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ARBOR 096LP INFINITY WINDOW: Artificial Midnight LP (ARBOR 096LP) 14.00
2011 repress. “New York synth duo Infinity Window have been crafting their game for well over a year without much documentation. Comprised of Dan Lopatin (Oneohtrix Point Never) and Taylor Richardson (Prehistoric Blackout), this LP shows them at the pinnacle of self-realization. Equally influenced by John Carpenter and the Taj Mahal Travellers, they create traveling music; music that has the power to transport and overwhelm the listener with vibes outside of those presently available to them. The A-side consists of two tracks, both clouded in a heavy haze of fog, dark and heavy though their clarity exists underneath the shroud. The B-side’s lone track ‘Skull Theft’ is the full circle realization of the first two tracks: a light is illuminated and the fog begins to clear. Mastered by Keith Fullerton Whitman. In an edition of 500 LPs with full color pro-printed cardboard sleeves and printed labels with art by Robert Beatty (Hair Police / Burning Star Core).”
ARTYARD 011CD SUN RA: Space Probe CD (ARTYARD 011CD) 19.00
“A transition classic. Recorded mostly in the early ’60s with Ra, Marshall Allen, John Gilmore, James Jacson, Nimrod Hunt and Thea Barbara, Space Probe explores stripped back forms and colour combinations that are far from jazz — or that attempt, very successfully, to take jazz into wholly new territories. Especially notable is the extraordinary Conversation Of J.P. for piano and percussion which, along with the opening track – an 18-minute Moog solo, probably recorded in 1970, just after Ra had newly acquired the instrument and was still putting it through its paces – make this an essential release in the Ra canon. As a whole, there is an impressive palette of ideas and experiments here, situating Ra at the heart of the musical revolution that was overturning orthodoxies in every field of musical endeavor at this time. The title track is notable as documenting Ra’s early exploration (his first released) of the unworldly potential of a newly-acquired Mini-Moog –a prototype, in fact, given him by Robert Moog to test. Moog always claimed afterwards that he never understood exactly where some of those sounds came from — suspecting he might have modified the instrument in some way.”
BMS 003CD OZKENT, MUSTAFA: Genclik Ile Elele CD (BMS 003CD) 15.50
2006 release. “After what seems like a decade of cross-continental detective work and blind alley buffoonery, Finders Keepers finally have the auspicious privilege to introduce the incredible music of Anadolu pop’s very own Dr. Frankenstein — Maestro Mustafa Ozkent. Regarded amongst hardened collectors of Anatolian rock as THE DADDY of all Turkish rarities, this record simply has to be heard to be believed and even then it’s still literally unbelievable. Is this record for real? Either these guys had time-machines or DJ Kool Herc had secret Eastern connections. If a box of original copies of this seldom-sighted album had made its way to the South Bronx in the late seventies then Mustafa Ozkent would be sharing throne space with other ultimate breaks and beats such as Michael Viners ‘Incredible Bongo Band’, Funky Drummer and Johnny The Fox bringing modern record collectors new found Turkish obsession forward by some 20 years.”
BMS 004CD SELDA: Selda CD (BMS 004CD) 15.50
2006 release. “The music you are about to hear defies categorization. But for all intents and multi-purposes, this record is a folk album. Embodying all the aesthetic watermarks of a private press country LP, Selda’s debut long player from 1976 has masqueraded as lamb dressed as mutton, throwing many a discerning wolf from the gourmet scent. Behold! Space age, Anatolian, electronic, progressive-protest, psych-folk-funk-rock from the Middle East. All of the above ingredients are presented immaculately with up-most authenticity and conviction to create a delectable hybrid concoction which has never been replicated or equalled in the three mutant decades since its recording.”
BMS 005CD FISER, LUBOS: Valerie And Her Week Of Wonders CD (BMS 005CD) 15.50
2007 release. “The delicately haunting and sacred score to Jaromil Jires’ essential Eastern European hallucinogenic-baroque-witch-flick Valerie And Her Week Of Wonders. It has taken Andy Votel almost twelve years to finally get his grubby vinyl-magnetic mits on the original studio recordings of this previously unreleased score. A futile decade of Eastern European phone calls, continental crate digging and eventually wicked web scouring confirmed that like most Czechoslovakian film scores Valerie And Her Week Of Wonders never benefited from a commercial vinyl release and was condemned to a life imprisoned in the vaults of the original film production company sheltered from political duress and controversy for ever more — until now.”
BMS 006CD ZALATNAY, SAROLTA: Sarolta Zalatnay CD (BMS 006CD) 15.50
2007 release. Domestic US version (issued by Finders Keepers as FKR 017CD). “If you were to tear a hundred pages from Pamela Des Barre’s I’m With The Band, a fistful of anecdotes from The Abba Story, and the most titillating tales from Marianne Faithfull’s biography and staple them all together you may well find a mutant monograph which is brave enough to hold a flickering candle to the story of Sarolta Zalatnay. The protective packaging of this, first ever, compendium of Zalatnay’s crown jewels would not provide anything close to the adequate ink space for a worthy account of her life in the Hungarian public eye (which has previously and periodically been documented in a series of autobiographies which are unlikely to ever benefit an English language translation). After ten successful albums, drawing together a veritable who’s-who of Hungarian progressive and psychedelic rock and utilizing some of the toughest dancefloor friendly metronomic drum breaks and a hard funk-rock sound years ahead of their Western European counterparts, the decline of Communism in Hungary paved the way for the widespread availability of Western music, literature and cinema — English and American music predictably infiltrated Hungarian culture overnight and the young record buying public began to turn their backs on home grown music and many faithful Eastern European artists were demoted to mum and dad’s record shelf like musical photo albums. Don’t worry though — Gal Costa is a huge name in Portugal but not many Portuguese people have heard ‘Tuareg.’ The youth of Hungary certainly know who Zalatnay is… but how many of them have heard that break at the start of ‘Hadd Mondjam El?’ All of Zalatnay’s LPs have remained unknown outside of her native country. On a global scale, Zalatnay’s releases sit alongside Did You Give The World Some Love Today Baby by Sweden’s Doris Svensson, Marta Kubiová’s Songy A Balady from Czechoslovakia, as well as early LPs by Greece’s Elpida, Poland’s Maryla Radowics and a host of French recordings from France Gall and the likes of Lulu and Pet Clarke in the UK. ‘Beware, Sarolta Zalatnay is addictive!’ And lucky for us, on her travels through the woods she left us a lot of shiny white pebbles which have spearheaded a Sarolta Zalatnay revival amongst English and American DJs almost 30 years later.”
BMS 007CD VOICE OF THE SEVEN WOODS: Voice Of The Seven Woods CD (BMS 007CD) 15.50
2007 release. “An unnamed elderly guitar repairman at a reputable music shop in South Lancashire is usually a mild-mannered character, but thanks to Rick Tomlinson this nimble-fingered technician is slowly coming to his wit’s end. The fact that Rick is actually his best customer is of little consolation, and the recurring cautionary ‘Don’t do it again!’ is falling on deaf ears, which are maybe the result of listening to too much loud music. The repeated damage inflicted on Rick’s acoustic guitar by irresponsible baggage attendants at various international airports is not the problem. The fact that this reluctant leading light of the fickle ‘nu-folk’ movement has literally smashed his way out of a tight pigeonhole using his trusty wooden axe as a battering ram is evident by the blood-stained frets. But this is only part of the old man’s concern. It’s actually Rick’s latest requests to make this handcrafted German guitar sound like a mutant instrument from the Middle East that are really eating him alive. The exact problem that this man has spent his life trying to eradicate is now at the top of his leading client’s menu, leaving this supreme craftsman’s head in his skilled hands. Rick actually wants his strings to rattle and buzz. And if his well-traveled mahogany companion isn’t willing to brave any more abuse, then imminent live shows (sharing double bills with mutually respected luminaries Bert Jansch and Davy Graham) might be the last acoustic guitar performances he will make.”
BMS 008CD VA: Bearded Ladies CD (BMS 008CD) 15.50
2007 release. “Effervescent songbird Jane Weaver has joined forces with Finders Keepers to produce a B-Music certified canon of femme-folk, laden with finger-picked meandering melodies, ethereal harmonies and wistful psychedelic leanings. This bespoke, globe-trotting, decade-spanning collection traces a line between the acid-soaked protest rumblings of yesteryear and the forward looking/backward facing revivalists of today, as luminaries such as Wendy & Bonnie, Bonnie Dobson, Heather Jones and Susan Christie rub shoulders with the current cream of female songsmithery including Emma Tricca, Magphai, and Cate Le Bon.” Other artists: Speck Mountain, Lispector, Turid, Lights, Brigitte Fontaine, Heaven And Earth and Misty Dixon.
