996 debut LP by a beautiful trio of UK improv wheezers, led by Sharon Gal (currently a member of Meltaot with Savage Pencil). They create incredible hillocks of acoustic and electronic clatter, with certain resonances (although very few actual similarities) to some of the other UK underground giants of their era. They existed from 1992-96 and this LP was released as the 4th volume of the Center of the Ass Run series. I seem to recall Tom Lax once drunkenly comparing them to Throbbing Gristle and well, Tom should know.” –Byron Coley


RAM UMBUS: Swing Low LP (FYPL 034LP) 13.50
Volume 5 in the Center Of The Ass Run series. “Did I ever tell you about my new wicker pants, well I bet I have the only ones in town. They are stiftly ribbed and that preset form gives me all the support that I’ve always needed. And just because I cannot wear them right now, you can bet I will be stylin’, just as soon as loose these eighteen pounds. Then I won’t have to worry about them leaving basket marks on my arms.”


ID BATTERY: Unique Ancient Tavern LP (FYPL 035LP) 13.50
1997 release. Volume 6 in the Center Of The Ass Run series. L.A.-based duo of Brandon Labelle and Loren Chasse, who have self-released 2 prior CDs. Concerned with small, installation-oriented audio, what they refer to as “found sounds within found spaces.”


GRADY, KRAIG: Our Rainy Season/Nuilagi CD (EITHER 005CD) 12.00
“Kraig Grady is a composer/decomposer/sound explorer. Since 1975 he has pursued the formation of ensembles of acoustic microtonal instruments of his own design/modification to explore an interaction with environmental spaces, the contextual influence of visionary space, and psychoacoustical pitch phenomena. Seeing personal fulfillment as not possible within the confines of specialization, he has also engaged extensively as a shadow puppeteer, tuning theorist, filmmaker, world music radio DJ and concert promoter. His compositions often include interactions with his own silent films and shadow plays. Despite the fact that the nature and size of his instruments make touring difficult and rare, his work has been presented at Ballhaus Naunyn Berlin (Germany), the Chateau de la Napoule (France), the Norton Simon Museum of Art (Los Angeles), the Institute of Modern Art (Brisbane), and the Pacific Asia Museum. Generally it has been within reach of his locales where he engages in most of his activities.”


GREEN RAY, THE: The Green Ray CD (FYPC 015CD) 7.00
1996 release. UK guitar group, with one previous 12″ on Shagrat (included here, plus 2 new tracks). “W/ 4 glistening trax of psychedelic liquidity, recorded by the light of the Cancer Moon. Originally known as the Archers, Green Ray is 2 vets of the Welsh 70’s psych/rock scene (ex-Help Yourself, Man, etc.)… Creations of spectacular, timeless vistas of guitar-soaked beauty in Quicksilver/Man tradition.”


FRANK-O-FEST: An Episode Of Improvisational Smoke… LP (FYPL 003LP) 11.50
… Recorded Upon The Cold Stone of Sacred Ground. 1992 release. Frank-O-Fest is a loose grouping of Milwaukee old-timers led & directed by John Frankovic, who recorded this in one cloudy session in a church in 1992. Utilizing percussion, sitar, bouzouki, trombone, pipe organ, jews harp, didgeridoo, bass, cello, bamboo & clay flutes & more, this is a long, form-defying floatation exercise in space-out improvisation.


HOWTH CASTLE: Good Morning Mr. Nobody LP (FYPL 010LP) 11.50
A graphically superior and mysterious LP issue of the CD (FYP 10). Howth Castle are an Italian male/female duo who play an exotic brand of acid-wind folk. They released one LP around 1990 that caused a big ruckus when it was discovered a few years later (in certain very small circles). This is their follow up, co-released by the Italian Blu Bus Label & Northampton, MA’s Father Yod. The main instrumentation is acoustic guitar and vocals with occasional accompaniment (electric guitar, keyboards, saxophone, trumpet, etc.). Female vocalist Lalli has a unique, deep voice that can really scatter time (once compared to “a cross between Marianne Faithfull ca. Broken English and Nico in duet with Vince Martin backed by the Temple Creatures,”), and the band’s use of odd, non-traditional elements helps blur the wind with this as well.


IKONIKA & OPTIMUM: Aqueous Cream/Ampersand 12″ (HBR 001EP) 11.50
Hyderdub-recording artist Ikonika with Planet Mu/Night Slugs producer Optimum.


VA: Acid Rumba: Spanish Gypsy Grooves 1969-1976 LP (HCALO 1001LP) 27.00
“Are you ready for the gypsy fuzz?? Acid Rumba is the new compilation on Hundergrum Records (Andergraun Vibrations, Psicotronica…) and contains 15 amazing rumba and flamenco-rock tracks influenced by psych-rock-funk-soul sounds, recorded in Spain between 1969 and 1976. At the end of the sixties and early seventies, the serious and traditional flamenco world and the Rumba scene from Catalonia collided with the modern pop sounds which came from abroad. Enterprising producers adopted those new musical trends: rock, pop, psychedelia, soul, funk… Long-haired session musicians armed with electric guitars and drums started to get involved with flamenco and rumba singers, creating an explosive sound: fuzz & wah guitars, Moogs and Farfisa, drum breaks and soulish horns blend with exotic flamenco & rumba percussions and raw vocals. Professionally remastered sound and 4-page insert featuring detailed liner notes in English/Spanish and lots of pictures. Limited to 600 copies.”


HARVEY MILK: A Small Turn Of Human Kindness LP (HDH 206LP) 24.50
“A Small Turn of Human Kindness, is as dense and as heavy temperamentally as it is musically. The seven songs so subtly bleed together that the listener has no choice, but to view the entire album as a linear orchestration with a singular ebb and flow. A rising and falling action, refined to hell and back. And so, all of these things lead me to believe that any and all true Harvey Milk fans will eventually argue this record as the band’s finest work. Or at least the vinyl version will become the quintessential mantle-piece for a generation of suburban children slumming it in the inner city… you know who you are! LP package includes a digital download code redeemable for the complete album.”


“Repress of 500 copies of the sold out LP as a picture disc with new artwork and design by Seldon Hunt. 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 and special guests from Secret Chiefs 3 and the thriving Istanbul music scene.”


VAMPILLIA: Alchemic Heart CD (IMPREC 320CD) 14.00
“Alchemic Heart is a special project presented by Vampillia who have colored these two colossal compositions with beautiful contributions by members of the Boredoms, Jarboe (ex-Swans), Inswarm and Japanese Noise-God Merzbow. Layered strings, piano, bass, noise and voices are weaved mysteriously and expand as two magnificently parallel aesthetic worlds. Comprised of two pieces, ‘Sea’/’Land,’ a primitive landscape is created via listening and destroyed when the pieces are complete. Vampillia, much like the Boredoms, absorb rock, noise, modern composition, experimental music & pop and explode it out as hardcore spirit music. They hail from Osaka, Japan and are a brutal orchestra with three distinct vocalists backed by twin violins, piano, twin guitars, bass, turntables, Toyohito Yoshikawa on drums as well as Tatsuya Yoshida and Kazuhisa Chikada.”


MERZBOW: Jigokuhen: 13 Japanese Birds Pt. 14 LP (IMPREC 321LP) 17.00
“Jigokuhen is the final installment in Masami Akita’s 15 part Bird Series for Important Records. Inspired by Olivier Messiaen’s Catalogue D’Oiseaux, the Bird Series saw the release of one CD per month for 13 months. This 14th Bird Series release is being issued on the 2 year anniversary of the start of the Bird Series and in conjunction with Vampilla’s album on Important, which Merzbow contributed some major mixing work.”


“‘KRMN-FL’ and ‘KRMN-MB’ were both created with the same original source materials, jointly created by Maurizio Bianchi and Francisco López.” “Produced from the partial oxidation of carbon-containing compounds, carbon monoxide is a highly toxic gas and has no odor or color. It is the most common type of fatal poisoning in many countries. Exposures can lead to significant toxicity of the central nervous system and heart. ‘KRMN’ (for Karbona Monooksido) has been produced from the impartial de-oxidation of sonorous carbon-containing modular compounds. It’s not toxic and has a positive effect on the peripheral nervous system and symbolic heart. Pay attention to its fatal antidote to the industrial poisoning in our dogmatic modernity.” –M.B.


