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EMMANUEL: Coffee Shop/Nautilus 12″ (PURE 065EP) 12.00
Emmanuel Beddewela joins 100% Pure with Coffee Shop — three tracks for the all night party hunter. Just a drop of this caffeine-inspired EP will jolt the sleep-deprived onto the dancefloor. The vocals give the heat, power breaks build the suspense and the sirens demand the urgency — but it’s the big-time beats that moooooove you! “Nautilus” is a sound journey with a mega-groove that twists across infectious melodies, circles over thick bass dubs and soars over synthy sound snippets.

100% SILK

CUTICLE: Confectioner Beats 12″ (SILK 003EP) 10.50
“Misunderstood during their time together by an Iowa City that couldn’t feel the computer-generated heart beating as one, Cuticle make the music your mind hears inside the green grates and grids of Tron. More deft than the Daft soundtrack, more dizzying than that Disney score. Side A enters the matrix with whirls and swirls as this plane of reality becomes a Cool World full of alien auto-tune and deep dance data. Side B is one long blue pill — lazer tag, Strange Days steady cams, mighty morphin’ synths n’ toys, circuit board swing, a cyber-symphonic time warp. If neon lovers glow in the dark then Cuticle can be seen radiating for miles. From the finger-less gloves of Daren Ho (Driphouse), Brendan O’Keefe (Nimby), and Jeff Witscher (Rene Hell): a three-dimensional systems preference sound show.”


MINERVA, MARIA: Noble Savage 12″ (SILK 004EP) 10.50
“Bedroom dance from a London flat where the wanker walls throb with the echo unlimited drone of a pretty pulse. Amazonian/Estonian goddess and self-professed hippy chick Maria Minerva builds the bump ‘n’ bass bricks for a real Bloc Party. The sounds of Side A play like a simpler-times-ode to the early 90s with touches of tribal trance, jungle-not-jungle hacker boy beats, layers upon layers of loopy lyric love, and the bubble-blowing atmospheric long walks we used to take down dark PM Dawn hallways. But the hit here is Side B’s ‘Disko Bliss,’ where Maria’s brand of coke-coke-a-choo disco could chill out even the hottest of Donna’s summers while the SILK vinyl goes sizzle and crack. If Blondie was weirder, if Giorgio Moroder traded pasta marinara for boiled potatoes, if Madonna’s post-rave bedtime stories actually went deeper and deeper, you’d have Ms. Minerva. But would she have you?”

200 001CD

VA: 200 – The Mix Compilation CD (200 001CD) 15.50
After 2 years and 10 releases, 200 Records releases their first CD — a mix compilation with 11 tracks, mixed and compiled by the label owners Kai Sasse and Dirk Middeldorf. It contains the first 200 release “Libido 200” by RaucherEcke, Sarah Goldfarb’s “Breaking Down Remix,” the summer hits “Sun Wanted” by Soukie & Windish and “Careless” by Mueller & Mitch, Henson’s great remix of BlackIsBeautiful’s “Pergamon” and Marcel Janovsky’s perfect rework of RaucherEcke’s “Chordhose.” The remixes of BlackIsBeautiful’s “Purpur” by Einmusik and SCSI-9 as well as the originals are also included. Till Krüger’s smasher “Wumme” and “Wrong Shirt” appear on a mix CD for the second time after Sven Väth had chosen them for his In The Mix: The Sound Of The Eleventh Season CD (CORMIX 032LTD). Additionally, the CD includes a download sticker to provide all customers with free full-length original tracks plus a single-file version of the mix.


ISHU, DEN: The Poem 12″ (AREA 027EP) 12.00
German producer Den Ishu has previously delivered the goods on labels such as Loco Dice’s Desolat and Gregor Tresher’s Break New Soil, as well as having his track with Arado, “I Know,” featured on 2000 And One’s VOLTT (VOLTT 002CD) mix for 100% Pure. “The Poem” gets the party started with old school percussion patterns meshed with dance-inducing vocals. “Lifewave” offers a deliciously demanding groove with synth wobbles and vocal stabs.

BD 175CD

PARIS SUIT YOURSELF: My Main Shitstain CD (BD 175CD) 15.50
“From Luvinsky’s incredible voice, which moves from angry or ecstatic screams to fragile crooning in both English and French, from Marie Boye’s rock-solid bass and deranged backing vox, through Victor Tricard’s all-out guitar riffology and effortless way with a Korg, to Joe Heffernan’s pedal-to-the-metal polyrhythmic drumming, this is a record you won’t forget in a hurry. It’s also packed with enough hooks for a Justin Timberlake record (but with none of the cynicism).”


MCPHEE, DEAN: Brown Bear CD (PTYT 046CD) 12.00
West Yorkshire’s Dean McPhee self-released on his own Hood Faire label a limited 12″ in 2009. Blast First Petite picked up rights for this CD re-release after hearing a track on WFMU New York, and Dean has gone on to record a new album for BFP. John Peel’s son, Tom Ravenscroft gave the 12″ an honorable mention in a round-up of his current favorite music. In New York, a store reported that it seems every time they put the record on they sell one, so immediate is the “McPhee Effect.” Reviews of the 12″: Brainwashed: “This is a very promising and assured first release, as McPhee displays a rare combination of technical skill, simplicity, and subtle unpredictability.” Boomkat: “Dean McPhee offers a more complete picture of his talents as a solo guitarist on this new 12″ for the Hood Faire label. Playing clean electric guitar without too much in the way of reverb, McPhee plucks his way through some lovely instrumentals here, perhaps bringing to mind John Fahey’s more melodic Table Of The Elements output or certain Six Organs Of Admittance recordings. Best of the bunch is the B-side-filling title track which makes good use of delay/loop pedals and stirs up a wonderfully dense atmospheric backdrop after the more skeletal, naturalistic sounds of the A-side. Recommended.” Foxy Digitalis: “Arguably the best solo guitar record in the past few years. 10/10.”