BMS 009CD WEAVER, JANE: Cherlokalate CD (BMS 009CD) 15.50
2007 release. “Effervescent songbird Jane Weaver once again takes flight with this spellbinding collection of heartrending recordings…. immersed in the sounds of Linda Perhacs, Karen Dalton, Josephine Foster, These Trails and The Pink Fairies. Jane Weaver is a rare creature in the vanity-stricken world of female singers, and perhaps with a more generous roll of the dice we might all have heard of her. Serving her apprenticeship in the mid-nineties girl-guitar-pop outfit Kill Laura, Jane would go on to front Twisted Nerve’s Misty Dixon and release her critically acclaimed solo mini-album, Like An Aspen Leaf, as well as recording a slew of singles with the help of Doves and an album for Mancunian music maverick Rob Gretton’s Manchester Records which went unreleased following his death until Jane dusted down the tapes and released it through her very own Bird imprint. Cherlokalate is the highly anticipated follow up to 2006’s critically acclaimed debut album proper, Seven Day Smile. Stripped back and laid bare, Jane’s songwriting has moved from strength to strength and her dulcet tones have lost none of their potency. Jane’s quiet riot continues unabashed as word spreads of her unassuming but bewitching talent.” “Her voice is a thing of ethereal, folk sweetness.” — Mojo
BMS 010CD ERSEN: Ersen CD (BMS 010CD) 15.50
2008 release. Domestic US version (issued by Finders Keepers as FKR 016CD). “If any singular exponent of the powerful Turkish Anadolu Pop scene could be described as eclectic it would have to be Ersen. His chameleon image in Turkey has teetered on the edge of versatile and schizophrenic over his 40-year sporadic career and his versatile talents as a vocalist have served as a refreshing alternative to his contemporaries in one of the most progressive musical micro-cultures in the history of rock music. Catapulted into prominence by the first ferocious wave of the Anadolu Pop scene alongside the true cognoscenti of the fledgling phenomenon, Ersen would go-on to record a smash hit single and a string of stylistically disparate records which entertained, inspired, confused, rejuvenated and offend his divided audience in equal parts. By today’s standards Ersen’s erratic creative tendencies makes him one of the strongest Turkish rock contenders to transcend changing musical trends and geographic territories. As a singer he has one of the most unique softly spoken vocal deliveries on the Anatolian Rock scene and as a composer his use of long heavy rhythmical passages punctuated by his signature ‘panting’ vocalizations and throbbing basslines are unmistakable. To fans of early Eastern psychedelic music it will make sense that, although at times in his career Dinleten may have been regarded as an outsider, many attributes of his unique sound are accountable to his open armed acceptance by the originators of the Anadolu Pop scene – primarily, and namely Mogollar and 3 Hurel.”
BMS 021CD TWINKRANES: Spektrum Theatre Snakes CD (BMS 021CD) 15.50
2010 release. “A self-described ‘psychedelic power trio specializing in zone-out progressive pop musik,’ Twinkranes dare to be different. Spektrum Theatre Snakes, their debut album, is triple-pronged, hammer-action psychedelia driven by tribal motorik, barking mad synthesisers, loose connections, dead ends and choppy waters. If you like Silver Apples, Wooden Shjips, car chases, krautrock and mind-bending grooves, you’re going to love this. Hailing from Dublin, the trio comprises Anto, aka Blonde Fox (Vocals & drums), Rooster (guitars & tape manipulation) and Ray, aka Auburn Spinner (Korg synthesizer, rhythms and soundscapes). Together, they take influence equally from dance music and the weirder wings of pop history.”
BPC 230CD CHAIM: Alive CD (BPC 230CD) 14.50
Chaim Avital’s seductive house sound has been enchanting dancefloors around the world for several years. On his debut album Alive, his music becomes all the more universal: with a unique ear for suggestive melodies, the musician from Tel Aviv shapes these euphoric moments of club music into absorbing pop songs. They burst out of the club doors and ring out of radios and headphones. With the opener “Rain” the melodies glisten like the sun’s rays piercing a cloudy sky. Then comes “U & Eye,” when the intimate voice of Meital De Razon immediately strikes at your heart. On “Everything,” with its glittering strings and vehement chords, you can feel the longing bursting from the chest of this primal club track. Bass lines run through your body like lightning strikes; the vocals are serious and insistent. Only the club legend Snax has the answer: he unravels these knotted emotions in the old-school-inspired “Wish.” “Love Rehab” depicts an encounter between the deep, erotic voice of a French Casanova, ripened by his years, and the celestial chant of a love goddess lost in reverie. With its unrestrained, Balearic voices, “Runaway Frequencies” carries us away from the pulsating rhythms of the city to a far-off, boundless beach horizon. On “Don’t Shout” you can still feel the warmth of the sun on your skin, and yet the bass line is already pumping in deep breaths. On “Who Said What” Chaim’s gaze wanders over mellow, graceful sounds. On the equally laid-back “Naturalness,” warm claps and smooth melodies blend into a trippy house number. The album steers its course towards the musician’s early career with “Popsky” from his first release: here, raw drumming and electrifying textures trigger rave-like moments of ecstasy. Chaim bids us farewell amongst the lively babble of “People Can Talk,” which features the pulse of a hypnotic bass line. Chaim’s tracks and songs are the result of 15 years of getting to know and work with music and the emotional worlds it opens up.
BR 005EP ROYAL T: Orangeade 12″ (BR 005EP) 9.50
Mark Taylor aka Royal T is one of the brightest prospects for grime music in 2011. “Orangeade” is a sonic workout which is definitely meant for peak-time dancefloors. Both synth and bass-heavy, this track is cleverly programmed around 808 claps to give it added dimension and groove. “Whistle Song” features a squelchy bass line that builds up to a breakbeat-influenced crescendo. The Devil Mix of “Music Please” is a bass-only mix that still possesses all of Royal T’s menacing qualities.
CADENZA 059EP MARTINEZ: Mzuzu 12″ (CADENZA 059EP) 14.00
Danish producer Martinez rarely fails to surprise club music lovers with his versatile views on techno and house. The Mzuzu EP is all about bass — the bass is all around, gushing into every corner of the club, pervading concrete and iron. “Mzuzu Chant” and “Adagio” are for the beautiful moments when the dancing crowd detaches itself from time and space. Martinez’s compositions manage to unleash a deep joy that only Tibetan monks might feel after weeks of meditation.
CARGO 018EP VA: Warehouse Vol. 1 12″ (CARGO 018EP) 12.00
For more than five years, Cargo Edition has stood for the deeper house productions of Moon Harbour/Cargo Edition’s roster of artists. Now, this platform is offered to artists who haven’t yet appeared on the label. The Warehouse release is the first of a series of various artists EPs and the sound is all about consistent house music that does not need any cheap rave tricks. Artists include Steven Cock, Ralph Sliwinski, Mass Prod & Marco D’Aquino and Minimono.
CIS 1035CD POWERDOVE: Be Mine CD (CIS 1035CD) 8.00
“Annie Lewandowski is powerdove. Though she collaborates with other musicians, the resounding heart of powerdove will always be Lewandowski’s sparse, haunting vocals and lilting parlor guitar. With influences ranging from Nico and Leonard Cohen to the drone sounds of Sunn O)), her music will warm the hearts of fans of experimental folk.”
CYH 009EP KADAR, OLENE: Little Miss Dynamite 12″ (CYH 009EP) 12.00
Olene Kadar and D-Low team up again and deliver their second EP for Clap Your Hands. The A-side track “Little Miss Dynamite” will make your booty shake like it never did before! But don’t forget to flip the record; there, you’ll find the rework by Anton Pieete.
COR 083EP STEFANIK, DANIEL: Nocturnal 12″ (COR 083EP) 12.50
Daniel Stefanik is one of the most reliable initiators of electronic dance music in East Germany. “Nocturnal,” the title-track of Stefanik’s Cocoon debut, is another true manifesto for the bass drum, which repeatedly jumps to the track’s front relentlessly within the nine minutes playtime, rising from mysterious breaks, percussive beat fabrics and melancholic harmony intermezzi. “Dirty Rhodes” receives its energy from the rhythm of the steadily-increasing snares — a phenomenal “drum dance” in the true sense of the word.