DREYBLATT, ARNOLD: Turntable History CD (IMPREC 323CD) 14.00
“Arnold Dreyblatt (b.1953) is an American composer who has studied with La Monte Young, Pauline Oliveros and Alvin Lucier. He is a member of the German Academy Of Art. He has released work on labels such as Table of the Elements, Cantaloupe, Tzadik, Hat Art and Dexter’s Cigar. Turntable History is a recording of a 40-minute multi-channel sound composition which was conceived as part of an audio-visual installation installed in the circular vaulted brick space of a historical water container in Berlin in 2009. The original sound content is derived from recordings made by Arnold Dreyblatt of a Magnetic Resonance Imagining Scanner (Siemens Magnetom Symphony Maestro Class) in a radiological practice in Berlin. Dreyblatt was fortunate to gain rare permission to record this device in operation without patients being involved. A technician from Siemens manned the machine especially for these recordings, searching for software settings related to their resulting sonic output rather for scanning particular body areas. Dreyblatt treated the device as a giant Tesla coil, in which the alignment and resonances of a powerful magnetic field is gradually altered by rotating radio frequencies. Dreyblatt analyzed and deconstructed the original recordings and grouped the audio segments by pitch, rhythm and density. The resulting five-channel composition of harmonically resonating, pulsating signals, sounded within this voluminous reflective space (with long delay times) is wonderfully captured in this recording.”


KENT, JULIA: Green and Grey CD (IMPREC 324CD) 14.00
“Made in New York City and inspired by the intersections between the natural world and the human world, Green and Grey continues Julia Kent’s solo career as a maker of highly personal music. Using looped and layered cello, electronics, and recordings of natural sounds, she explores in this new instrumental record the melding of the technological and the organic, the patterns and repetitions that exist in nature and are mirrored in human creations, and the complexity and fragility of our relationships with one another and with the natural world. Without collaborators–other than the insect, weather, and wind sounds that create a sort of exoskeleton for the music–she has created an intensely personal landscape that references the way nature, however subverted and endangered by our modern world, still retains its power.”

KK 060LP

WELLS & STEFAN SCHNEIDER, BILL: Pianotapes LP (KK 060LP) 15.50
LP version. Glasgow’s Bill Wells is a bassist, guitarist and pianist who has worked with the likes of The Pastels and the BMX Bandits, as well as recording an album with Isobel Campbell, formerly singer/cellist in Belle & Sebastian. Wells has always been interested in areas of the avant-garde that flourish on the borderline between electronica, folk, jazz and new music. His album Osaka Bridge, which he recorded with the Japanese amateur ensemble Maher Shalal Hash Baz, is legendary. And with his own trio and octet, he also creates a truly inspiring sound. He produced the album Pick Up Sticks in 2003, which was the first time he worked with Stefan Schneider (To Rococo Rot, Mapstation). Schneider and Wells developed the idea for Pianotapes together and presented it live for the first time at the piano festival Approximation, at Salon des Amateurs in Düsseldorf. Actually, what Bill Wells and Stefan Schneider are doing on Pianotapes is chamber music. Wells plays fragile scales on the Bechstein grand piano, while Schneider records them on two old reel-to-reel tape machines and plays the recordings back at altered speeds. This real-time recording process is reflected in Well’s piano playing, who replies with modulation and key changes, building the sounds and ideas into his improvisation, playing with them and developing them. For the recordings, the two musicians only rehearsed the technical set-up, everything else came about through improvisation. And the result is a rich tapestry of sound. Occasionally, Schneider and Wells add synthesizer sounds into this counterplay of original and copy. The atmosphere has something of a fairytale quality to it, but it is never too eccentric. This is music that has been arranged with great clarity to make for something atmospheric and fascinatingly timeless. Cover design by André Niebur, part of the artist’s collective hobbypopMUSEUM. Includes a free download voucher for the entire album, plus two extra tracks.


ANDRE & GILDAS: Presentent Kitsuné Parisien CD (CDA 034CD) 15.50
This new Kitsuné compilation is called Kitsuné Parisien, which should speak for itself — in French. Kitsuné Parisien officially digs out the next breed of Parisian acts, exposing the new crop of French Touch. Selected by label head-honcho Gildas Loaëc and international party hopper/artist “André” Saraiva, it showcases the cream of the new Parisian music scene. Indeed, these two know a thing or two about Paris and music: Loaëc was Daft Punk’s right-hand man for 15 years before founding Kitsuné, whereas André, having long tagged his “Monsieur A” over the capital’s walls, always welcomes up-and-coming bands and DJs in his various clubs, which in return have become essential platforms for new local talents to emerge. Kitsuné Parisien is also a unique store in the heart of Paris whose frontage was also designed by André. Kitsuné Parisien includes each season of fine and fancy collector’s items, high-quality garments and of course, CDs and records. On the occasion of the compilation’s release, many items have been made in collaboration with André — including a leather jacket, boxer shorts and T-shirts. “La boucle est bouclée,” (trans. “It has all come full circle”) as they say in France. Artists on this compilation include: Destin, Birkii, Yann Wagner, Housse De Racket, Golden Bug, Jupiter, Logo, Ryskee (feat. Jenny Wilson), Jamaica’s Sunshine, Beataucue, Sauvage, Valley, Exotica and Cascadeur.


DEMIAN: Demian LP (MJJ 309LP) 27.00
“One of the bands that helped build the great Austin, TX music scene (the ‘live music capital of the world’), Demian was actually Bubble Puppy with a new name and sound. While Bubble Puppy was classic psychedelia, Demian was hard rock in the vein of bands like Atomic Rooster. Recorded live-in-studio at L.A.’s legendary Record Plant studio in 1970, Demian was also one of the first bands to feature dueling lead guitars. Despite the high quality of the songs and the local buzz this album generated at the time, due to mismanagement, Demian soon faded into the record collecting beyond.”


COMA: Famous 12″ (KOM 226EP) 12.00
Cologne-based duo Marius Bubat and Georg Conrad aka Coma embrace the art of melody and warmth on this 12″, revealing an endearing maturity. On “Playground Altona,” they bring their techno/house euphoria to new levels in a shimmering bath of disco glow. The ambient warmth of “Fameless” succumbs to a floating bass kick as the sound of children play in the background. Finally, “Raindrops” features a familiar voice that carries you amongst a severely catchy rhythm. A gorgeous set-ender.


HECKER, TIM: Ravedeath, 1972 2LP (KRANK 154LP) 17.00
Gatefold 2LP version. “Tim Hecker’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. While the title of the piece ‘Hatred of Music’ might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn’t at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker’s continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. This work is a significant contribution to Hecker’s oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.”


DALEK: Untitled CD (GMT 006CD) 14.00
“A departure from previous Dälek releases, their Latitudes session is a gorgeous, multicultural melting pot of sound & space. It’s a serious shot to the head; an opening of the eye, if you will.” Hand-numbered edition of 1000 copies.


After collaborating on Dakota Suite’s remix project The Night Just Keeps Coming In (KK 051CD), Chris Hooson of Dakota Suite asked Italian experimental artist Emanuele Errante to collaborate with him on a project composed for the death of his sister-in-law called The North Green Down. Chris had composed a series of themes around the loss of his sister-in-law and in Emanuele found a partner to create the sounds which would evoke loss, the temporary nature of life and the stillness to get through. The North Green Down also features the marvelous cello of David Darling who creates textures and waves of melancholy unlike anyone else. Almost 80 minutes of fragile pianos, guitars, cello & subtle electronic elements… cinematic, hypnotic and simply beautiful.”I sent the basic piano and guitar pieces I had recorded at home to Emanuele. I had previously bought his records and felt in him a sympathetic soul who would feel the weight of this music and make it more fitting for the purpose I had in mind, namely a suite of hymnal pieces for Hannah. Hannah was a beautiful, selfless and nurturing woman. This record is for her.” –Chris Hooson, September 2010


EDEN ROSE: On The Way To Eden CD (LION 645CD) 15.00
“It might be easy to think of Eden Rose as simply a first version of famed French progressive band Sandrose. Both bands had the same musicians; both existed at nearly the same moment in time (c. 1970). But Eden Rose is now seen, quite rightly, as something unique, a chimera from the misty past, a time during which the winds of change were blowing on the fixed universe of music. Rules were blown away, stagnant structures were swept aside, and musical conventions emancipated, this freshness and spontaneity the essence of a style that hadn’t yet been formalised. As for Eden Rose, they took off once they teamed up with guitarist extraordinaire Jean-Pierre Alarcen, who had worked with Jacques Dutronc and played in Le Systeme Crapout chik. The result was this batch of psych-inspired, decidedly grooving, upbeat instrumental tracks, with wailing (at times) fuzzed-out guitar and distinguished Hammond organ aplenty, over driving beats. A unique sound, brilliant, bright, and singing from the first note to the last. And man, if my ears don’t deceive me, the main theme from ‘Walking In the Sea’ (before it spins off into Jimi Hendrix territory) sure sounds like a lovely jazzy riff on Serge Gainsbourg’s ‘Je t’aime… moi non plus,’ which had been released the year before this album hit the racks. Two bonus tracks are from the band’s only single that contained non-LP tracks. Booklet has the band’s story in English and French, and is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.” LP version on Guerssen (GUESS 066LP).