CC 009CD

JAAR, NICOLAS: Space Is Only Noise CD (CC 009CD) 17.00
Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Having previously-contributed to the catalog twice with his Marks And Angels EP, Circus Company is proud to present his first foray into the realm of the long player. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar’s potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on “être,” but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with “Too Many Kids Finding Rain In The Dust,” Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on “Keep Me There,” Jaar’s voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. “How can you talk about a landscape without showing the sky and the earth?” a voice asks, translating from the French on “être.” So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast — the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music’s most exciting producers.


O’BRIEN, MATT: Starting Over EP 12″ (CURLE 032EP) 12.00
Matt O’Brien first came to prominence in 2005 with his own London-based label Offkey Industries, releasing a series of 12 inches supported by the likes of Ricardo Villalobos, Damian Lazarus, Luciano, Roman Flügel and Richie Hawtin. Additionally, his track “Serotone” would later get released on Rekids with a remix by Radio Slave. This is his first full EP contribution for Curle, following his remixes for Efdemin, Donato Dozzy & Peter Van Hosen.


LEROCK, SID: Miso Honey EP 12″ (DFRG 029EP) 12.00
Sid Le Rock is the new star of Defrag with 4 hot tracks only for the most sophisticated tastes. “Troubles” is a funky techno ballad with a dark voice. The remix by Pan/Tone “More Troubles” features minimal sounds and spacing effects that will lead you to a new planet. “She Smiles” is for a romantic journey and the remix by Fairmont will introduce you to the gloomier side of love.


DEHNERT, MIKE: Before Framework 12″ (DSR 085EP) 12.50
Mike Dehnert has gone from unknown talent to underground hero with his very own raw techno sound making waves on labels like his own imprint Fachwerk and now Delsin. This EP is an introduction to his album Framework (DSR 086CD/LP) — an uncompromising album made up of pure techno tracks. They go from pulsing and classic-sounding to skipping and glitchy, through greyed-out and sandy to swinging and syncopated but always with a sense of restraint and control.


DRAGOSH: Warm Up 12″ (DESOLAT 010X-EP) 12.00
2011 has arrived in a flurry of light and shadows, and with it, this release on Desolat X, the special edition series that features music for dancefloors; this time, on blue vinyl and with artwork by Florian Pohl. As a budding physicist who currently resides in Italy, Desolat is sure you’ll agree Dragosh’s work embodies the elusive hunt for dark matter within the curvature of space-time: disembodied and floating. After-dark antigravity vibes never felt so good.

DS 016CD

GROSSI, PIETRO: Musicautomatica CD (DS 016CD) 17.00
2008 deluxe CD box edition of Die Schachtel’s first vinyl release ever (2003), finally giving a wider audience the opportunity to listen to some of the most intense compositions from this visionary and uncompromising composer. Includes a 24-page booklet with notes in English and Italian, plus historic photos. Minimalist before the Minimalists, pioneer of Computer Music, founder of the Studio of Phonology of Florence, visual artist and hacker ahead of his time. This was Pietro Grossi, a larger-than-life Italian composer who questioned the concept of musical authorship and the idea of personal artistic expression: “A piece is not only a work (of art), but also one of the many ‘works’ one can freely transform: everything is temporary, everything can change at any time.””Ideas are not personal anymore, they are open to every solution, everybody could use them.”


MATHIEU, STEPHAN: Radioland CD (DSART 006CD) 17.00
2009 digipack release. Radioland is Stephan Mathieu’s 5th full length studio work, following his acclaimed The Sad Mac CD from 2004. Exclusively based on real-time processed shortwave radio signals, Radioland takes the listener on a carpet ride across endless, majestic shimmering landscapes. Radioland is a mesmerizing reflection on the bubble of information that’s all around us, all the time, by one of the truly unique minds in today’s abstract digitalia. “…this was the most complete and fully-realized Mathieu recording to date, one that took his familiar methods of signal processing and applied them to a set of radio transitions for one of the most haunting pieces of grainy ambient music to emerge this year. ” — Dusted


2008 release. Composer and performer Girolamo De Simone emerged from the “new avant-garde” scene which arose in Naples in the late ’70s around his “maestro” Luciano Cilio. De Simone in fact played several parts on Cilio’s highly-acclaimed 2004 release Dell’Universo Assente. The compositions featured here are like intimate and introspective miniatures, full of melancholy and a sense of sweet decay. Blending acoustic and electronic particles, De Simone creates a fascinating osmotic process of great beauty and delicacy.


LILES, ANDREW: Mind Mangled Trip Monster CD (DPROM 078CD) 17.00
Mind Mangled Trip Monster is the first CD in Andrew Liles’ (Current 93, Nurse With Wound) ever-growing and highly collectible “Monster” series of releases. Mind Mangled Trip Monster features the amazing and ethereal vocal talents of Elisabeth Oswell. Elisabeth features throughout this album that can be best described as an unexpected musical departure for Andrew Liles. Think solar flares, autumn sunsets, stories from far away places and bad trips. This acid-tinged, otherworldly and hypnotic album has a total of nine tracks including an unlikely cover of the classic Joy Division song “Wilderness.” Housed in a super-glossy 4-panel digipack.