CYCLICAL 016EP SOUND OF THE ENDERS: Chapter 1: Lloyd 12″ (CYCLICAL 016EP) 12.00
Staffan and Mattias Linzatti present a new point of view about alien spirituality: the search for spiritual and intelligent life. These are three powerful techno tracks, “Leaving Subspace,” “The Candor Incident” and “Lloyd’s Theme.” These cyclical tracks continue to probe new sounds together with cosmic ideas.
DES 101EP ANDERSON & OWAIN K, JAMIE: Without Sound 12″ (DES 101EP) 12.00
Dessous turns to the UK for its 101st release with long-time electronic hero Jamie Anderson teaming up with Owain K. The slow-churning groove of “Without Sound” brings a dubbed-out, atmospheric vibe to Dessous’ renowned high-end label ethos. “Limelight” completes the circle with yet more warmth and vitality. Finally, the deep funk of “Airwalk” jacks and gyrates with a classy warm vibe — full of details, melodic flourishes and snippets of U.S. flavor.
DNRTB 006EP MILTON BRADLEY: A Sky Full Of Numbers 12″ (DNRTB 006EP) 14.00
“Droning cinematic ambient techno.”
DS 005EP PAULUS, GREG: Crew Love Remixes EP 12″ (DS 005EP) 12.00
A fresh breath of succinct house music from Greg Paulus arrives on Gadi Mizrahi’s vinyl-only Double Standard imprint with remixes from Deniz Kurtel, Soul Clap, Slow Hands and Mizrahi himself. Greg Paulus is one-half of No Regular Play and has been touring as part of Mathew Dear’s band as an accomplished trumpeteer. He delivered the original tracks in 2010 as the second release on the Double Standard imprint, who once again stand up as pioneers of the future of house music.
DEMEGO 018LP EVIL MADNESS: Super Great Love LP (DEMEGO 018LP) 19.50
Evil Madness has been described as the Traveling Wilburys of Icelandic electronic music. Behind the name stand men like Petur Eyvindsson, Jóhann Jóhannsson, Sigtryggur Berg Sigmarsson, Helgi Thorsson and BJ Nilsen (who is not “quite” Icelandic but was born in a country “very” near Iceland). This album, Super Great Love, presented by Editions Mego will be their fourth album since the time of their formation in 2006. Now for those of you reading who know the music of Evil Madness will know for sure that this band does whatever they damn well please when it comes to making music. With Super Great Love they want to get people in a “good” mood for 2011 and present them with some upbeat Icelandic “disko” tunes. Cover artwork by Helgi Thórsson. Cut at Dubplates & Mastering, Berlin. Edition of 500 copies.
EM 1091CD RAMAMOORTHY, T.K.: Fabulous Notes And Beats Of The Indian Carnatic – Jazz CD (EM 1091CD) 20.00
Come join EM Records on another of their spatio-temporal musical journeys. This time, we’re off to Madras, 1969 to hear legendary south Indian film music composer/director, T. K. Ramamoorthy’s prescient Fabulous Notes And Beats Of The Indian Carnatic – Jazz, a daring fusion of Carnatic music and jazz. Although jazz musicians had been using Indian elements before this time, Fabulous Notes was the first recording in which accomplished Indian musicians adopted jazz elements. And these are accomplished musicians indeed — veterans of the demanding Indian film music studios, trained in the strict discipline of the traditional Carnatic system, led by the visionary Ramamoorthy, a legendary composer who collaborated with M. S. Viswanathan in providing soundtracks for more than 700 films. The music here is a true Indian music, adhering to traditional Carnatic ragas with their varying ascending and descending modes, using a wide range of Indian instruments in an appealing fusion with jazz instruments, ideas and rhythms. The result is not a slavish imitation of modish Western styles, but a stimulating and surprising new entity; fans of later Ethio-jazz may well experience a frisson of familiarity at certain moments when listening to these recordings. Famed composer Ramamoorthy is also a masterful arranger and orchestrator, giving us surprising vistas of timbre, allowing instruments to come to the fore, supported in appealing combinations. But the true heart of both Carnatic music and jazz is improvisation, and T.K.R. allows these fine players space within relatively brief moments to make their own statements within the ragas, as detailed in the liner notes accompanying this reissue. What we hear is a new meeting of worlds, both sharing a respect for the primacy of improvisation, a love for the intricacies of ensemble-playing, and a fine understanding of the power of propulsive yet sophisticated rhythms. Fabulous Notes reveals a true Indian music, not merely Occidental music with hints of Indo-spice. We can picture the recording sessions, with the musicians seated on the floor of the studio, Indian musicians playing Indian music, playing jazz, playing Fabulous Notes And Beats Of The Indian Carnatic – Jazz. Indian instruments include: veena, gotuvadyam, flute, tabla tharang, tape, conch, ghatam, mridangam, chandai & sudha madhalam, tabla, jalra and bul bul thara, and Western instruments include: bass clarinet, saxophone, piano, guitar, double bass, trumpet, drums and bongos.
EM 1091LP RAMAMOORTHY, T.K.: Fabulous Notes And Beats Of The Indian Carnatic – Jazz LP (EM 1091LP) 26.50
LP version.
FENOU 013EP CAMARA & BUSTLER/HIDENOBU ITO: When The Night Falls/Come (feat. Anna Yamada) 10″ (FENOU 013EP) 12.00
In late 2010, the Berlin-based label Fenou celebrated its 5th anniversary — reason enough to release the first label compilation collecting six favorite tracks from the back-catalog and six brand-new tunes. With Camara & Bustler’s “When The Night Falls” and Hidenobu Ito’s “Come,” two of the previously-unreleased tracks were cut on 10″ vinyl — as usual, it’s a limited edition and numbered by hand.
FIAKUN 001EP FIAKUN TEAM: Around Your Neck 12″ (FIAKUN 001EP) 12.00
Fiakun Team presents “Around Your Neck,” a track based on a heavyweight vocal and a simple piano — underground and contemporary house with a simple but very tasty construction. This 12″ is complemented by two remixes: Penner + Muder move you to cold Berlin with a perfect, intense mix. Roberto Rodriguez reinvents the original with a warmer, more harmonious touch in his trademark personal style.
FF 170LP GIANT SAND: The Love Songs LP (FF 170LP) 31.00
“For the past 25 years the Tucson-based Giant Sand (originally Giant Sandworms as a nod to the Dune books) has been one of the most consistently innovative in the American music scene. A recipe that could perhaps be best described as 1 cup well-executed grunge aesthetic, 1 cup downtown NY, 1 cup troubadour, and a dash of country outlaw. Although its membership has shifted greatly over the years, singer / songwriter (as well as guitarist and pianist) Howe Gelb has remained at the helm to help fill the coffers of what could be called the new American folk song. Often called Giant Sand’s best album of their early period, 1988’s Love Songs features an expressiveness and songwriting maturity that rivals Bob Dylan.” 180 gram vinyl.
FF 172LP GIANT SAND: Swerve LP (FF 172LP) 31.00
“Swerve, originally released in 1990, is another brilliant effort by Gelb,in 1990, is another brilliant effort by Gelb, this time joined by a variety of guest performers including Green on Red’s Chris Cacavas, Juliana Hatfield, Steve Wynn and several members of Poi Dog Pondering.” 180 gram vinyl.
FIRE 157CD BARDO POND: Bardo Pond CD (FIRE 157CD) 16.50
“One night not long ago in the Bardo Compound in Philly, Michael says in a kinda off handed way, ‘Hey man, you wanna hear this? …’ And there I was, being bathed in the songs you’ve got in your grubby little mitts right now. I was, once again, un-prepared. This cauldron is a bit of a different brew. It made total sense to me (as it will to you) when he later told me the name of the LP is just Bardo Pond. Why? It’s a distillation. Two decades of playing together have sandblasted away everything unessential and left us with what we have here. It was like no one else before them had ever gotten near the plagal cadence, not Lou Reed or the Stooges or 2,000 yrs of church music. They invented it all over again, independent of any of that, after gawd knows how many years of nailing away and burning themselves up. I fucking love these songs. And while I hate writing almost as much as I hate third degree burns, I have to say it is a joy to be able to tell you about this record. I feel like Neil Fucking Armstrong. It took years for them to get here, but this record is the most goddamned beautiful thing they’ve ever done. Sorry for the superlatives. But really, the only thing left for them to do at this point is explode.”