PRAXIS: Profanation: Preparation For A Coming Darkness CD (MOD 005CD) 14.50
“Profanation features the core trio of Praxis – Buckethead, Bill Laswell, and Brain trading information with various musicians, including a slew of guest lead vocalists, among them Iggy Pop, System of a Down’s Serj Tankian, Mike Patton, Rammellzee, Doctor Israel, Wu-Tang protégé Killah Priest and Jamaica-born toaster Hawk.”


MAGNETIC MAN: Getting Nowhere 12″ (MAGNET 002EP) 9.00
“Magnetic Man’s third single Getting Nowhere featuring John Legend, taken from their Top 5 self-titled debut album, released here on 12″ vinyl. Featuring a spacey, ethereal remix from one third of Magnetic Man, Skream. On the flip is a dark, liquid drum & bass remix from Digital Sounboy’s Breakage followed by the original cut from the album.”


FRACTION: Moon Blood LP + 10″ (MEX 026LP) 36.00
“At long last, the first fully authorized reissue of the psychedelic hard rock private press to end them all — Moonblood. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. The band and LP as a whole equals something indescribably intense from start to finish–comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like ‘Extend your thumbs and burn the darkness out of her.'” Housed in a gatefold sleeve with cellophane cover. The bonus 10″ was “record in late ’71 in a storage unit at an industrial complex in North Hollywood” and features tracks (“Prisms,” “Dawning Light,” “Intercessor’s Blues”) never before released on vinyl.


JUV: Juv 2LP (MIA 014LP) 21.00
2LP version. Hailing from Norway, the duo Juv is comprised of members Are Mokkelbost and Maruis Von Der Fehr. They recorded these tracks in Norway between 1996 and 1998 and Erik Skodvin’s Miasmah imprint finally gives this lost gem its first official release. According to the band, “Juv” is similar to the English word “abyss” — it means a sort of bottomless hole, that deep space between two mountain walls or inside a deep underground cave. It also brings to mind the echoing and reverberation of sound. From its icy opening tones, something at once familiar and unsettling rises from this sound; the stark, doom-laden ambience of Juv’s desolate sonic landscapes transport the listener to an altogether darker world. Soon after recording these tracks, however, the pair’s friendship abruptly ended and the planned Juv album was never finished. Only recently did the duo return to complete the work, dissecting and selecting pieces and excerpts from the recordings, finally bringing closure to the project, and in the process rekindling their friendship. Juv create a stunning sound of desolation — not so much melancholy, but more a sinister, oppressive undertone. It seems to communicate some form of approaching menace, via transmissions (or warning signals perhaps), from another bleak dimension. A combination of instruments were used, treated and mutated from their former recognizable sounds, added to which were excerpts from hours of field recordings made throughout Europe, completing the body of the work. The pieces were recorded with a multi-tracker and sampler, mixed down straight to tape, with little in the way of additional finessing. Sombre tones flow like lifeblood through Juv’s work; underlying squeals of pain, abrasive bursts of metallic guitar drones, atonal lo-fi meanderings, the occasional cosmic chant, all blurred by a rumbling dirge of noise. The coldness of the recordings do indeed recall the approaches of Norway’s most controversial musical export, black metal. Other reference points brought to mind (which Juv’s work either predates, ignores, or at least without acknowledgement, runs in parallel with), might be the New York no-wave noise of Carlos Giffoni’s solo outbursts, the guitar mangling of GOWN (Sunburned/Bark Haze), the experimentation of Sunn O))), and as always, the suitably understated musical narrative which flows throughout Miasmah releases to date. The stark front cover image of a mountain on the Lofoten islands in the far north of Norway, in the process of being eclipsed by another mountain, conveys the weight and perhaps the intent of Juv in creating these tracks. Given part of the album was recorded on location here, the music certainly seems reflective of this environment — monolithic and enshrouded in black. Includes a free MP3 download coupon of the album, plus a double-sided printed with artist’s interview.

MC 1201DVD

DE MENIL, JOHN AND FRANCOIS: Max Ernst Hanging DVD (MC 1201DVD) 17.00
“In this revealing documentary, patron, collector, and curator Dominique de Menil hangs the 1973 exhibition Inside the Sight, in conversation with Max Ernst, the 20th-century Surrealist artist. From installation to opening party, the events that transpire, as captured by filmmakers John and Francois de Menil, provide a rare and intimate glimpse into the process of making an exhibition.” Region 0, NTSC format; running time: 59 minutes.


SIRIUSMO: Mosaik CD (MONKEY 010CD) 15.50
Monkeytown Records proudly presents the first full-length album by Germany’s Siriusmo since 2008’s Diskoding. Mosaik has been highly-anticipated, and Moritz Friedrich aka Siriusmo has finally found the time and courage to sit down and complete the project. Siriusmo has been around for about a decade, releasing a dozen singles and EPs on various Berlin-based record labels and remixing names like Scissor Sisters, Gossip, Chikinki, Simian Mobile Disco, Boys Noize, Digitalism, Chromeo, A-Trak, Munk and many others. Siriusmo, who grew up with Stevie Wonder, The Beatles and hip-hop, played organ in a ’70s-inspired band, and is active as a graffiti artist, ghost-painter and illustrator. Mosaik reflects all the different aspects of his personality and strongly shows his interest in various art forms and various kinds of music. For Moritz, the sound of Siriusmo should be futuristic — not like our current understanding of the future, but more like the future was painted in the ’70s — exaggerated, improvisational, colorful, sometimes trashy, but never cheap, extravagant and open-minded.


SIRIUSMO: Mosaik 2LP (MONKEY 010LP) 20.00
2LP version with four exclusive vinyl-only tracks.


MR RAOUL K: Introducing My World 12″ (MUSIQ 053EP) 14.00
“This is the 2nd single cut from the debut album from Mr Raoul K Introducing My World. Album was recorded in his hometown Africa with local musician and Raoul edited and reconstructed at his German studio. A side is a title track of the album. It’s a typical Raoul’s unique African minimal house.”

NEOS 10935CD

MADERNA, BRUNO: Complete Works For Orchestra Vol. 3 CD/SACD (NEOS 10935CD) 21.00
Featured works: Ausstrahlung (1971) for female voice, flute, oboe, large orchestra and tape; Biogramma (1972) for large orchestra; Grande Aulodia (1970) for flute, oboe and orchestra. “Of the leading figures of Europe’s postwar avant-garde, Bruno Maderna was the embodiment of the free spirit. More than any other, he was at once a visionary and a pragmatist and referred to his music with modest understatement as ‘conductor’s music.’ The truth was that, being an expressive and highly sensitive conductor with no patience for arid sobriety, he knew more about the orchestra and bestrode a more spacious music-historical terrain than his colleagues. His repertoire, which included early music as well as the great symphonic masterpieces, reads like a lexicon of advanced modernism. He had a low opinion of the rigorous radicalism championed by Boulez, Stockhausen and Nono, and compared rigid ideological stances with the religious wars of the Reformation and Counter- Reformation. His music represents a fruitful interaction between tradition and the new and unknown; he considered the idea of stylistic hermeticism to be a dead end incompatible with human nature.” Stereo/multichannel hybrid SACD that can be played on any CD player.

NEOS 10944CD

VA: Donaueschinger Musiktage 2008 3CD/SACD (NEOS 10944CD) 63.00
Featured works: Georges Apreghis: Teeter-totter; Brian Ferneyhough: Chronos-Aion; Dror Feiler: Müll; Bernhard Gander: Beine und Strümpfe; Saed Haddad: The Sublime; Enno Poppe: Altbau; Arnulf Herrmann: Fiktive Tänze; Ben Johnston: Quintet for Groups; Isabel Mundry: Ich und Du; Eduoardo Moguillansky: Cire perdue; Brice Pauset: Die Tänzerin. “‘One hundred years of New Music — so what now.’ This rhetorical question posed by the promoters of the event provoked various responses. Enno Poppe occupied one corner (a dusty one at that), and Isabel Mundry quite another — playing the role philosopher. As for Ben Johnston, he celebrated a late Donaueschingen debut with his Quintet for Groups. Brice Pauset, Arnulf Hermann and Bernhard Gander allowed their thoughts to roam a little, as a series of solos receding into the distance, if apparently chaotic when viewed up close, not unlike a disco just around the corner. Saed Haddad demanded luxury goods, and Eduardo Moguillansky held white-hot forms in his hands. Georges Aperghis achieved a remarkable balancing act. Brian Ferneyhough felt, ‘The plethora of phenomena that surround us is confusing, incommensurable.’ Stay awake, opined Dror Feiler, watch and see how it all develops. Cheers … let’s make a joyful racket!” Stereo/multichannel hybrid SACDs that can be played on any CD player.