DC 453CD

SIX ORGANS OF ADMITTANCE: Asleep On The Floodplain CD (DC 453CD) 13.50
“Comprised of ten blissful, primarily acoustic tunes, a delicacy wafts forth from Asleep On The Floodplain, the new album by Six Organs Of Admittance. After 2009’s sonically dense Luminous Night, Chasny returned to the familiar environs of home recording to sculpt and assemble this batch of jams, freeing himself from the restrictions and deadlines studios might normally impose upon a song. Thus creating a living nest in which this material could grow and breathe, the album took longer to complete but sounds effortless — and bright with light. Much of Asleep On The Floodplain draws on imagery from Chasny’s youth, a time spent in Elk River. ‘Dawn, Running Home’ remembers sleep-overs in a friend’s tree-fort and the subsequent morning return to Ben’s own house. He wrote ‘Above a Desert I’ve Never Seen’ while bed-ridden for a week. ‘Hold But Let Go’ was meant for a film, but never used. Maintaining Six Organs’ penchant for cameos, Elisa Ambrogio Magik-ally contributes to ‘River of My Youth.’ The theopoetics of Catherine Keller resonate on ‘S/Word and Leviathan’; while Gaston Bachelard’s poetics of reverie are felt throughout the record.”

DC 453LP

SIX ORGANS OF ADMITTANCE: Asleep On The Floodplain LP (DC 453LP) 17.00
LP version.

DC 468EP

BONNIE ‘PRINCE’ BILLY & THE CAIRO GANG: Island Brothers/New Wonder 10″ (DC 468EP) 12.00
“‘Island Brothers’ b/w ‘New Wonder,’ is the new single from Bonnie ‘Prince’ Billy & The Cairo Gang. It isn’t simply a record of two great songs with stunning artwork. It isn’t merely two more songs from the fellows who put together The Wonder Show Of The World for themselves and for us. It is also a response to an event, an attempt to use music to do something good for people who need more than just great music in their lives. For this single, the songs were performed by Bonnie ‘Prince’ Billy & The Cairo Gang with Ben Boye, Van Campbell, Danny Kiely and Angel Olsen, who toured the States in the latter half of 2010 with Bonny & Cairo. Special guest Rob Mazurek (whose work brought air and light to Bonny’s Beware) solos delicate on ‘Island Brothers,’ which featues stacked harmonies from Bonny, Cairo and Angel. The careful arrangement of dynamics that marked all the songs on The Wonder Show Of The World is present on both songs, with ‘New Wonder’ more indicative of the ballad style that was explored throughout that album.”


VA: Tempo Explosion LP (DO AD070LP) 17.00
LP version. 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.


MINOTT, SUGAR: Sheriff John Brown 12″ (DO ADM095EP) 12.00
Dancehall savior of Studio One, and co-architect of Black Victory, Wackies stalwart Sugar Minott himself takes the mic. The single “Sheriff John Brown” is a driving sufferer’s cliffhanger about bent cops and going on the run. Included here also is another version and a “Brown Dub.”


ELY, BROTHER CLAUDE: Ain’t No Grave: The Life And Legacy Of Brother Claude Ely BOOK/CD (DTD 015CD) 43.50
Recorded interviews of over 1,000 people in the Appalachian Mountains lay the foundation for this 360-page biography detailing the life of Brother Claude Ely, the religious singer-songwriter and Pentecostal-Holiness preacher from southwestern Virginia. Coined as the King Recording label’s “Gospel Ranger,” Brother Claude Ely was the first Pentecostal Holiness recording artist to be signed to a major recording label for strictly sacred music. Receiving notoriety for his song, “There Ain’t No Grave (Gonna Hold My Body Down),” Ely’s musical style and spiritual influence still exist today among both secular and sacred music enthusiasts. Many Hollywood entertainers and musical artists have acknowledged their admiration and fascination for Brother Claude Ely’s music and ministry. Artists influenced by Brother Claude Ely’s music include Elvis Presley, Johnny Cash and others. Robert Duvall’s self-produced movie entitled The Apostle also integrated Brother Claude Ely’s music on its soundtrack. Ely pastored various churches in Kentucky, Virginia and the Cincinnati, Ohio area and hosted a radio program entitled “The Gospel Ranger Show” which aired across the southeastern portion of the United States. Many of Ely’s religious followers and numerous admirers still exist today in the Appalachian Mountains, proving that the country preacher’s legacy remains. While visiting a London record shop in 2001, Macel Ely II heard a familiar voice playing over the speakers. He learned that it was indeed the powerful chanting of his great-uncle and was amazed at the magnitude of the impact his music still maintained on people worldwide. He then embarked on what would become a 9-year journey to discover the true story of Brother Claude Ely as well as to investigate his legacy. Brother Claude Ely passed along a musical and spiritual influence which can still be heard today like a mountain echo in those long, winding hollows and impoverished coal fields. Authored by Brother Claude Ely’s nephew, Macel Ely II, the biography is supplemented by 290 sepia photographs along with a CD featuring rare and electrifying audio recordings of Pentecostal worship services in the mountains of Kentucky and Virginia accompanied by a fiery sermon preached by Brother Claude Ely himself. 360-page hardcover book with dust jacket in shrinkwrap — CD stored in back of book. Book measurements: 9.5 x 7 inches and 1.25 inches thick.