GUESS 075LP JULIAN’S TREATMENT: A Time Before This 2LP (GUESS 075LP) 34.50
Debut double album by musician/sci-fi writer Julian Jay Savarin. Originally released on Miki Dallon’s Youngblood label in 1970, this has been a classic since the early days of record-collecting. Hammond-dominated, spacey, psychedelic prog-rock with long tracks, cool female vocals and a cosmic, sci-fi concept/vibe. This reissue features the original gatefold sleeve, master tape sound on 180 gram vinyl, and detailed liner notes by Andy Morten (Shindig! Magazine). Essential to anyone into early UK prog-rock.
GUESS 076LP SAVARIN, JULIAN JAY: Waiters On The Dance LP (GUESS 076LP) 25.50
Here’s the second Julian Jay Savarin album, released in 1971 on the short-lived Birth label (a Youngblood imprint). Another stunning prog-rock masterpiece (based on the Savarin-authored sci-fi novel of the same name), still Hammond and keyboard/Mellotron-dominated but with a more hard-rock approach, featuring plenty of killer guitar riffs, powerful but melodic vocals courtesy of Lady Jo Meek (sister of Catapilla’s vocalist Anna Meek) and a solid, groovy rhythm section. A legendary album lovingly reissued featuring original artwork, master tape sound, 180 gram vinyl and detailed liner notes by Andy Morten (Shindig! Magazine).
GUESS 077LP AIRBUS: Test Flight LP (GUESS 077LP) 23.50
West Coast Consortium spinoff Airbus never played live or even released a record during their 1970-1972 lifespan, instead spending their entire subterranean existence holed up in their self-owned London studio, writing and performing innumerable high quality demos and then attempting to place those songs with major label acts. But, more by accident than design, they came to leave behind THE Great Lost Early ’70s British Pop Album — a jaw-dropping collision of superb songs, dazzling vocal harmonies, intelligent lyrics and hook-laden melodies. Here, then, is the strange, previously-untold story of a band that didn’t leave so much as a footprint in the musical sands, but recorded a greater number of three-minute pop nuggets than almost all of their contemporaries. In a limited pressing of 500 copies on 180 gram vinyl with detailed liner notes.
HIGH 090EP CLARK & BENNO BLOME, TOM: Falling 12″ (HIGH 090EP) 12.00
Tom Clark and Benno Blome are two techno veterans who have provided musical inspiration for all those who have followed. The three tracks on their collective Highgrade release (including remixes from D.Diggler and Dario Zenker) will immediately flatter your ears. Concentrated, hypnotic and hammering beats subtly develop their own unique atmosphere. Clearly more than just a decorative accessory, the vocals from A Guy Called Gerald sometimes whisper mysterious and dark, before coming back again deep and urgent.
HJP 052EP SHACKLETON: Deadman 12″ (HJP 052EP) 11.00
Sam Shackleton stalks deeper into the sub-loaded unknown. From his Fabric mix CD, “Deadman” turns paradox and paranoia into dancefloor fire. This is rolling, dread techno of breathtaking heat and humidity, spurred by hectoring congas and thick-set subs, amidst a teeming soundscape of drones, field recordings and oblique vocal textures. Kevin Martin adopts his King Midas Sound guise for an expansive remix which reveals his lineage in noise, industrial and isolationist ambient. Mastered by Rashad Becker with artwork by Zeke Clough.
HJP 053EP SHACKLETON: Fireworks/Undeadman 2×12″ (HJP 053EP) 20.00
Two brilliant Shackleton tracks with remixes by T++ and Baron Mordant. On “Fireworks,” the mood is malevolent with synth shrapnel crisscrossing a stately, choral progression. T++’s remix enacts a rhythmic necromancy, its brittle, emaciated breakbeats shunting forward ravenously. “Undeadman” raises “Deadman.” Midi signals from the original were sent to synths; sounds and effects were recorded separately and rearranged. Mordant Music re-fashions it into an epic of bad-trip kosmische. Designed by Will Bankhead, the sleeve layers different Zeke Clough artworks, in spot UV varnish.
IF 021EP KASBAH ZOO: Palabras 12″ (IF 021EP) 12.00
International Freakshow presents crazy Spanish combo Kasbah Zoo. With “Palabras,” Kasbah Zoo unleashes a damn good piece of pumping tech-house. Alongside the original are two remixes from Christian Burkhardt and Romano Alfieri. All in all, this record keeps its dynamic groove from the start to the very end and it will help you get fully loaded from head to toe.
KRS 540EP THERMALS, THE: Not Like Any Other Feeling 7″ (KRS 540EP) 5.00
“Third single plus an unreleased track from the Thermals album, Personal Life. The Thermals are unstoppable! After an incredibly busy 2010 (6 tours, 4 singles and 1 LP), The Thermals are showing no signs of stopping or even slowing down.”
KLOCK 007EP ROD: Malmok 12″ (KLOCK 007EP) 12.00
“Pure & effective DJ tool techno rhythm tracks.”
KYE 009LP ELKLINK: The Rise Of Elklink LP (KYE 009LP) 16.00
“The Rise of Elklink originally appeared as a cassette on the storied Polyamory label in 1999. Behind the ambiguous moniker lurked core Shadow Ring member Graham Lambkin, aided by Adris Hoyos with a cameo from fellow Shadow Ring bandmate Tim Goss. Although The Rise of Elklink was produced in tandum with The Shadow Ring’s Lindus LP, the two projects were different in intent. Song form and narration are replaced by walls of quiet, crumbling vocal concrete, meaningless stoned monologues and adjacent audio seepage, captured to 4-track in the backroom of a small Cuban crèche in Miami FL. This LP reissue restores all six tracks from the original cassette, and adds the Elklink contribution to the Colour In Absence Sound CD comp from the same year. Lovingly remastered by Jason Lescalleet at Glistening Labs, The Rise Of Elklink arrives in a sleeve design based on the original j-card with an insert reproducing Brad Sonder’s classic period review, in a hand-numbered edition of 500 copies.”
LITA 058LP BERRY, OVERTON: T.O.B.E./At Seattle’s Doubletree Inn 2LP (LITA 058LP) 24.00
“Have you ever heard of Tukwila? Well, it’s safe to say that if Light In The Attic wasn’t located in Seattle, Washington, we mightn’t have either. Just a short drive from the Emerald City it was once home to the now infamous Doubletree Inn. Despite its non-central location, the Doubletree was once the Pacific Northwest hotspot with line-ups around the block. The reason? The Overton Berry Trio, who ably filled the lounge with sounds of jazz, soul, and pop over clanking drinks and decadent dinners. While local music lovers, dedicated crate-diggers, and diehard funk heads will have heard of the classy pianist (often compared to his better-known peer, Ramsey Lewis), it’s finally time to let the world in on our little secret. At the dawn of the 1970s, Berry and company recorded 2 long player albums: The Overton Berry Trio At Seattle’s Doubletree Inn (1970) and T.O.B.E. (1972). Both take the listener to a time long forgotten, a place where music engaged, invited dialogue, and struck chords deep in one’s soul. In celebration of this still relevant sonic legacy, Light In The Attic Records will re-release the original Doubletree Inn and T.O.B.E. (The Overton Berry Ensemble) albums in a lovingly packaged double vinyl-only reissue. Prominently featured on Light In The Attic’s Wheedle’s Groove release, their transcendental interpretation of The Beatles’ ‘Hey Jude’ (from The Overton Berry Trio At Seattle’s Doubletree Inn) is notorious amongst forward thinking DJ’s and record collectors the world-over. The T.O.B.E. album (especially the break-beat heavy ‘Jesus Christ Superstar’) has also piqued the radar of many a tastemaker and original copies are virtually extinct and prohibitively priced when available in record dealer’s crates or offered for sale on the web. Now with lovingly remastered audio, extensive liner notes, and unpublished photos, this double LP set gives you both of the aforementioned rarities and the best of Overton Berry – that is, if you haven’t had the good fortune of seeing the man play live. Still performing his trademark blend of standards, thoughtful interpretations, and original compositions weekly in-and-around Seattle, if you find yourself music hungry in the Pacific Northwest, you just might have a chance. Berry is still doing his thing with the utmost respect and dedication to his craft.” Housed in a deluxe gatefold sleeve; includes download card for three unreleased tracks.