NEOS 10946CD

Performed by: Dimitri Vassilakis. “The ‘etude’ was originally a small-scale composition that was mainly didactic in intent and presented the player with a technical problem. Gyorgy Ligeti had this more or less specifically in mind when he wrote the first book of his Etudes pour piano in 1985. However, Ligeti’s Etudes open a new chapter in his oeuvre. Allusions of tonality enter his harmonic language; echoes of folk music crop up, recalling Bela Bartok; on the whole, the sound became brighter. In Estudios para piano by Fabian Panisello the generic term ‘etude’ is restored to its original meaning of a preparatory study.”

NEOS 11011CD

KUBIK, LADISLAV: Sinfoniettas Nos. 1 & 3 – Piano Concerto No. 3 CD (NEOS 11011CD) 21.00
“Born in 1946 in Prague, Ladislav Kubík has been paving his own highly personal path since the 1970s, when he received acclaim at the International Rostrum of Composers in Paris. Kubik both draws influence from the Western European avant-garde as well as his own Slavic heritage.”

NEOS 11051CD

VA: Donaueschinger Musiktage 2009 Vol. 1 CD/SACD (NEOS 11051CD) 21.00
Featured works: Salvatore Sciarrino (1947): World Premiere commissioned by SWR: “Libro notturno delle voci” (for flute and orchestra; 2009). Performed by: Mario Caroli and conducted by SWR Sinfonieorchester Baden-Baden und Freiburg/Beat Furrer. Beat Furrer (1954): “Apon” (for orchestra and speaking voice; 2009); Text by: Händl Klaus, spoken by Helmut Vogel, and conducted by SWR Sinfonieorchester Baden-Baden und Freiburg/Beat Furrer. Jimmy Lopez (1978): World Premiere commissioned by SWR: “Incubus III” (for clarinet, percussion and live electronics; 2009); Poem by: Paul Williams, performed by soloists of musikFabrik, Carl Rosman and Dirk Rothbrust. “Featured on this CD as both composer and conductor, Beat Furrer was born in 1954 in Schaffhausen [Switzerland] and studied composition and conducting in Vienna with Roman Haubenstock-Ramati and Otmar Suitner respectively. Today he is not only Artistic Director of Klangforum Wien but also a Professor of Composition in Graz, Austria.” Stereo/multichannel hybrid SACD that can be played on any CD player.

NEOS 41008CD

PARKER & ICI ENSEMBLE, WILLIAM: Winter Sun Crying CD/SACD (NEOS 41008CD) 21.00
Performed by: William Parker, double-bass, piccolo trumpet, shakuhachi, double reeds; David Jager, soprano & tenor saxophones; Roger Jannotta, alto saxophone, piccolo, flute, clarinet; Markus Heinze, baritone & tenor saxophones; Christofer Varner, trombone, sampler; Gunnar Geisse, laptop & laptop guitar; Georg Janker, double-bass, G2; Sunk Poschi, drum. Stereo/multichannel hybrid SACD that can be played on any CD player.

NA 5065CD

VA: Those Shocking, Shaking Days CD (NA 5065CD) 21.00
Subtitled: Indonesian Hard, Psychedelic, Progressive Rock and Funk: 1970-1978. “The untold story of Indonesia’s various underground 70s musical scenes; extensive liner notes, photographs and ephemera; fully restored and remastered audio; officially licensed.The progressive music scenes in 1970s Indonesia were largely underground as a result of strict censorship imposed by the dictator Suharto. Those who performed music marked by relentless fuzz, over the top, politically charged lyrics, strong rhythms and a cranky low-fidelity were truly rebellious. And the resulting output has been largely — outside of the confines of this island nation — unheard or ignored. Indonesia, based in large part on the restrictions imposed by Suharto, is better known for the coffee it exports than the music it creates. This situation hasn’t been remedied by the rough-hewn Indonesian bootlegs that dotted the psychedelic landscape over the past five years. Thanks now to the tireless — and expensive — research of Canadian hip hop producer and Southeast Asian music specialist Jason ‘Moss’ Connoy – and the trust that Indonesian rock legend Benny Soebardja placed in Now-Again Records as he traversed his homeland’s islands securing the rights necessary for us to offer you this anthology — we feel like we can, in good spirits and conscience, shine the light on some of the most impressive organizations to offer their take on the psychedelic and progressive rock and funk sounds during the early shocking, shaking days of Suharto’s regime.” Artists: Panbers, The Brims, Rollies, Shark Move, Golden Wing, AKA, IVO’s Group, Ariesta Birawa Group, Terenchem, Benny Soebardja and Lizard, Super Kid, Koes Plus, The Gang Of Harry Roesli, Black Brothers, Rasela, Freedom Of Rhapsodia, Rhythm Kings, Duo Kribo. Housed in a mini-LP tip on sleeve, alongside a 64-page full-color booklet.”It’s a great one! Hats off to the label for digging deep and coming up with this one.”– Henry Rollins

NA 5065LP

VA: Those Shocking, Shaking Days 3LP (NA 5065LP) 28.00
Deluxe 3LP version: packaged in a six-panel triple gatefold jacket with a 16-page full-color booklet.

NA 5078CD

NATURAL YOGURT BAND, THE: Tuck In With… CD (NA 5078CD) 19.00
“Now-Again Records presents Tuck in With…, the follow-up album from the best band with the weirdest name. In 2009 Now-Again Records reissued the Natural Yogurt Band’s first platter — Away With Melancholy. In keeping with the rarity of the experimental records that inspired the Band, the original Jazzman Records issue of the album — from just the year before — had been limited to a run of 1000 pieces. Those records quickly disappeared and the Jazzman himself had no plans to offer another helping. The result? An audience searching for psychedelic ‘music library’ vibes from the golden era of the 60s and 70s meticulously recreated in the new millennium were left starved. Well, we fed ’em, and they asked for the next course. Two years later, the Band (really former Little Barrie drummer Wayne Fullwood and Miles Newbold) presents to you another platter of delights. With their sophomore album, Fullwood and Newbold serve up more of what made the Natural Yogurt Band’s debut so special: quirky irreverence abounds, but the band has expanded their menu to include influences from around the globe.” Stylish mini-LP style gatefold packaging


FREEZE & LX ONE/SP:MC & YOUNGSTA: Foreseen/Unidentified 12″ (OSMUK 011EP) 11.00
“Proper, Deep, dark and deadly business from Kryptic Minds’ label Osiris Music UK. X side ‘Forseeen’ features LX One (aka Joker D known for his MC-ing) joins forces with Freeze (a well know D&B producer who loves the cold!!). Y side: We all know Youngsta is one of Dubstep’s original dons and on ‘Unidentified’ he teams up with another underground legend SP:MC, Heavy, murking.. real deal, no cheese, dubstep!”


ISOLEE: We Are Monster CD (PAMPA 004CD) 14.00
Finally reissued and at a mid-line price! Pampa re-releases Isolée’s second album and critically-acclaimed 2005 classic We Are Monster, newly-remastered and including three tracks previously not released on CD! Just like Alice, we enter into Wonderland, which in this case consists of nothing more than three sounds. And we don’t even need to snack on those mushrooms to experience all sorts of unheard-of things. Just like organic tissue, these sounds unfold a life of their own — they break apart in fragments and recombine to form strange shapes, often leaving the acoustic senses in the dark. We Are Monster is fascinating because of the suggestive power with which Isolée charms the ear. This sound is not disco in the classic sense, but some mutation of classic disco combined with elements from the 21st century, with wonderful, harmonious and still disrupted tunes, space noises from another galaxy, strange bass tones and leaking drum patterns. It goes way beyond pure disco because disco is designed for the dancefloor. We Are Monster is rather an ingenious soundtrack for city life as well as for space-out times in your living area. Enchanting music conceived by one of our greatest contemporary artists. For the first time enriched with three very rare pearls from Isolée’s treasure chest: “Can’t Sleep All Night” and “Lost” are tracks from a 2003 Playhouse 12″ and “Hermelin” is a track from a 2006 12″ in a previously-unreleased version.