FUZZHEAD: El Saturn LP (FYPL 011LP) 13.50
Subtitled: An Entirely Subjective Visit To The Sun Ra Musical Omniverse. 1995 second LP by this Kent, Ohio psych collective, on which they attempt to collapse the universe-as-known-by-Sun-Ra into a shape that will fit neatly into a two car garage. It is a bravura performance, paying ecstatic tribute to the Man from Saturn, and also creating an amazing fever acid swamp of sound. Known in academic circles as volume 7 in the esteemed Center Of The Ass Run series. Housed in a gatefold sleeve with photos from the BYG archive. Includes insert.

R1 60113LP

STEEL PULSE: True Democracy LP (R1 60113LP) 13.00
“From rasta politics to party songs — a signature work from one of Britain’s greatest reggae bands.” Rhino reissue, originally released in 1982.

R1 60315LP

STEEL PULSE: Earth Crisis LP (R1 60315LP) 13.00
“Socially conscious lyrics, with powerful reggae rhythms, in a landmark album. Includes ‘Wild Goose Chase.'” Rhino reissue, originally released in 1984.


CODES IN THE CLOUDS: As The Spirit Wanes CD (ERATP 027CD) 15.50
This is the highly-anticipated second studio album by Codes In The Clouds. The quintet of Ciaran Morahan, Stephen Peeling, Rob Smith, Jack Major and Joe Power hail from Dartford, England — a town not known for much besides giving birth to The Rolling Stones. Since 2007, they have dedicated themselves to producing heartfelt music to rival their peers and firmly place CITC as “ones to watch” in a vastly growing instrumental rock scene. Codes In The Clouds weave guitar melodies that have an alluring and versatile combination of qualities: melancholic yet uplifting, polished yet unhinged, delicate yet powerful. Through relentless touring and determination, this young band has steadily gained recognition since signing to Erased Tapes. The skills of one particular entrant, Brighton-based producer and musician Guy Andrews (Iambic), impressed the band so much that they invited him to work on this record. While from the outside, last year looked rosy for Codes In The Clouds with a remix album release, successful tours and festival slots, it’s also been a difficult year behind the scenes. Yet personal loss has proven a collective driving force, bringing the band closer as a group and shaping their surprisingly optimistic second offering. Co-produced by Erased Tapes initiator Robert Raths and label mate Ryan West, then mastered by Nils Frahm at his studio in Berlin, As The Spirit Wanes could almost be described as a family affair. Even the artwork was inspired by the band’s time in Iceland, performing as part of the Erased Tapes label night at Iceland Airwaves 2010. Most importantly, it’s all about songs with stunning melodies and razor-sharp hooks. From the Beach Boys pop appeal of “Look Back, Look Up” to the euphoric “Washington,” down to the emotionally-charged two-minute hymn “If I’d Have Known This Was The Last,” Codes In The Clouds embody their genre in its most rewarding form.

ESK 504084

SANTANA, ILYA: Transborder 12″ (ESK 504084) 12.00
Ilya Santana has previously released on labels such as Balihu, Tirk, Permanent Vacation and Gomma, and remixed artists like Human League, The Phenomenal Handclap Band, Lindstrøm and more. After Burning Jupiter and Erin, his first releases on Eskimo that were supported by everyone from Agoria to Kenny Hawkes to the usual suspects such as Justus Köhncke, Rub ‘N’ Tug and Pete Herbert, here is the Transborder EP, including amazing remixes by Minilogue and Letherette.


EPIDAURUS: Earthly Paradise LP (GOD 001LP) 31.00
“Symphonic rock at its best. With lots of Mellotron, keyboards, and a good female singer. From the master tapes. A bestseller. With large-format 4-page insert. Limited 1000 hand-numbered LPs.”


KALACAKRA: Crawling To Lhasa LP (GOD 002LP) 31.00
“A psychedelic jewel from Duisburg. The first legitimate LP reissue. Comes in deluxe gatefold cover. With (large-format) four-page insert. Strictly limited to 1000 hand-numbered LPs.””Their music combined various folk and Eastern influences, slightly hinting at the Third Ear Band and Popol Vuh, but closest to Clark-Hutchinson on their album A=MH2. Kalacakra’s blend of mantras, blues, folk and stoned psychedelia gained Crawling To Lhasa a well deserved curiosity value, yet they were an altogether more eclectic and strange band than any of their possible mentors.” –The Crack In The Cosmic Egg


SHIVER, THE: Walpurgis LP (GOD 003LP) 31.00
“Psychedelia and blues-rock from Switzerland. With colour four-page large-format insert. Gatefold cover with great artwork by H. R. Giger. Strictly limited to 1000 hand-numbered LPs.”