LITA 060LP CHAPMAN, MICHAEL: Fully Qualified Survivor LP (LITA 060LP) 17.00
LP version. “Although not as well known as his peers (Roy Harper, John Marytn, and Bert Jansch), the name Michael Chapman is an important one in the linage of English folk rock guitarists and singer/songwriters of the late ’60s/early ’70s. For those unfamiliar with Chapman’s work, Roy Harper might be his closest musical cousin (and both artists were signed to EMI’s seminal stoner record label Harvest — also home to Kevin Ayers and Syd Barrett). Like other Harvest artists, Chapman’s music contains a slightly drugged out feel, sublime guitar playing and intense lyrics. Chapman recorded 4 albums for Harvest between 1968 and 1972, of which 1970’s Fully Qualified Survivor is hands down considered the classic amongst the whole highly coveted bunch. What makes Fully Qualified Survivor such a special album (besides being a vehicle for a young Mick Ronson’s mind-blowing guitar heroics) are the layers of beautiful acoustic guitars, deranged vocals, floating conga drums, and the cello of one Paul Buckmaster — the same man who provided the intense strings on Elton John’s dark masterpiece ‘Mad Man Across The Water.’ Fully Qualified Survivor is very much an ‘album’ more than a collection of songs as they seem to link together seamlessly, and in 2011 it’s hard to find words to do them justice… File this record between Roy Harper’s Flat Baroque and Berserk, John Martyn’s Inside Out, and Bert Jansch’s Jack Orion and you’ll be fine. The perfect album for a blissful day and a joint.” 180 gram LP housed in a deluxe gatefold sleeve featuring liner notes featuring a new interview with Chapman.
LION 101LP CHRISTOPHER: What’cha Gonna Do? LP (LION 101LP) 21.00
2011 repress, originally reissued 2005. “Deluxe LP reissue of one of the absolute rarest American psychedelic LPs of the ’60s — and one of the best. Every song is of the highest quality (all originals too), with an accessible sound that suggests the band could have had more widespread success, had they ever made it out of their native South Carolina. The album was originally pressed in 1969 to use as a demo, but you’d never know it based on the overall quality of the production; the music demands your attention: well-crafted trippy lysergic lyrics about plastic capsules (and more), flanged vocals (among other effects), fine vocal harmonies, extended jamming, and a transcendent quality well expressed by the gutsy and creative guitar work. When you’ve got blistering acid rock mixed with acid blues, with a couple of thoughtful melodic songs for good measure, you’ve got a recipe for something special. Had Christopher been a major label release it would be a staple in every record collection. Now, on to the presentation… highest quality mastering and pressing (done at Acoustech Mastering/RTI in California); the resulting LP is housed in a poly-lined sleeve, which is inside an ultra-heavy 1960s Project 3-label style gatefold jacket, which is in a loose-fitting plastic sleeve. Top of the line pressing all the way.”
MACROM 021EP ELEKTRO GUZZI: Extrakt EP 12″ (MACROM 021EP) 12.00
The Extrakt EP captures the latest state of Elektro Guzzi’s incredible live sound, recorded in London with the outstanding capabilities of Brendon “Octave” Harding, the trusted engineer of dub legend Lee “Scratch” Perry, and mixed by mega-producer Patrick Pulsinger. The four cuts capture Elektro Guzzi’s raw side, turning out dark, sexy grooves with an almost indie edge — probably their most danceable and DJ-friendly studio material to date — specifically produced for the vinyl format.
MDR 007EP NORMAN NODGE: MDR 7 12″ (MDR 007EP) 12.00
“Raw killer techno.”
MOBILEE 012-1EP CZUBALA, MARCIN: Stay Close 12″ (MOBILEE 012-1EP) 12.00
“Stay Close” is the lead single from the 2CD release of Marcin Czubala’s Back To Back Vol. Five compilation (MOBILEE 012CD). On this special vinyl accompaniment to the CD release you’ll find brand new collaborative track “Never Give It Up” featuring Catz ‘N’ Dogz. “Stay Close” features Novika, a renowned singer from Poland. Also included is an exclusive vinyl track, “Love And Happiness.”
MR 299LP MATADORS, THE: Get Down From The Tree! 2LP (MR 299LP) 25.00
Gatefold 2LP version. Munster Records presents The Matadors’ studio recordings from 1966-1968 for the first time ever as a complete collection. From the early twist instrumentals through to solid R&B/soul covers and up to their classic psychedelic freakbeat originals, all tracks have been remastered from the original analog master tapes. Even 40 years after they disbanded, the legendary Matadors still remain one of the best known “big beat” bands from the former Czechoslovakia. Some of the original members would continue with much-respected groups such as The Blue Effect or Emergency. Includes liner notes by expert Luká Machata plus photos and original sleeves. The actual birth of The Matadors dates to May 1965, after Wilfried Jelinek secured a deal at the Expo Leipzig for extensively testing and promoting various music equipment on tour. Among those instruments was an electric organ named “Matador.” They initially performed solely in Germany, mainly in Jelinek’s home region around Zittau. As second lead vocalist and rhythm guitarist came Karel Kahovec, formerly of the Hell’s Devils. In September 1965, Jelinek gave up on drumming, and The Matadors’ line-up was completed with another ex-Hell’s Devils, the drummer Miroslav Schwarz, better known as Tony Black. In April 1966, The Matadors finally returned to their hometown, Prague. Their first gigs were an immediate success, putting the group on a par with local stars like Donald, Mefisto or Olympic. With the latter they began to regularly share the stage at the renowned clubs Olympik and Sluní?ko, eventually presenting weekly “beat news” with cover versions of the world’s latest rock hits. One of their first original compositions was “Sing A Song Of Sixpence,” an early psychedelic effort with rather meaningless lyrics extracted from an English children’s book, but it already carried Kahovec’s signature songwriting, which he further developed later as a member of Flamengo. Vocalist Vladimír Misík, on the other hand, leaned towards heavy blues rock, as apparent, for example, from his “Malej Zvon Co Mám.” By the end of the year, both lead vocalists were replaced by ex-Flamengo singer Viktor Sodoma, with Misík only guesting once more for a recording session in January 1967. Sodoma and bassist Otto Bezloja began to form the group’s visual image, influenced by Western magazines showing the first reports about American hippies. Bezloja presented himself with an androgynous glam look, possibly even preceding David Bowie or Marc Bolan. The only Matadors album was recorded within a week between May and June 1968, ordered by the PZO Artia company and intended mainly for export. Besides their own material and several solid pop, soul and R&B cover versions, it contained the remarkable psychedelic studio improvisation “Extraction.” In the summer of 1968, Sodoma and organist/keyboardist Jan Farmer Obermayer left the group. Sodoma was replaced by yet another Hell’s Devils and Komety veteran, the highly-talented soul singer Milo “Reddy” Vokurka, and Ji?í Matousek took over the organ. In the meantime, The Matadors were asked to perform as backing band for the brand-new German version of the musical Hair in Munich, West Germany. In October, guitarist Radim Hladík quit as well, later forming The Blue Effect with Misík a few weeks later. Bezloja, Black, Reddy and Matousek were then joined by the young guitarist Petr Netopil, with whom they played the last few gigs in Prague, before the band relocated to Munich for good. Eventually, the nucleus of the band transformed into the legendary international prog rock combo Emergency, still including Bezloja, Reddy, Matousek and Berka, as well as a certain young drummer named Udo Lindenberg.
MR 7230EP CICATRIZ: Escupe 7″ (MR 7230EP) 8.50
At last, available on 7″ format, the three tracks that this band from Vitoria, Spain included on the 1986 compilation they shared with Kortatu, Jo Ta Kie, and others. Visceral and furious punk that comes naturally from the guts of these four guys, who formed the band as a therapy exercise at a detox center. There’s no doubt that these three tracks make up, arguably, one of the best punk singles ever released. Includes insert.
MR 7231EP CUSTOMS, THE: Long Gone 7″ (MR 7231EP) 8.50
Reissue of The Customs single released in 1980 on the Shake It label, with two examples of the best of Boston rock & roll, in the best tradition of that city’s bands such as Real Kids, DMZ or Nervous Eaters. On guitar is Peter Greenberg (DMZ, Lyres). “Long Gone” appeared on one of the first (and best) punk bootlegs, Bloodstains Across The Midwest.
MR 7232EP NATIVOS, THE: She Belongs To Me 7″ (MR 7232EP) 8.50
The Nativos were a supergroup from Madrid formed around 1985 by two musicians with a shared vision to start a garage rock band. For that purpose, Esteban Hirschfeld (Uruguayan and original member of Los Mockers) and Jimmy García (from Valladolid’s Fallen Idols) didn’t hesitate to enroll members of other established bands such as Ciudad Jardín, Pistone and even Los Enemigos. These four tracks (one original and three covers) were released as a maxi-single on the Twins label in 1986.