VA: Busted At Oz LP (PERM 022LP) 17.00
“Finally! After 30 long years since its original release, the definitive Chicago punk document is available again on vinyl! Busted At Oz was originally released in 1981 on Autumn Records. It has been long out-of-print and regularly fetches collector prices in stores and online. It contains some of the earliest recordings from well-known Chicago punk acts such as Naked Raygun and Effigies, as well as more obscure Chicago punk groups such as Strike Under, Subverts, Silver Abuse, and one of Chicago’s first mostly-female post-punk groups, Da. The tip-on jackets for this 30th Anniversary limited edition vinyl-only reissue were reproduced by Stoughton to look exactly like the original by using the actual vintage print left over from the original pressing!”


PSYCLONES: Different Thinking People LP (PERM 023LP) 15.00
“Psyclones are an obscure ’80s artpunk band equally influenced by Devo, Chrome, and Cabaret Voltaire. They released LPs on Subterranean and RRRecords along with numerous cassettes on their own label, Ladd-Frith, throughout the ’80s. They played shows with many legendary punk groups such as X, the Lewd, Hüsker Dü and appeared on The Gift Of Noise comp in 1983 alongside No Trend, F/i, Senseless Hate, and Smersh. They’re a self-proclaimed industrial pop group. The Psyclones’ Different Thinking People LP on Permanent Records contains only previously unreleased material from the bands formative years. The full-color printed inner sleeve features vintage show flyers, lyrics, and discography album art. Limited one-time pressing of 500!”


“Fireworks” is the first single from the highly-acclaimed self-titled debut album by Wolfram Eckert aka Wolfram. It features nobody else than one of the biggest disco pop phenomena of recent times on the mic: Hercules & Love Affair. On the Eurodance-infected song “Fireworks,” Andy and his band colleague Kim Ann Foxman present a stunning, emotionally-charged performance, refurbishing the torch song genre with a contemporary touch of sparkling synthesizer melodies. The all-Swedish remix package features Axel Boman and Tiedye.


IKE: Supernatural 12″ (PHP 051EP) 14.00
This Philpot IKE experience delivers three pieces of pure rawness. Some claustrophobic soul, a reminiscence of the airwave-Godfather himself and a jackin’ tool prove the project’s variety once again.

ASH 3038LP

CHEN, SHINKI: Shinki Chen & Friends LP (ASH 3038LP) 22.00
Gatefold LP version. Shinki Chen was one of the leading figures of the Japanese psychedelic rock scene in the early ’70s, seen as a Jimi Hendrix-type figure in Japan at the time. This record, released in 1971 was some of his last recorded material (he also recorded with the band Powerhouse and Foodbrain) in addition to the different band line-up known as Speed, Glue & Shinki and their debut Eve released the same year. While the band’s style is often compared to its Krautrock cousins, it lacks the dreamy directionlessness that a lot of them have as well as the bore factor of the lighter-weight progressive rock acts. Shinki Chen & Friends might lack Joey Smith’s amphetamine-fuelled drumming, but it is generally bluesier with lots of strange keyboard effects, fuzzy bass lines and a relatively weeping guitar sound. Digitally remastered on 180 gram vinyl.


PEVERELIST & HYETAL: The Hum/rrrr 12″ (DRUNK 019EP) 11.00
“Punch Drunk continue to twist, redefine and push forward the template of dubstep with a new 12″ combining the talents of rising star Hyetal and Bristol veteran Peverelist. As part of the second wave of Bristol dubstep producers, Hyetal has already made his mark, garnering critical acclaim for his recent 12″ Phoenix on Orca and previously releasing 12″s on labels such as Reduction and Soul Motive in addition to his collaboration with Shortstuff on Punch Drunk. This is Peverelist’s second 12″ release following his Better Ways of Living release for Punch Drunk. Both producers bring their trademark ingredients to the table, Hyetal’s kaleidoscopic synthesis and Pev’s deadly junglistic rhythm section combine to produce two very different tracks. ‘The Hum’ is immediately grabbing, brimming with propelling energy and uplifting melodics. The cryptically titled ‘rrrr’ is a much darker disorientating psychedelic affair, slowly luring you into its groove, providing another typical Punch Drunk curve ball.”


ASC: Advent/The Glow 12″ (RED 005EP) 11.50
“Longtime producer and innovator ASC steps to Pushing Red with two fantastic pieces of Detroit-tinged techno. He’s well known in many circles for his wonderful drum & bass releases which more recently have brought him success on such labels Exit, Nonplus and his own Auxilary. He is also known for other tempos and this release is pure evidence that he is just as deadly in this realm as his drum & bass! ‘Advent,’ punishing 4/4 kicks things off before distorted, crushing bass and effects propel this monster into Detroit territory! While this tune is a monster, everything is perfectly layered and everything within the tune makes sense. Reverbed keys and delayed effects pull everything together! Definitely one for the fans who like their beats with a little teeth! ‘The Glow’ harks back to the glory days of Warp Records and mid 90’s techno & electronic. A subtle 4/4 keeps the momentum going while the bassline could work out any sound system. Lush keys and pads sit perfectly on top creating that wonderful melodic and nostalgia feel! Definitely one for fans of deeper, melodic techno!”


DUNBAR, MAXMILLION: Cool Water 2×12″ (RAMP 038LP) 24.00
“After his Bare Feet EP dropped out of the blue, Max has been delivering track after track to the RAMP offices. ‘Cool Water is a straight up trip through me. ‘Pretty Please’ is on some boogie party fly shit, and the rest of the tracks sort of travel down from there like some DNA, just unraveling all the zones that I go into; ‘Sno Mega’ is for rollerskates, ‘Way Down’ is an earth tone blast, ‘Girls Dream’ is slow ocean disco, ‘Rhythm track For Rashied Ali’ is a house slam in honor of the illest drummer ever, ‘Lemon & Lime’ is what happened when I got really into this one Polygon Window song this year. ‘Original Soundtrack Flutes’ is my new age anthem. And ‘Breathe What U Say’ lays it all out at the end like some Brian Eno + Cluster meets T-Pain vibe ? just layers and layers of me breathing into a vocoder, dripping away.”


BANJO OR FREAKOUT: Banjo Or Freakout CD (RBR 008CD) 14.00
“Banjo Or Freakout’s self-titled debut, a heady collection of introspective beats and carefully constructed moments forged across borders and genre. Italian-born and London-based Alessio Natalizia makes stargaze pop that stares stellar, but with feet firmly set forwards from the sonic footprints left by artists like Kevin Shields, Can, and Arthur Russell, and contemporaries Caribou, Deerhunter and A Place to Bury Strangers.”


SLOATH: Sloath LP (REPOSE 023LP) 17.00
“Hailing from the South, Sloath are a sickly, unwholesome, five piece brought together by a mutual desire to play the slowest, loudest and heaviest music possible using guitars, bass, drums and chant-like vocalisations. This, their self-titled debut, has been in the works for two long years, recorded in bouts between sharing stages with the likes of Acid Mothers Temple, Burial Hex, Om and White Mice amongst others. Possibly the most straight forward HEAVY album Riot Season have released thus far. Sloath deal the same low end crushing barrage as Sleep, Melvins, Earth and of course Sabbath. It’s deep, sprawling and HEAVY as fuck. Sloath are quite clearly enjoying themselves. Limited to just 500 copies on vinyl for the world.”


SCB: Hard Boiled VIP/20_5 12″ (SCB 002EP) 11.00
“Very limited. Hotflush Recordings boss Paul Rose’s (Scuba) SCB project.”


SHINDIG: Shindig! Quarterly No. 1 MAG (SHIN Q01) 11.00
“On the cover: The Electric Prunes: Too Much To Dream: California’s Psychedelic Warlords;Thee Hypnotics: Soul, Glitter & Sin: The Rise And Fall of our last great rock band;Q65: Wild Sounds From The Netherlands;Strawberry Studios: Behind The Scenes At 10CC’s Recording MeccaThe Majority: The Brit Harmony Pop Heroes’ Cautionary Tale;The Insomniac’s Café: Where the beatniks and the surfers made history.Plus: Exploitation novels; Randy Holden; Neu!; Josefus; Hedgehoppers Anonymous; Psychedelic video games.