VON OSWALD TRIO, MORITZ: Horizontal Structures 2LP (HJR 054LP) 20.00
Gatefold 2LP version. This is the third album by The Moritz von Oswald Trio, comprised of members Moritz von Oswald (Basic Channel, Rhythm & Sound), Max Loderbauer (NSI, Sun Electric), and Sasu Ripatti (Vladislav Delay, Luomo). This time, the album is enriched and expanded by guitar contributions from Paul St. Hilaire (also known as Tikiman), and double bass courtesy of Marc Muellbauer (via ECM). Horizontal Structures is palpably a more open, more expressive album than the previous studio recording, Vertical Ascent. There is more contrast, more light and shade. St. Hilaire and Muellbauer add fresh drama and swing to the intimate tonal and rhythmic interactions of the core grouping. The coherence of the five-piece is remarkable; the boundary between acoustic and electronic undone. The group’s evolution is firmly signaled in the opener, “Structure 1.” There’s a lush, romantic quality to the playing and arrangement that has not been heard before: the guitar licks have a bluesy lilt, the bass imparts melody as well as physical presence, the synth sequences are more painterly, looser somehow, and Ripatti’s percussion roams feelingly. “Structure 2” is like ’70s spy-flick jazz or groove-heavy Krautrock stripped to its barest essence, Loderbauer and von Oswald’s electronics glistening in a sticky cobweb of reverb and delay. The languidly stepping “Structure 3” faintly recalls von Oswald’s work with Mark Ernestus as Rhythm & Sound, with St. Hilaire’s chords hanging thick above bone-dry drum machine drift. Lastly, “Structure 4,” the track structurally closest to techno, is pervaded by a sense of mischief, with Muellbauer’s strings — plucked, bowed, scraped — coming to the fore. For all its complexity, this is also a very playful album, and the Trio’s increased confidence and empathy as improvisers allow them to indulge flights of percussive fancy, sudden about-turns, and vectors into the unknown. Horizontal Structures sounds, above all else, free.


HOWARD, RICK: Do What You Have To Do 12″ (HHYR 013EP) 12.50
Tevo Howard joins up with his father again to deliver another classic Chicago house record. It’s another must-have from the Howard camp. This is as good as house gets. Simple as that. Get it!


ZARATE, MORGAN: Hookid 12″ (HDB 044EP) 12.50
“Morgan Zarate is best known for pushing R&B and hip hop into new spaces, taking influences from the US and UK and creating raw, emotional and psychedelic beats. On this first EP for Hyperdub, his production steps up in tempo, and the influence on his music of grime and dubstep shines through.”


TERROR DANJAH: Leave Me Alone (Undeniable EP 4) 12″ (HDB 048EP) 12.50
“The fourth and final EP taken from Terror Danjah’s Undeniable CD opens with the amazing ‘Leave Me Alone’ featuring Terror’s old vocal spar Bruza. This time it’s different though – instead of his usual cockney mateyness, Bruza’s reflecting on his bad mood. ‘All I Wanna Do’ is the album’s densest track, featuring East End singer / songwriter Lauren Mason, who complements Terror’s moody music with a forlorn and angry vocal about a break-up, Terror editing her lines into strange rhythmic shapes which rub against the subtle trap-doors and fills of his accompaniment.”


SHINEDOE: Bring It On 12″ (INTAC 030EP) 12.00
Shinedoe brings it on with two tracks filled with dancefloor attitude. The title track is an exhilarating and edgy floor-filler packed with tribal rhythms that create bounce, while the padded percussive melodies charm. All masterfully meshed with distant space warps, low bass grumbles, and a vocal sample to bring the suspense (and the clubbers) to the dancefloor. The Groove Version meddles with the melody to take you to the groovier side of dancefloor life.


Harvey is back with the third and final installment of his Locussolus adventure before his album release. “I Want It” tells the story of midsummer heat that builds into a cacophony of phuture discostep tension and shuddering, dubbed-out synths. “Next To You” finds the Disco Administrator in a slinky mood, with Harvey’s crooning bedside manner competing with sultry female vocals. This is liquid funk/nocturnal vibes for lovers, Harvey-style.


VA: Katapult Festival Compilation CD (KARAT 007CD) 17.00
The Katapult Festival compilation comes after the massive night the Karat crew organized in early October, 2010 in Paris. Eight of the ten tracks are unreleased and made especially for this project. You will find such famous producers as Isolée, Trus’me, Portable, Dandy Jack, Skudge, Philippe Cam, Linkwood, and promising talents such as MZKBX, Dolibox and Sonja Moonear. Expect all kinds of advanced electronic music, from disco to techno.


XASTHUR: Portal Of Sorrow 2LP (KEM 119LP) 20.00
“Hail the return — and the demise — of Xasthur, one of the grimmest and most important artists in contemporary American Black Metal. Portal of Sorrow is his final work under the title, and a more fitting title could not be applied, as Xasthur grinds the dark and miserable story to a close in truly regal, unholy fashion. Joined on vocals by Marissa Nadler, the sulfuric scald of Xasthur’s guitar is tempered with thoughtful, deep-hued arrangements that sound as much a part of cinematic history (‘Broken Glass Christening’ gives a nod to Hitchcock’s favored composer, Bernard Herrmann, in more than the obvious ways) as it does a relevant and resolute piece of metal history. Forlorn, decrepit, and vile, the music on Portal of Sorrow lapses into dark ambient shudder, the bone chill of Gothic splendor, and the impure carnival of neo-folk exhibitionism. A throne of ribcages smashed in petulant defiance, this final act stands as Xasthur’s ultimate statement, filled with virulent hatred and disgust and rendered in the most exquisite of ways, a conundrum that slowly dilates into a remarkable piece of music that transcends its genre. This is the first time this landmark record has been available on vinyl.” Gatefold sleeve; numbered edition of 2000.