PERM 012LP UMBERTO: From The Grave… LP (PERM 012LP) 15.00
2011 repress. “Expo ’70 bass/synth player Matt Hill has gone solo. His debut LP under the Umberto moniker is an analog masterpiece heavily influenced by the classic film score work of Goblin, except arguably better. From the moment you drop the needle, you’ll be transported to Italy as an extra in a vintage horror flick directed by Dario Argento. This is some of the most accessible, yet totally authentic sounding music of the ‘giallo’ genre we’ve ever heard. It was previously only available as a hyper limited edition CD-R and cassette tape via Sonic Meditations.”
PLAIN 159LP SPIRITUALIZED: Lazer Guided Melodies 2LP (PLAIN 159LP) 27.00
“The Jason Pierce-led space-rock group, Spiritualized, will take you on a voyage into the unknown with this aptly-titled 1992 debut. All the sounds on Lazer Guided Melodies are perfectly placed in space, making it a masterpiece of economy and expression. It is authentically emotional as silence and simplicity are as crucial as the more complex instrumentation. An album to be heard with a set of headphones in a dark room and, above all, in its entirety. A pinnacle of the dream pop albums genre: essential!” 180 gram vinyl with full-color printed innersleeves.
“1995’s Pure Phase was Spiritualized’s eagerly awaited second album. Pure Phase showcases both a more symphonic sound as well as a dreamy rock grandeur. Think of Brian Wilson and La Monte Young recording together and you’ll have a good idea of the Spiritualized totality. Pure Phase is both beautiful and innovative; more than just psychedelic, it’s celestial.” 180 gram vinyl with printed innersleeves.
PLAIN 163LP SPARKLEHORSE: Vivadixiesubmarinetransmissionplot LP + 7″ (PLAIN 163LP) 17.00
“Singer/songwriter/guitarist Mark Linkous began working as Sparklehorse in 1995 and, after a demo made its way to the offices of Capitol Records, he got signed to the label. Sparklehorse’s 1996 acclaimed debut, Vivadixiesubmarinetransmissionplot, is full of sad, beautiful, weird moments of spacey rural folk-rock and contains the alternative radio hit ‘Someday I Will Treat You Good’. Dreamy arrangements, distorted vocals, and slivers of feedback add to Sparklehorse’s down-to-earth melancholy and made Vivadixiesubmarinetransmissionplot spontaneous, happy, sad, noisy, and quiet; like moments in life. This reissue comes with a bonus 7″ containing ‘Waiting For Nothing’ (ghost song in the original vinyl version) and ‘Happy Place’ plus download card of the entire album.” 180 gram vinyl.
PLAIN 164LP SPARKLEHORSE: Good Morning Spider LP (PLAIN 164LP) 17.00
“Released in 1998 after Mark Linkous’ accidental, near-fatal drug reaction and subsequent 12-week stay in a London hospital, Good Morning Spider lingers on the gray area between dreaming and waking, and life and death. Good Morning Spider, surely heavily influenced by Americana, blends darkness and childlike innocence, classic songwriting and sonic experimentation. This second album is a result of Linkous’ free-flowing, uncompromising honesty. Includes download card of the entire album.” 180 gram vinyl.
CAR 7520LP MISFITS: Static Age LP (CAR 7520LP) 12.50
Recorded in 1978, although not released until 1997. Includes “Bullet,” originally released as a single in 1978.
CAROL 7515LP MISFITS: Collection II LP (CAROL 7515LP) 12.50
“Collection II features 20 tracks including all of Earth A.D., early singles and some cuts by Danzig along with Eerie Von.” 1995 release.
PL9 002LP MISFITS: Earth A.D./Wolfs Blood LP (PL9 002LP) 12.50
“The last Misfits album with Danzig on board, Earth A.D/Wolfs Blood is a seminal Misfits release and features nine tracks.” Originally released in 1983. These Misfits records still sound heavier than a backstage punch to Danzig’s face.
PL9 003EP MISFITS: Die, Die My Darling 12″ (PL9 003EP) 7.00
Reissue of the 1984 single, includes the title track, “We Bite” and “Mommy, Can I Go Out And Kill Tonight?”
PL9 006LP MISFITS: Legacy Of Brutality LP (PL9 006LP) 12.50
13 track collection of early material, circa 1978. Originally released in 1985.
PL9 008LP MISFITS: Evilive LP (PL9 008LP) 12.50
1987 live album. Raw, scummy Danzig-fronted Misfits, featuring guest vocals from Henry Rollins on closing track “We Are 138.””You really should be doing music because you love playing music. And if you’re going out on the road, you’ve got to enjoy playing live. If you don’t like playing live, you shouldn’t be on the road, because people are paying to see you and they don’t want you up there all bored. That’s bullshit.” — Glenn Danzig
PL9 009LP MISFITS: Misfits LP (PL9 009LP) 12.50
20 track compilation, released in 1986. Includes tracks from Legacy Of Brutality and Earth A.D./Wolfs Blood, plus alternate takes from the Horror Business, 3 Hits From Hell/12 Hits From Hell and Walk Among Us sessions.
PFR 116EP APPEL, ROLAND: Fleurs Du Mal 12″ (PFR 116EP) 12.00
Roland Appel is the well-loved and respected producer and DJ, based in Southern Germany. Quickly recognized for his work for Sonar Kollektiv or Compost, this is his debut for Poker Flat Recordings. “Fleurs Du Mal” is a classically-themed masterpiece. Warm, phasing synth energies build before introducing cosmic choirs and bell melodies that blur the boundaries between mysterious cult soundtrack and club bomb! “Black Leather” is a true slow-burning, post-tech-house killer in its own right — the ideal futuristic backdrop.
“Careful compositions converse with focused improvisations under the precise direction of Steve MacLean who, on this CD, after various excursions that took him through experimental works for piano, interactive insect/guitar compositions and pure electronics, returns to a performing band and a journey through complex polyrhythmic compositions imaginatively intercut with careful, atmospheric inventions, for guitar, bass, keyboard, percussion and various objects. There is a quiet rigor, almost a formality, about this release, quite unusual in modern electric music – the compositions, which follow the remarkable parallel-metre style pioneered in his under-rated classic Opposite of War, are almost understated and, throughout, overproduction is strenuously avoided so that the recordings can concentrate on the human scale of the performances. The improvisations, too, don’t strive for effect, the players concerning themselves exclusively with structure and content. In other words, this is a solid, almost old-fashioned, unashamedly musical, record that celebrates distinctive compositions, high performance values and imaginative playing.”
FIT 050CD EDWARDS, TERRY: Clichés CD (FIT 050CD) 16.50
“Twelve covers in homage to Alex Chilton, from John Peel’s signature tune to ‘Lulu’s Back in Town’ via Bach & an unhinged version of James Brown’s ‘I’ll Go Crazy’ Terry Edwards, left-field session musician to the great & the good (including Robyn Hitchcock, Jerry Dammers, Siouxsie, The Duke Spirit and Madness – about whom he has also had a book published), releases his first full album of solo material for 5 years. Although he’s well-known for cover versions, having previously released Jesus & Mary Chain songs as trumpet-led instrumentals, The Fall in a ska style and Miles Davis tunes as speed-metal snapshots, Clichés is something of a departure. The album is respectfully dedicated to Alex Chilton who recorded a covers album with the same title in 1993. Using Chilton’s release as a blueprint, Edwards selected songs that had a personal resonance (e.g. John Peel’s signature tune, ‘Pickin’ the Blues’), wallowed in the beauty of heartache (‘You Won’t See Me,’ ‘The Very Thought of You’) or simply gave him a lust for life (the Mary Chain’s ‘I Love Rock & Roll’).”
SCOB 023EP HENRY & LOUIS (FEAT. PACEY): Everyman Different (Mungo’s Hi Fi Rmx) 12″ (SCOB 023EP) 11.00
This is Mungo’s Hi Fi remixing of “Everyman Does His Thing A Little Way Different” by Henry And Louis Meets Blue And Red (aka RSD). The vocal is by Pacey, a reworking of Errol Dunkley’s original. Mungo’s Hi Fi have taken the vocal and crafted a new riddim track with a heavyweight production and a formidable bass line. Flip over the 180g heavyweight 12″ to find one of the most interesting dubs to come out of the Mungo’s Hi Fi studio yet.