DAMIER & STACY PULLEN, CHEZ: Core 1993 – Forever Monna 12″ (CORE 093C-EP) 11.00
“One of the most evasive titles of the Prescription/Balance catalog, Chez Damier & Stacey Pullen’s ‘Forever Monna’ evinces the futurism of the most forward leaning deep house music, purging itself of any relics of disco sentimentality in the sacred quest of that prophecy of infinite, intangible beauty hidden within the patchwork of electronic production. Originally released in apparently minuscule numbers on Serious Grooves in 1993, this remarkable instrumental track was re-released two years later on Ballance, a fine example of these two Detroit pioneers’ tireless effort to claim a piece of that brave new world from the unyielding clutches of techno. Slinky synth loops, eerie chord frames and a brilliantly simple low-end punctuation coalesce in the uncertain, unidentifiable prospect of soul music stripped of any links to the past or present, an inexplicably funky rendition of a deep house slow mounting contagion, infecting fatally the recollections of Parliament/Funkadelic bass-licks and warm organ progressions with a bleak, somehow comforting landscape of fresh alien-esque soul. Previously unattainable without an eighty-dollar plus price-tag, ‘Forever Monna’ joins the growing army of CORE reissues seeking to popularize an often horded and unattainable circle of essential dance music classics, pieces of stunning vision and incomparable genius that should be accessible to more than just a few pockets capable of shelving out the capital for what is rightfully the universal property of electronic musical sublimity.” On white vinyl; one-sided release.


C.V.O. (GLENN UNDERGROUND): Core 1995- Mighty Real Groove 12″ (CORE 095C-EP) 11.00
“Hot off the heals of the Core series reissue of ‘I Feel The Rhythm,’ slow to speak offers its edition of Prescription family represses: Glenn Underground’s ‘Mighty Real Groove.’ Released under his early moniker, C.V.O, ‘Mighty Real Groove’ beats into even the most stubborn ears the truth of Trent & co.’s collective of hand-picked mid-west talent. The 1995 masterpiece is a devastating, pulverizing party-rocker that utilizes the used and abused Sylvester sample so typical of club-era hedonism and re-cultivates its simple universality in a new mold that avoids the cliches of disco’s expired optimism. Add the smart chord progression and one of the most un-subtle, chest-reverberating, entrails-twisting, Thor-hammering bass lines ever to grace a deep house record and you have ‘Mighty Real Groove’: a rampant party jam that still wields the musical elegance and warmth of the Prescription catalog. Hammered to death by Theo Parrish & so many more, this time-tested C.V.O classic has signed up for a second tour of duty, spreading the true underground gospel to those unbelievers who still dwell in the mansion of shadow and despair.” One-sided release.


SYNKRO: Angels VIP/Good Loving 12″ (SMOKE 014EP) 11.50
“Synkro is no doubt one of the most talented producers out on the dubstep circuit and this single shows us what Synkro is all about. His profile has been blowing up to no end and has had a release on Med School (Hospital) and has a track signed on D-Bridge’s imprint Exit. First up is a VIP mix of ‘Angels’ that was originally released on a white label late 2009. The original was a favorite with the likes of Headhunter and Intra:mental that were both giving the tune regular rotation. The VIP mix here is a more zooped up, two step dance floor roller that sounds clean and smooth on the ear. Very impressive stuff! Then ‘Good Lovin’ on the flip which has been a Synkro favorite of mine for a long time. It’s the side of Synkro that says ‘sit back, relax and enjoy.’ If you like it nice and mellow, ‘Good Lovin’ is the one for you!”


VA: Brazil Bossa Beat! CD (SJR 242CD) 18.00
Subtitled: Bossa Nova and the Story of Elenco Records, Brazil. “Following on from Soul Jazz Records’ Bossa Nova album and deluxe book (compiled by Gilles Peterson and Stuart Baker) comes this incredible collection of bossa nova tracks from Brazil’s infamous Elenco Records, the legendary record label — whose releases represent a who’s who of bossa nova artists in Brazil in the 1960s — Vinicius de Moraes, Edu Lobo, Baden Powell, Nara Leao and many, many more. Soul Jazz Records delve further into the world of bossa nova music in Brazil in the 1960s with this deluxe CD-pack of music from Elenco Records, whose iconic output represented the pinnacle of bossa nova music in Brazil during this celebrated era. The best artists, the best designs, the best music, the best everything! Elenco is the definitive bossa nova label (the equivalent of Studio One in reggae, Blue Note in jazz etc). None of these tracks have ever before been released outside of Brazil, and over the years Elenco releases have become the holy grail for fans and collectors alike of Brazilian music. Elenco’s superb, high quality output featured all the bossa nova major artists and defined everything that was great in bossa nova and Brazilian music with stunning graphics (many featured in a gallery section in the extensive booklet) and sophisticated sound. This package includes extensive a 52-page booklet with text on the story of the legendary label, and a gallery section featuring the iconic designs of Cesar G. Villela whose covers defined bossa nova — stylish, cool and hip. Essential for anyone interested in bossa nova and the music of Brazil!”


VA: Brazil Bossa Beat! 2LP (SJR 242LP) 21.00
Gatefold 2LP version.


CASPA: Terminator/Marmite 12″ (SUBSOL 009EP) 11.50
“Terminator” remixed by Tolley Snatcha. “Marmite” remixed by Doctor P.

SBM 5601LP

MIGHTY BABY: A Jug Of Love LP (SBM 5601LP) 25.50
This is the limited, special Sunbeam Masters edition of one of the defining classics in the acid folk genre. Manufactured to the highest standards in a hand-numbered edition of 1000, it’s pressed on 180 gram virgin vinyl and comes in a thick card sleeve with pasted slicks. Included is a large-scale 12-page full-color booklet detailing the background to the album, illustrated with previously-unseen memorabilia and photographs from the artist’s private collection, making it a true must-have for collectors. UK psych legends Mighty Baby’s second and final album, A Jug of Love, sank without a trace on its original appearance in late 1971, but has gone on to become one of the best-loved recordings of its time. Produced by Mike Vernon (David Bowie, Fleetwood Mac, Ten Years After), it showcases their fluid, expressive musicianship and the astonishing guitar playing of Martin Stone to glorious effect. Also includes lyric sheet insert.

SBM 5602LP

FRY, MARK: Dreaming With Alice LP (SBM 5602LP) 25.50
Previously reissued on CD by Sunbeam, now issued in a limited, deluxe audiophile Sunbeam Masters vinyl edition; 180 gram pressing. One of the most enigmatic albums of all time and the very epitome of “acid folk,” Dreaming With Alice is firmly established as one of the world’s most sought-after records. Recorded when Mark Fry was still a teenager, and only released in Italy in 1972, Dreaming With Alice is a beguilingly strange and melodic song cycle echo, with fuzzed wah-wah guitar and backwards tapes that has been much bootlegged but never officially reissued… until now. Complete with rare photographs and liner notes by Fry himself, this is an essential purchase for all fans of psychedelic singer/songwriting. This limited special edition is manufactured to the highest standards in a hand-numbered edition of 1000, pressed on 180 gram virgin vinyl and comes housed in a thick card sleeve with pasted slicks. Included is a 12-page large-format full-color booklet with previously-unseen memorabilia and photographs from the artist’s private collection.

TR 186LP

COLE, LLOYD: Broken Record LP (TR 186LP) 25.50
Gatefold 180 gram LP version. Includes free download code. “About a year ago, after almost a decade in self-imposed exile as a would-be folksinger, I developed an itch I wasn’t expecting. It seemed that there were aspects to my old life in rock and roll that I missed. Tour buses and product managers, certainly not. But the interacting with musicians, the camaraderie and the joy of hearing one’s music enhanced, and elevated by the aesthetic of others, absolutely. Damn. I never wanted to make records alone, but somehow I ended up spending much of the 2000s in a studio with just a bunch of equipment and a computer, or touring with a suitcase and two guitars. Two things made me realize that I needed to rejoin the fray, at least for a little while — I had written some songs which demanded a beat, and I was having great fun with my new acoustic trio — The Small Ensemble. Why not make a rock(ing) record, or whatever it is that 49 year-olds make when they try to do that? I emailed my ideal band — I was making a record, in a studio, old school with tape. Interested? All said yes. I had a studio band: drums, percussion – Fred Maher (Scritti Politti, Lou Reed, Matthew Sweet, my first two solo records), bass, vocals – Rainy Orteca (Joan As Police Woman, Antony And The Johnsons, Brilliantine), guitars, mandolin, vocals – Mark Schwaber (The Small Ensemble, Spouse, Hospital), guitars, banjo – Matt Cullen (The Small Ensemble, The Sighs, Ware River Club), keyboards – Blair Cowan (The Commotions, Paul Quinn, Alisdair Robertson), pedal steel – Bob Hoffnar (Hem, Crash Test Dummies, my Bad Vibes album), piano, violin, guitar, vocals – Joan Wasser (Joan As Police Woman, Antony And The Johnsons, Dambuilders), vocals – Kendall Meade (Mascott, Grammercy Arms), production and vocals – Dave Derby (Dambuilders, The Negatives, Grammercy Arms, Brilliantine), mixing – Mick Glossop, Dave Bates, my man at Fontana way back when, kindly agreed to A&R the record. I played acoustic guitar, banjo and sang. The final lyric was written and then recorded at Mick Glossop’s Magazine Studio in West London on April 22nd, leaving us two days to mix the song and fine-tune the rest. The whole experience was, for me, rewarding, perplexing, fabulously enjoyable and heinously stressful. Singing with a rock and roll band in the studio, I felt exactly as I did in 1987, or 1995 and then I would see my reflection in the glass of the gobo and wonder who this old guy was? I’m happy we got these songs finished, because I’m not sure I’ll make another record like this again. Having said that, I’m never going back to that room with the computer…” –Lloyd Cole, June 2010, Massachusetts, USA