DANAVA/EARTHLESS/LECHEROUS GAZE: Danava/Earthless/Lecherous Gaze LP (KEM 122LP) 17.00
“Some of you have learned the hard way at smoke shops that you don’t call them ‘bongs’ in the store; the preferred nomenclature is ‘water pipes.’ Likewise, record retailers around the country are going to need to find a new word to describe the music contained on this monstrous ménage a trois, because it sure as hell surpasses the concept of a ‘record.’ Danava returns for the first time since their stunning album UnonoU with ‘The Illusion Crawls,’ in their patented 12-bar progressive metal stance, a bit heavier than in the past but with good reason. Earthless is one on a very short list of modern-day hard rock trios that can hold its own with the bands that played at the genesis of metal in the early ’70s. Raging guitar, thunderous bass and skull-splitting drums provide a massive headrush in their offering, entitled ‘Demon Lady.’ Finally, newcomers Lecherous Gaze shine like a chrome-coated naked lady mudflap on ‘Get You Some,’ a sleazy and intrepid call to all the party dudes and lusty women out there. Buy a copy before it makes the FDA schedule for controlled substances in 2011.” Hand-numbered edition of 750.


ELECTRIC VOYAGE: Flight Of No Return 7″ (KEM 123EP) 5.00
“Archival NWOBHM sides from London circa 1979, when it meant something more to play glammy, intense metal because the world was just catching on, and the genre hadn’t been done to death. The fellows of Electric Voyage were clearly onto something — ‘Flight of No Return’ has the reckless intensity and musical chops reminiscent of something you’d find in one of those early Rush albums fronted by Ozzy that only exist in your head, but compacted into a dense chunk of basement metal that blows minds now as it likely did back then. ‘Streetwalker’ runs alongside the galloping tempos and fourth-gear charge of contemporaries like Maiden or Priest, with gigantic cascading guitars and the dead end justice needed to put this sound into the annals of rock history.” Hand-numbered edition of 300.


EXOUTICS, THE: The Exoutic Touch EP 12″ (KSDB EX001EP) 12.50
A reissue of three must-have dancefloor glisteners taken from their tough-to-find U.S. boogie LP The Exoutic Touch. The Exoutics were a group of NY-based musicians who, in the ’80s, released their album on the privately-owned Dee Gee records. Now, it’s an in-demand boogie rarity. The soulful lead vocals are complemented with sweet background arrangements. The vocals are closely coupled with the music, resulting in an almost playful interaction.


RAINBOW ARABIA: Boys And Diamonds LP+CD (KOM 217LP) 15.50
LP version with CD, housed in a striking full-color gatefold sleeve.


RAINBOW ARABIA: Boys And Diamonds CD (KOMP 088CD) 14.50
This is the debut full-length album by Rainbow Arabia. Averse to any easy classification, Rainbow Arabia’s continent-trekking, kaleidoscope pop is rooted in no particular time or place, employing modern technological processes to an array of musical cultures and eras. The Los Angeles duo began with the purchase of a Lebanese Casio that played microtonal scales and Eastern beats, with which they quickly recorded their propulsive first EP, The Basta, synthesizing bossa nova and industrial post-punk with heavy Middle Eastern vibes. Digging deeper for inspiration from the worldly found sounds of Sublime Frequencies compilations, their follow-up EP, Kabukimono, expanded the color palette of their “fourth world” pop with dark, Arabic disco-dancehall jams sitting alongside sunnier moments with Caribbean and African flourishes. Rather than restricting themselves to the expanse and musical artifacts of Earth alone, Danny and Tiffany Preston recalibrate their focus, aiming their sights upwards into outer space. Nearly a year in the making, Boys And Diamonds is a stunning journey that not only marries East with West but also the past with the future. Immediately, you can hear some familiar elements found in their previous releases: Danny’s asymmetrical tribal beats and lysergic pads, Tiffany’s labyrinthine fretwork and tick-tock vocal swagger. But you’ll also notice: the hooks are stickier and more confident, the rhythms are sturdier, and the production is lusher, even astral, giving the songs more space to breathe. Boys And Diamonds is unmistakably a pop album but also one that comfortably fits in with Kompakt’s long-standing lineage of genre-refracting releases. You will be hard-pressed to find another record that cohesively brings to mind Siouxsie rubbing elbows with Shabba Ranks, Giorgio Moroder sipping daiquiris in Bali, Desmond Dekker envisioned through skittering footwork, Tom Tom Club sitting in with Congotronics, even early Madonna produced by Chris and Cosey. Unlikely as all of that sounds, Rainbow Arabia makes it sound easy. Drummer/producer extraordinaire Butchy Fuego (Pit Er Pat, Boredoms, MIA) contributes arrangements and beats in places, and Icy Demons’ Dylan Ryan plays on the percussion-heavy island shuffle “Nothin Gonna Be Undone.” The album was mixed at the wonderful Hobby Shop studios in L.A. by Mudrock, who also adds some final production touches on the record.


CHAPMAN, MICHAEL: Fully Qualified Survivor CD (LITA 060CD) 14.00
“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 60’s/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.” Includes a 28-page booklet of historic photos and liner notes, plus a new interview with Michael Chapman.


HOOD, ROBERT: Alpha (James Ruskin Remix)/The Family 12″ (MPM 011EP) 12.00
Robert Hood is firmly back in business for 2011 with more M-Plant excellence. James Ruskin remixes “Alpha,” the first single that was taken from Omega (MPM 008CD/LP). This grooving, percussive remix adds a touch of Ruskin magic while maintaining the essence of Hood’s original. On the B-side, Hood delivers a brand-new track called “The Family.” This is classic Robert Hood with its unrelenting rhythm, powerful bass line and a good dose of the funk. Hood fans will not be disappointed.