SRNDS 001EP RODRIGUEZ, ROBERTO: Manolesque EP 12″ (SRNDS 001EP) 12.00
Roberto Rodriguez aka Manolo has re-shaped his funk-infected old-school vibe and helped house revive without forgetting from where it came from. It is his pertinent mix of soulful, funky & functional dancefloor productions that have tastemakers worldwide convinced, such as Compost, 2020Vision, Freerange and more, plus his remixes for acts like Yoko Ono, Tigerstripes, Jay Shepheard, etc. Now the time has come for his own platform called Serenades, featuring the Manolesque EP for those who like it deep, down & funky!
“While having been formed years apart, in disparate locations and under different circumstances, the worlds of Mamiffer and House of Low Culture have drawn increasingly closer over time. Now sharing core members (Faith Coloccia and Aaron Turner), physical proximity (Seattle-area in Washington state) and intimate creative information, it seems only fitting that the two should be paired together for a split album. Originally released in a limited run of CDs by Utech Records, the couple behind the aforementioned groups have further conspired to produce the album on the vinyl format via their own SIGE Records imprint.” This formation of House Of Low Culture features Z’EV on percussion and is mastered by James Plotkin. Housed in a gorgeous sleeve; hand-numbered edition of 500 copies.
SIMPLE 1149LP SAUL & TAM COOPER, WILL: Hi-Lo/Room In Your Heart 2×12″ (SIMPLE 1149LP) 25.50
Founder, A&R and label manager Will Saul and his long-term production partner Tam Cooper team up for a limited edition gatefold vinyl double pack EP, featuring 4 new tracks from Will & Tam with remixes from Wolf + Lamb & Slow Hands, Sideshow and Art Department. Artwork by Michael Place of Build who was also one of the founders of Designers Republic who have produced all the Warp artwork from day one. Available in a very limited run of 500 copies.
SOA 008EP SHED: Well Done My Son 12″ (SOA 008EP) 12.00
“2011 repress of very classic Shed.” Originally released in 2006.
STAIN 006EP SCIENCE/VON D: Motion Tween EP 12″ (STAIN 006EP) 11.00
Belgium’s Stainage crew present their third vinyl release, this time from Antwerp’s Science aka Crypt and Scypus. This undiscovered gem of a dubstep production duo has been causing much damage on dancefloors with their original tracks and DJ sets. On the menu are big, bashy beats, ravey stab hooks and a rolling deep bass that can cause earthquakes. Flip it, and Von D is on the remix, stirring up even more bass filth with a contrasting sheen of vocal soul.
SVT 056EP BRUCH & JUNIOR: Runway To Kenia 12″ (SVT 056EP) 12.00
Bruch & Junior present their first vinyl EP on Stil vor Talent — four tracks that float between house and techno. “Runway To Kenia” is a deeper tech-house tune built on various samples, “Whatcha Want” is an oldskool piece of house, including that classic 909 open hi-hat, “Seat No Fastbelts” is staccato-house at its best, and “Jazzbians,” a very musical house track, includes a superb piano melody, lots of percussion and a very happy vocal snippet.
SUBSTA 004EP FUSED FORCES: K-Hole/Who U Dealing With 12″ (SUBSTA 004EP) 9.50
Fused Forces operate partially in the warehouse rave world, but are equally immersed in grime, as shown in the no-nonsense dryness and lack of ceremony of their productions. The hollow bass and dank subterranean feel of the more syncopated “K-Hole,” and the way the glooping sounds lurch forward with a dead-eyed march and mirthless laugh in “Who U Dealing With,” both remind that the desolation and dread in both Wiley and Loefah productions come from quite similar places.
SBMCW 5503CD PERHACS, LINDA: Parallelograms CD (SBMCW 5503CD) 18.00
2011 repress. Deluxe Sunbeam Masters edition, presented in a mini-LP gatefold sleeve. Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as “visual music.” First released in 1970, Parallelograms by California’s Linda Perhacs has gone on to become one of the most legendary and well-loved recordings of its time, assuredly sitting alongside Vashti Bunyan’s Just Another Diamond Day as a lost folk gem that should never have been cast aside. Summoning the shimmering sunlight of Topanga Canyon, and resonating with the same strength-in-fragility as Joni Mitchell, it’s presented here with the full collaboration of its enigmatic creator, and features her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take), making it the most definitive edition of this timeless classic ever released.
SFR 027EP JONA: Air EP 12″ (SFR 027EP) 12.00
Hailing from Belgium, Jona incorporates a wide range of styles into his work, without confining himself to one particular sound. Having released on labels such as Get Physical & Planet E, he brings his own unique flare to this EP. “Air” nudges the listener along with dark, punchy analog bass beats and subtle, breezy melodies. “Fiction” is in a different vein, with haunting orchestral strings and a high-energy, acid-tinged bass line.
TART 015EP BRANDT BRAUER FRICK: Corky 12″ (TART 015EP) 12.00
Corky is the third EP from Brandt Brauer Frick on Tartelet Records and features a remix from Tartelet’s own James Braun. Let yourself be seduced by the track’s panoramic echoes and pumping bass drum. Hop aboard an odyssey that leads Brandt Brauer Frick through the technoid city of Detroit. It’s a fine ride indeed.
TEC 046LP SCIENTIST: Scientist Launches Dubstep Into Outer Space… 2LP (TEC 046LP) 20.00
…The Scientist Mixes. Tectonic’s most ambitious project to date, in which the influence of dub comes full circle, Scientist Launches Dubstep Into Outer Space: The Scientist Mixes sees legendary dub engineer Scientist version 12 exclusive and unreleased dubstep rhythms from the scene’s top producers, including Kode9, Shackleton, Pinch and Mala. It’s a vital and unprecedented move for dubstep; one year in the making, uniting roots and futurism in visionary style. In archetypal fashion, Scientist puts decades of tactile, hands-on experience to work, deftly transforming the killer originals — many composed specifically for this project — into living, breathing dub music with his most sacred of black arts. The effect is most radical when he reviews the ultra-modern surfaces of Guido’s “Korg Back” or Pinch and Emika’s prescient stepper “2012,” realigning the dance’s depth perception with the skill of an electro-acoustic mastermind. No less, when working with vocalists such as Dokkebi Q’s Hitomi and poet Roger Robinson on King Midas Sound’s “U” or the dread vibes of Spaceape on Kode9’s “Abeng,” he enhances their duppy potential tenfold. Perhaps most spooky of all is his version of Shackleton’s “Hackney Marshes,” morphing the original’s nyabinghi-like percussion into a subtly spiritual and psychoactive slab of riddim minimalism. However, for many, the highlights will be the dreadnaught overhauls of Mala DMZ’s bass-bin punishing “City Cycle,” and Loefah & Sgt. Pokes’ “Dog Money,” respectively, realizing many dub-fiend’s most feverish dreams in ultra-heavyweight fashion. Add to these the energetic Afro-house roll of Jack Sparrow, RSD’s cultured roots, ominous cone-testing from Armour (aka Roly Vex’d), Distance’s swelling atmospheres, and Cyrus Random Trio’s modernist update of broken-beats, and the result is a session that does as much to survey the contemporary map of bass ordnance as it does to provide a fertile source text for Scientist’s first new studio project in the thick end of ten years. Creating an optimized, tactile experience with emphasis on physical bass weight and immersive psychoacoustics is an aesthetic clearly shared by the original Jamaican engineers and the vanguard of contemporary dubstep. Available on vinyl as a strictly limited gatefold 2LP set of bespoke dubs.
EOAE 111EP END OF ALL EXISTENCE, THE: The Final Hours 12″ (EOAE 111EP) 14.00
“Droning cinematic ambient techno.”
THR 257CD ARBOURETUM: The Gathering CD (THR 257CD) 14.00
“The Gathering is the fourth album from the Baltimore band Arbouretum, led by singer, guitarist and lyricist Dave Heumann with bassist Corey Allender. Heumann’s lyrics employ elaborate and allegorical imagery, borrowing themes from Jung and Bowles to explore the depths of the mind. He and Allender trade long, expressive instrumental passages to explore the outer reaches of sonic space. On The Gathering, new drummer Buck Carey and the keyboards and percussion of Matthew Pierce open Arbouretum’s sound further, giving Heumann’s guitar explorations time and space to fully develop.”