TR 187EP

COLE, LLOYD: Writers Retreat! 7″ (TR 187EP) 7.00
Tapete presents a 7″ with two new tracks from U.S.-based British singer/songwriter Lloyd Cole in conjunction with his Broken Record album release. The album features contributions from all-star backing musicians such as Joan Wasser, Dave Derby, Matt Cullen and more. This 7″ includes a non-album track.

TR 202LP

BAMBI KINO: Bambi Kino LP (TR 202LP) 17.00
LP version. New York City, summer 2009: Four young Beatles and Hamburg aficionados from New York form a band, naming themselves after the first lodgings of The Beatles during their first string of Hamburg shows, the Bambi Kino in Paul-Roosen-Straße in St. Pauli. Their plan: to play the Indra on the 50th anniversary of the Beatles’ premiere. Hamburg, August 2010: In cooperation with their label Tapete Records, who are also based in Hamburg, Bambi Kino play a four-day residency at the Indra (August 17-20, 2010). Bambi Kino are: Ira Elliot, drums (Nada Surf), Erik Paparazzi, bass (Cat Power), Mark Rozzo, guitar and vocals (Maplewood) and Doug Gillard, guitar (Guided By Voices). The band revive the sound and spirit of those August days in 1960, playing the exact set the Beatles played for the Indra crowd 50 years ago. Sleep was not an issue on those hot and humid August days and nights in Hamburg as Bambi Kino played three sets, averaging around five hours of show time every night. Rehearsals in the afternoon further extended their repertoire of rock’n’roll classics, obscure R&B tracks, standards and even some country songs to play at the shows. This album was also recorded during afternoon sessions at the historic venue. Out of over 12 hours of material, the band selected these 12 songs. And a treasure trove it is: a long-forgotten episode of musical history, the sounds and songs of the Hamburg Beatles are finally given the respect they deserve, and Bambi Kino are nothing like a conventional cover band. Knowledgeable, passionate and highly original, the band makes these early masterpieces accessible to the general public once again. The tough, driving beat, rough and soulful harmony vocals and the rockin’ guitars take the listener back to the dark alleyways and side streets of London, Liverpool and, naturally, Hamburg where in 1960, thin young men in black leather jackets re-interpreted American rock’n’roll, giving it a whole new lease on life. Includes free download code.


WEST NORWOOD CASSETTE LIBRARY: Blonde On Blonde 12″ (TEAL 001EP) 11.00
“Following the critically acclaimed debut-release of Bob Bhamra’s West Norwood Cassette Library alias Teal Recordings presents Blonde On Blonde as its seminal release. This one is surely meant for the dance floor: an addictive bassline, and a stomping house beat executed as were it a hidden gem dug out in a New York pawnshop. The ubiquitous Ramadanman hits the flipside under his Pearson Sound monkier, with a rehash of ‘Blonde On Blonde,’ with subtle references to the original version David Kennedy takes the remix to quite different, but equally interesting, places. Lush early morning vibes! A must have! Support from, Untold, 2562, Ben Ufo, Shortstuff, Mosca, Pariah.”

TS 12010LP

HEART LAND: Heart Land LP (TS 12010LP) 26.00
“Heart Land hail from New Hope, PA. It’s a liminal place, halfway between everything, where all the lines blur and where ‘things’ aren’t always what they ‘seem.’ I remember one autumn evening a quarter-century ago, when New Hope first got under my skin. In that twilight moment, legendary psychedelic LP collector Veronica Breth (then still known as ‘Gregg’) let me in on her little secret: ‘It’s better to sell 100 records at $150.00 apiece,’ she whispered in her kiss-of-the-spider-woman purr, ‘than it is to sell 1000 records at $15.00 each…’ I don’t know if it was the ginseng wine, or the unbearable straightness of her long blonde hair, or the way s/he French-inhaled her clove cigarette, but the whole conversation made me a little light-headed. At that time, the notion struck me as elitist to the point of vampirism, but I’ll be goddamned if her words aren’t truer now than when s/he uttered them. What with the internet both hipping everybody to everything and making it all available at any time, rarity itself is as rare as a day in June (as they say). Which brings me back to Heart Land’s self-titled LP on Tequila Sunrise Records, one in a series of on-going collaborative co-releases, this one with Cream of Turner Records. It’s a limited edition of 200, all with hand-made library-binder style covers, and very sharp-looking indeed. But not only is every sleeve different and unique, but every record is different, too — at least, that’s how it sounds! What do I know? Every time I play it, it sounds different. Seriously. All I know is that the guys from Heart Land burrowed into the outside-psychedelic-trance-noise-improv badger-hole like a dachshund (albeit one with an un-German sense of humor) and came back with a mash-up of every track on the NWW want-list plus a few imaginary tracks mixed in (only it turns out none were really imaginary after all, if you get my ‘drift’). Are these songs 30 seconds long, or are they whole sides? Are they soundtracks for unseen cinema? Who can say? I cannot answer these questions, I can only raise them. Heart Land’s inspired throb is a true rarity, sand thrown into the gears of the reality studio machine, and you don’t have to be a Swiss collector to afford it. Yet. Listen, wonder, and ride a white dove, luv!” — Carlos Ramirez, San Tanco, Puerto Rico

TS 12011LP

SUNLORE: Sunlore LP (TS 12011LP) 26.00
“The sun plays tricks on the eyes when the atmosphere’s just right, with fata morganas like the Crocker Mountains or the Flying Dutchman, or with sun dogs like the ones that dazzled and disoriented Robert Falcon Scott. Sunlore is like that. As soon as you think you’ve got a bead on what they are, they just shimmer away from you. Sunlore falls through the cracks. The LP kicks off familiarly enough, sounding like Sun Ra playing ‘Bron-Y-Aur Stomp’ on a crunchy rocksichord, and then it lurches, keyboard-first, into a landscape of trailing moans and the distant clatter of ghost bongos … parlor pianos playing melodies by Samuel Beckett … a long parabolic samsara through some sort of hideously beautiful Sheela na Gig portal into a world lit by a black sun … and then back out again to where you started from … with all the fried elasticity of the first Amon Düül record, only a REALLY solipsistic version of it … and … wait … on closer inspection, that ain’t Uschi Obermaier out there shaking maracas in the shadow of the Berlin Wall … it’s actually your own pineal gland, vibrating? take that, Stasi bitches! So there you go. You can draw a set of references to similar sonic spacery from Shock Records’ early days, Skullflower, Dead-fucking-C, New Blockaders, the aural magick of RRR or even Red Rhino records. However far into the name-check bush you want to go on walkabout, you’ll still find an empty bag of clues at the end of the moebius strip. All I can tell you about Sunlore is that they come from southeastern Pennsylvania, one of the guys works down at the airport like Little Johnny Jewel, and they have some sort of affiliation with the equally uncategorizable Heart Land. And, like Heart Land, Sunlore’s self-titled LP is available on Tequila Sunrise Records, one in a series of on-going collaborative co-releases with Cream of Turner Productions. It’s a limited edition of 200, all with hand-made sleeves. Each sleeve, it should be mentioned, is an individual work of art involving spray paint, ball-bearings(?) and the alchemical element of fire.”