DRUMS OFF CHAOS & JENS-UWE BEYER: Drums Off Chaos & Jens-Uwe Beyer CD (MAGAZINE 003CD) 15.50
Founded in Cologne the early 1980s, the anarchistic formation Drums Off Chaos has continued uninterrupted to the present day. The collective of Jaki Liebezeit, Reiner Linke, Maf Retter, Manos Tsangaris and others make music centered on dynamic but still very precise rhythmic codes using carefully-selected sounds and patterns on self-constructed drums. Previously, the group considered the shared and nonrecurring experience of playing live more important than getting the music recorded. The latest release, however, is the result of a collaboration with Cologne-based musician Jens-Uwe Beyer (Popnoname). Thus, the Drums Off Chaos sound is available on record for the first time after almost 30 years (aside from an experimental singer collaboration available as a very limited CD mailorder release). Beyer — from a generation that grew up with Wolfgang Voigt’s Gas project rather than with Can — opens the record with the beat of a gong adding irradiant sounds and elements of soft rhythms, which over time interweave seamlessly with the energetic drum sound. The slowly floating melodies and punctuated bass of Beyer convey an almost monastic intensity which underpins and reinforces the exacting rhythm of the drums. This uncommon and multi-generational clash of musicians results in peerless music that defies classification and comparison, as effects never before heard on record materialize for the first time.


DRUMS OFF CHAOS & JENS-UWE BEYER: Drums Off Chaos & Jens-Uwe Beyer LP+CD (MAGAZINE 003LP) 15.50
LP version. Includes CD version of the entire album.


SOLDIERS OF FORTUNE: Ball Strenth 12″ (MEX 069EP) 17.00
“SoF kicked things off in 2004, with a lineup of guitarist Marc Moore (Cat Power, Lynnfield Pioneers), guitarist/organist Pat ‘Papa Crazee’ Sullivan (Oakley Hall, ex-Oneida), bassist B.L. Truax (Home, ex-Dan Melchior’s Broke Revue), drummer Kid Millions (Oneida, Man Forever) and synth player Barry London (Home, ex-the Van Pelt). Not long after their first show, the world at large suffered the tragic loss of Mr. Moore, but the band kept on going in his memory, getting together every time the stars aligned just so, and its members found themselves in the same place. Over the years, their always evolving lineup has grown to include Mike Bones on guitar, as well as contributions from guitarists Matt Sweeney (late of Chavez and collaborations with Will Oldham, a/k/a Bonnie ‘Prince’ Billy), Jesper Eklow (Endless Boogie), and drummer Allison Busch (Awesome Color). Ball Strenth (featuring Truax, Millions, London, Bones, Crazee & Sweeney) is the Soldiers’ long-awaited debut, which windsprints through classic Southern-styled rock ‘n’ roll, extendo psychedelic guitar battles, restless rhythmic intensity and blues chooglin’ with the best of ’em. It’s also the sound of friends getting together after long absences to play great music, and remind us out there in listener-land why we should care in the first place. If you’re left standing after the colossal, 17+ minute crush of the closer ‘Worm,’ you may ascend.” Hand-numbered edition of 1000.


TEAMS VS. STAR SLINGER: Teams Vs. Star Slinger 12″ (MEX 072EP) 17.00
“Online collaborations between producers Star Slinger (repping the UK for Manchester) and Teams (standing up for America from Knoxville, Tennessee) reward the fruits of online labor: six blog-rockin’, booty-shakin’ rippers, culled from vinyl-sourced samples of R&B and modern soul classics and reworked, twerked, and shimmied into the matrix of hip hop rhythms, sunshine, and classy, electro-clipped states of mind. The work of these two individuals permeates the original material up, under and around, until you’re not entirely sure how you’ll ever listen to the dusties in your collection again without treatments like the ones provided here. Good times for the summertime state of mind, no matter what time of year you’re livin’ in.” Hand-numbered edition of 2000.


VACANT LOTS, THE: Confusion/Cadillac 7″ (MEX 074EP) 5.00
“Hailing from the wooded confines of Burlington, Vermont, the Vacant Lots are musicians as well as scientists, having built a time machine that will transport your headspace directly to the Sunset Strip in 1967. ‘Confusion’ and ‘Cadillac’ are both prime-cut psychedelic burners, heavy-lidded and strobing with the delights of the era, pristine examples of atmosphere and attitude lent to great pop-rock songwriting.” Hand-numbered edition of 300.


CAROLA, MARCO: Play It Loud! 12″ (MINUS 106-1EP) 11.00
M_nus presents three collectible 12″s cherry-picking the ripest cuts for DJ use from Marco Carola’s Play It Loud! (MINUS 106CD) album. Each is housed in a gatefold sleeve with sleek spot-varnished cover art. This first installment features the bass-laden groove of “The Jingle,” a sonic reverie filled with a vast space of percussive layers and stuttering vocals; “Magic Tribe,” a playground of drums and colorful beat texture, the anthemic title-track and the suspenseful “Suspense.”


CAROLA, MARCO: Play It Loud! 12″ (MINUS 106-2EP) 11.00
Featuring the potential 2011 dancefloor mainstay “Freak On,” the shuffling bass line of “Light House,” where around each loop lies a surprising new rhythmic element, the stomping bass weight of “One Man Show”‘s wide-eyed entertainment and “Over Love.” Second in a series of three collectible 12″s presenting DJ-ready cuts from Marco Carola’s Play It Loud! (MINUS 106CD) album.