THR 257LP ARBOURETUM: The Gathering LP (THR 257LP) 15.00
LP version, with insert.
THR 259LP RIZZO, RICK AND TARA KEY: Double Star LP (THR 259LP) 15.00
“Just ten years ago, Rick Rizzo and Tara Key put the finishing touches on their Thrill Jockey debut, Dark Edson Tiger, did a few live shows including All Tomorrow’s Parties at Camber Sands, and jubilantly declared the whole affair a rousing success, vowing to ride the tsunami swell of momentum into their next project. And now, in a Van Winkle like-daze, they are back, a new batch of instrumental collaborations ready to test the brave new decade. It would be easy to say that they simply wanted to wait out the debacle of poor government and unmitigated corporate greed, but truth be told, the seeds for Double Star were sown in early live New York City sessions with bassist Tim Harris not long after the Dark Edson dust had settled. These let-the-tape-roll sessions produced some of the guitar psychedelia that long-time observers might have expected from these two, including the epic tracks that now comprise ‘Noisy Attic’ as well as the genesis of ‘Interruptive Organ’.” Paste-on cover with insert.
THR 260CD SKULL DEFEKTS, THE: Peer Amid CD (THR 260CD) 14.00
“There are some bands who are content to make a record, play a few shows, and exist as a musical entity only when it’s time to make a new album, and then there are bands like The Skull Defekts who are the backbone of their musical communities. Hard at work on their numerous individual projects, constantly collaborating, releasing their own records on their own imprints, and touring incessantly, The Skull Defekts are Sweden’s answer to the States’ Sonic Youth and the Netherlands’ The Ex and one of the centerpieces of the Swedish experimental rock scene. Since their creation in 2005, The Skull Defekts have taken their base of classic rock with massive guitar riffing, and infused it with their interest in circular composition, drone, tribal music, Indian ragas, ’60s minimalism, and experimental music from numerous ages.”
THR 260LP SKULL DEFEKTS, THE: Peer Amid 2LP (THR 260LP) 19.00
2LP version.
TRA 424003CD VA: West Indies Funk CD (TRA 424003CD) 18.00
“After the overwhelmingly positive response to their previous release, Disc’o’Lypso, Trans Air Records returns with arguably their funkiest Caribbean compilation yet: West Indies Funk. The warm sounds and breezy rhythms of the islands come to life on 11 choice cuts from a selection of top talents, ranging from the Esso Trinidad Steel Band’s steel drum-infused cover of the Jackson 5’s ‘I Want You Back’ to the smooth, sweet harmonies of Wendell Stuart on ‘My World Is Empty Without You,’ to the thick bass and funky organ of ‘Cardova’ by Syd Jones & the Troubadours. Curated and compiled for maximum enjoyment, West Indies Funk is guaranteed to be a staple for your stereo. Trans Air Records is proud to present West Indies Funk with audio remastered from the original analog tapes for optimum sound quality. Packaged in a digi-pack case.”
TRA 424003LP VA: West Indies Funk 2LP (TRA 424003LP) 20.00
2LP version.
Mihalis Safras is back with another release on Trapez Ltd. produced together with Pascal Mollin. Here, they lean strongly on the techno side while still showing roots in post-Detroit and Chicago house. “Jaws” starts classically with a fat-sounding Safras beat, but introduces a crass, electronic-sounding noise, which will pull clubbers out of their bubble and throw them onto the dancefloor. “Move” starts out with static but soon reveals itself as a heavy, hypnotic clubber that works in some skillful repetition.
TSCD 010CD VA: Fallin’ Off The Reel III CD (TSCD 010CD) 16.00
“Following up the success of the first two volumes, the third entry in Truth & Soul’s Fallin’ Off the Reel series packs in 20 tracks originally pressed as limited edition 45″ singles, listed in chronological order of their release. These choice selections from the label’s expansive roster of contemporary and classic soul, funk and R&B talent features artists such as El Michels Affair, Black Velvet, Michael Leonhart, Lee Fields & the Explorers and Cosmic Force. FOTR III serves as both the ideal introduction for casual fans and a comprehensive retrospective for long-time listeners of one of the most consistently excellent and relevant labels in music today.”
VA 035EP LIVIO & ROBY: Moduri EP 12″ (VA 035EP) 12.00
Vakant presents Romanian stars Livio & Roby, the first new artists to join the label since 2008. After cutting their teeth on some of the biggest labels and world stages, Livio & Roby impart their deep, funk-laden grooves on their first record for the perfectionist House of Vakant. “Hatzumoto Song” is deeply organic yet firmly routed in tech funk, floating effortlessly across time and dimension. “Moduri” rides a classic upbeat/downbeat house rhythm while strange synths carry a smile-inducing body motivation.
MRSSS 017LP LA BANDA TRAPERA DEL RIO: La Banda Trapera Del Río LP (MRSSS 017LP) 25.00
Vinilísssimo presents the 1978 debut album by seminal Spanish rockers La Banda Trapera Del Río. “Cornellá — a satellite town on the outskirts of Barcelona, a depot for immigrants abandoned to its own rotten luck. Spain — a country that had been in the dark for 40 years, then pushed to make a quick move if it wanted to join the capitalist orbit. La Banda Trapera Del Río arrived by pure surprise within such a confused context, with devastating certainty and precise aim. Their uniqueness was their ability to naturally present a social critique of the two realities they belonged to, without any other mirror than their own reflection. ‘Nobody is nothing,’ they said, ‘we are everything.’ Their conscience was exposed to working class militance and they were musically anointed in the hard rock that was blasted in bars and discos at the time, but La Trapera possessed their own will. Arrogant, provocative, disobedient, they provided a mythical and poetic credibility to the plain character of the outskirts’ juvenile delinquent. Through their music, La Trapera forged a new archetype: the curriqui, i.e. the little thief that lives precariously, an expert in other people’s car radio cassette. With hash, a Xibeca beer and proletarian cheekiness, unafraid to speak their mind, with nothing to lose, they didn’t give the curriqui a revolutionary voice, but they gave him something to think about. La Trapera only wanted to have as much fun as possible. If they wanted to change anything, it was the collective perception of a rock scene that, in their eyes, had become complacent. In order to do that, they had their singer Morfi Grei’s shocking stage immolation, Raf Pulido’s naturalist lyrics and the inspired guitar of Tío Modes, without forgetting about the enthusiasm of their manager, Chiri, and the contacts of Carlos Carrero. The latter was one of the few receptive and independent journalists in the local press, and acted as a Svengali who, among other things, got them a contract with Belter, the Mecca of Spanish popular music, the only record label that gave them a chance, without knowing the risks they were taking. Produced by Carrero, and the origin of a stir in stuffy circles, their first single, a daring call for menstrual normalization, appeared in the same period that produced the debuts of Madrid’s Burning and Ramoncín & WC, originators of the cheli sound. Although they came out the losers out of those three bands in the commercial sense, La Trapera were winners in the legend stakes. Their first LP was released a year after it was recorded. Just 500 copies reached the record shops. When the band split up, leaving an unissued second album, that first LP remained an isolated statement which captured all the mystery they left behind. Successive generations got to know the band through the oral transmissions of the traces left by their seminal gigs. Many would see the light thanks to the countless bootleg tapes of their LP that spread around the street markets of Madrid and all over Spain. Apart from their live energy, the essence of La Trapera is preserved intact. A frantic collusion of blues rock, hard rock, prog and proto-punk, their eclecticism is still surprising, charting the path of a precocious evolution that would take shape in their best and most remembered songs. Although they reformed years later, never again would La Trapera be as immediate and universal, nor would they enjoy a more fertile balance between chemistry and skills.” –Jaime Gonzalo; 180 gram vinyl in a limited edition of 1,000 copies. Includes an insert with liner notes in Spanish and English.
WAP 314EP BIBIO: Excuses 10″ (WAP 314EP) 9.00
“The first single from Bibio’s album Mind Bokeh is ‘Excuses’. The track is a warm haze of layered sounds and clip-clop percussion, which gives way as the song is hoist upright, with Bibio’s bright vocals percolating through a cluster of rhythmical spikes. Its effects are achieved in part through Bibio’s use of the old, Surrealist technique of automatic writing — a partial switching off of the conscious mind in order to explore and liberate deeper, repressed truths. The B-side from the 10″ single is a non-album track titled ‘Old Friends’.”
WORK 012EP MOSSE, KASSEM: Workshop 12 12″ (WORK 012EP) 12.00
“Blinding killer 12″ – TIP!”
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