TSQ 2530CD

CHAPMAN, MICHAEL: Trainsong: Guitar Compositions 1967-2010 2CD (TSQ 2530CD) 18.00
“UK’s Michael Chapman began his career on the Cornish folk circuit in 1967. He signed to the Harvest label, home to Pink Floyd, Deep Purple and many others, recording four quasi-legendary albums. The influential Fully Qualified Survivor was John Peel’s favorite record of 1970, and featured future Bowie collaborator Mick Ronson. After decades of recording and touring, Chapman remains an obscure figure in the states. His profile was raised by a lengthy interview with big fan Thurston Moore in Fretboard Journal last year, and he also toured extensively with the late guitarist Jack Rose, with whom Michael shared a warm kinship. Chapman has released dozens of albums, but only a few in the states. Trainsong: Guitar Compositions 1967-2010 is a 2CD collection of twenty-six recently recorded solo guitar versions of tunes spanning his entire career. It is a fascinating look at one of the most prolific and profound guitarists of our time. This release should finally bring proper attention to this inspiring and masterful musician. Tompkins Square is truly honored to be releasing this album by one of our favorite musical heroes.”

TSQ 2554CD

ARDOIN, AMEDE: Mama, I’ll Be Long Gone 2CD (TSQ 2554CD) 19.00
The Complete Recordings of Amede Ardoin, 1929-1934. “The father of Cajun and Zydeco is celebrated for the first time with his complete 34 recordings in one deluxe 2CD set. Rare Afro-Creole rhythms are heard alongside blues and breakdowns in this exquisitely remastered and produced volume, the first in the series of Long Gone Sounds for Tompkins Square. Produced by Christopher King and designed by Susan Archie.”

TO 064LP

JOHANNSSON, JOHANN: Virthulegu Forsetar 2LP (TO 064LP) 20.00
This is the second album for Touch from Iceland’s Jóhann Jóhannsson, originally released in 2004 — now available on vinyl. Virthulegu Forsetar contains one hour-long piece for 11 brass players, percussion, electronics, organs and piano. The piece had its live debut in Hallgrimskirkja, a large church in Reykjavik and the city’s towering edifice, and was named “the most memorable musical event of 2003” in Iceland’s leading newspaper. The piece has Englabörn’s quiet, elegiac beauty, but abandons the brevity of the first album’s exquisite miniatures in favor of an extended form that reveals a long, slow process. A simple theme played by the brass section is repeated throughout the entire piece using different voicings and instrumentation. As the piece goes on, the tempo slows down, until it is extremely slow. Around the middle of the piece, the tempo starts to speed up again, until it reaches the original tempo. Space and the sense of place were very important in the performance and recording of the piece. Players were positioned both in front and at the back of the church and two organs were used, again, one in front and one at the back. This created a sense of immersion and a sound that is powerful without ever being “loud.” Johann writes: ” I had a number of things going through my mind during the writing of the piece, some of them being an obsession with entropy, Pynchon’s The Crying Of Lot 49, postal horns, cybernetics, small birds, heat, space, energy, ‘singularities,’ Nietzsche’s Eternal Recurrence, Moebius strips. I’m absolutely not interested in imposing any one ‘meaning’ on the piece, but all these things were flying around somewhere in my head. A casual listener might categorize the piece as ambient or meditative, but I think this is really wrong — for me, it’s much more about chaos and tension rather than harmony.” Virthulegu Forsetar is performed by The Caput Ensemble, conducted by Guðni Franzson, with Skúli Sverrisson on bass and electronics, Matthias M.D. Hemstock on bells, glockenspiel and electronics, Hörður Bragason and Guðmundur Sigurðsson on organs and Jóhann Jóhannsson on piano and electronics.


ACTION BEAT: Beatings 2CD (TCX 004CD) 15.00
“Limited 2xCD of 500 comes with 2nd disc of live cuts. Improvisational noise merchants, Action Beat, follow up their debut The Noise Band From Bletchley with Beatings & like its predecessor, was recorded at Southern Studios in just 2 days & this time with at least 7 musicians, which is evident in the sheer verve & potency of the album. They have taken their perfected improvised noise formula, driven by magnetic interlocking guitar harmonies, pummeling drums & crashing symbols & ramped it up a notch, or three. Their musical influences such as The Ex & Sonic Youth are still proudly on display, and for the first time ever, Action Beat utilizes fitting male vocals (provided by House Of John Player). This is the sound of a band maturing.”


ACTION BEAT: Beatings LP (TCX 004LP) 17.00
Gatefold 180 gram vinyl version. With download coupon.

R 34905EP

MCCRAE, GWEN: Doin’ It/90% Of Me Is You 12″ (R 34905EP) 10.00
Classic soul/funk tracks from 1982 & 1974.

VL 901189LP

MODERN LOVERS, THE: 96 Tears LP (VL 901189LP) 21.00
“This is THE earliest surviving recording of the Modern Lovers! The 9 tracks found here (with the exception of ‘A Plea For Tenderness’ recorded in 1973), were recorded live at Harvard University in the summer of 1971, while the band was still in its infant stages (having formed barely a year earlier in September 1970). Their first studio recording, a demo for Warner Bros, would not be made until that fall and their live Longbranch set wouldn’t be recorded until April of 1972. It is also one of the only existing recordings to feature second guitarist John Felice, Richman’s childhood friend (and the first official member of the Modern Lovers), who left the band before the recording of their first album. Jerry Harrison (later of the Talking Heads) plays keyboards and David Robinson (later of DMZ and the Cars) plays drums. Featuring rare tracks, like a rockin’ version of Question Mark & The Mysterians’ ’96 Tears’.” 180 gram vinyl.

VF 001CD

JULIUS, ORLANDO: And The Afro Sounders CD (VF 001CD) 16.00
“Orlando Julius has been a well known name on the West African music scene all through the 1960s and 70s. His early work was recorded in the Philips studios under the strict supervision of their house producers who were putting an emphasis on a pleasant and swinging sound that was jugging along in a pleasant way, bridging big band highlife music with American soul. In 1972 and 1973, Orlando Julius and his band The Afrosounders visited the legendary ARC Lagos studio of Ginger Baker and what OJ and the gang put to tape there was an entirely different beast: They recorded an album packed with unadulterated, funky Afrobeat of the heaviest caliber. For the first time, Orlando and his band were able to really let loose and showcase their full power with an unfiltered impact. They laid down six epic tracks that, from a funk or Afrobeat perspective, definitely count as Orlando’s strongest work but it seemed that Philips were not too happy with this result. They completely botched the distribution of this record and while Orlando’s earlier and later work has all been re-issued over the past years, this, his best record has remained under the radar and virtually unknown to the worldwide community of African music lovers. Now this record is re-released with its original artwork and extensive liner notes written by Orlando Julius himself, including loads of great vintage photographs.” Includes 20-page booklet, housed in a hardbound package.

YEP 2236CD

FUJIYA & MIYAGI: Ventriloquizzing CD (YEP 2236CD) 14.50
“After two years experimenting in the shadows, cutting edge minimalist-funk heroes Fujiya & Miyagi are back with their darkest and most propulsive set yet. The band’s fourth full-lengther, Ventriloquizzing has a dark heart, via its throbbing electro-glam beat and menacing lyrics. ‘I think there’s an underlying anger, or perhaps just annoyance, at institutions and people in general, and probably ourselves too,’ says singer/guitarist David Best. ‘And it also seemed like the right time to work with someone else to help us avoid going to our default setting,’ which the band combated by bringing in a co-producer for the first time in the form of famed producer Thom Monahan (Devendra Banhart, Vetiver, Pernice Brothers) –their first time not self-producing. Written in Brighton, UK and recorded in Sacramento, CA; Ventriloquizzing is likely the first (and last) black comedy you can dance to.”

YEP 2236LP

FUJIYA & MIYAGI: Ventriloquizzing LP (YEP 2236LP) 20.50
Gatefold LP version on 180 gram vinyl. Includes download code for full album and bonus material.


GENETIX: Hangin’ 12″ (ZAUDIO 022EP) 11.50
“This young talented duo is showing us how the heavier side of dubstep should be done! You can really hear from their productions that they know their way around the studio and when you play some of Genetix tunes on a big system, make sure you put up some health hazard signs! Death by subs is a high possibility. ‘Hangin’is just one of those tunes to watch out for. It will blow your chest up with bass, make the hairs stand up on the back of your neck and possibly wet yourself with excitement. That’s only if you’re lucky though. Then we have ‘Trigger Happy’ featuring Persist whose name I seem to be coming across quite a bit at the moment. This tune is great and can’t really choose between this and ‘Hangin.’ Both are insane! Then last but not least is ‘Sci Tech,’ which is on the deeper side. Great tune and a nice way to round off this great EP!”

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