CAROLA, MARCO: Play It Loud! 12″ (MINUS 106-3EP) 11.00
The final installment in a series of three collectible 12″s features the gripping twists and turns of “Kimbo,” as well as “Pop Up,” “Question Of Time” and “Black Box.” Choice cuts from Marco Carola’s Play It Loud! (MINUS 106CD) presented on a stylish DJ-friendly format.


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.

MR 299CD

MATADORS, THE: Get Down From The Tree! CD (MR 299CD) 17.50
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.


WRUHME, ROBAG: Wuzzelbud KK CD (MKR 001CD) 15.50
2011 repress! Wuzzelbud KK is the first Musik Krause release for German electronic artist Gabor Schablizki, aka Robag Wruhme (Beefcake, Wighnomy Brothers) from 2004. The Wruhme universe manages with a wink to equip a whole sound universe, somewhere in the realm of Perlon and Herbert Manier. A completely unique, forceful techno-minimal house with substantial volume, twists, tension, longing and bass felt throughout the body, along with distinctive samples bringing both listeners and dancers under his spell. For the first track, Mr. Robag uses a melody which has been ghosting about on some data medium since 1996. Constructed perhaps for the electronic project Beefcake, the melody has subsequently been refined from the old and adapted for the new. Especially glossy, without sacrificing the identify of the album, is the track “K.T.B.” (“Kick This Braunhaufen”). And why pay so much money for Erykah Badu when in Germany you have vocalist Dehlia, whose voice blossoms next to jazz-besprinkled beats. Wuzzelbud KK is an extensive table full of gifts, embellished with fine electronic ingredients, full of kicking beats, homogeneity, wit and charm. Beats for your neck and limbs, sounds for the heart, sounds for the head. It is simply demanding electronic music which is taken home from the club — straightforward digital Frickelfunk — body-rock for peace and laughter.


STATELESS: Matilda 2CD (ZEN 157CD) 15.50
“Welcome to Matilda, an eleven track, fifty minute follow-up to Stateless’s 2007’s eponymous debut, which takes all of those easy words and makes something concrete out of them. Working with Bjork producer/programmer Damian Taylor, Matilda ties together classic songwriting with rhythmic drive, slatherings of sub-bass and enough electronic interference to satisfy the most anal of glitch-nerds – CD version also includes a second CD of album instrumentals.”


STATELESS: Matilda 2LP (ZEN 157LP) 20.50
2LP version.


KOUYATE/NEERMAN: Kangaba CD (NOF 012CD) 15.50
Originally released in 2008, the No Format label now makes this incredible collaboration available once again. France’s David Neerman is a free spirit in an orbit of his own across Europe’s fledgling creative scene. A lunar poet of the vibraphone, he’s as much at home in the precious, evanescent universe of Korean chanteuse Youn Sun Nah as he is in the spontaneous, urban slam of Anthony Joseph & The Spasm Band, contemporary post-jazz, or the thousand-year-old poetry of Mandinka music. In short, a musician of today living very much in the present; a man both curious and erudite with a hunger for all kinds of music from Morton Feldman to Sonic Youth. Lansiné Kouyaté is a maestro of Mali’s music and an undisputed master of the balafon, “the classical piano of Africa.” As a child prodigy (with a griot mother, and a father who played the balafon), he was enrolled by the National Orchestra of Mali when barely ten and then hired away by Salif Keita before he started turning up unexpectedly almost everywhere. He has partnered with the greatest names in West African music from Baaba Maal to Mory Kanté, but he’s also a bold experimenter who’s adapted the ancestral sounds of his instrument to the most diverse languages to be found in either “serious” or popular contemporary music, from Béjart’s ballets to Joe Zawinul, via the rappers of Positive Black Soul, the Cuban music of Omar Sosa or the Red Earth: A Malian Journey project helmed by Dee Dee Bridgewater. On this release the balafon and the vibraphone ring together collectively — so close and yet so far apart in tessitura, sound, matter, playing technique, history and imagination. Over long hours of improvisation, the two musicians would exchange their wisdom and other possessions, progressively laying down the bases for a mutant universe of sound whose process was totally organic and laid on the foundations of Mandinka music, yet which made a radical break with all the clichés of the music called “fusion” or “world.” Accompanying them on this recording are contrabassist Ira Coleman (Dee Dee Bridgewater, Laurent de Wilde), drummer Laurent Robin, and Malian singer Mamani Keita on the magnificent song “Touma.” With this album, Kouyaté & Neerman explore new territory that is both authentic and innovative, a work of poetic power that is absolutely stunning.

NO19 001CD

SOUL CLAP: Social Experiment 002 CD (NO19 001CD) 15.50
Jonny White’s No.19 Music team up with electronic music heroes Soul Clap for the release of their debut compilation album featuring a host of incredible exclusive tracks from some of the hottest producers on earth. Soul Clap should need little introduction to most, having built an unrivalled reputation as one of the most exciting production and DJ duos out there. Recordings for labels such as Wolf + Lamb and Crosstown Rebels have brought them huge critical acclaim, while their unique re-edits of classic soul, funk and disco have seen them hailed as the new darlings of eclectic Balearic production. Now one of the most hotly-tipped production teams out there has joined forces with a label that has risen to become a leading light in electronic music, No.19 Music. Social Experiment 002 is the second in the “Social Experiment” series released by White and is an incredible, genre-busting mix featuring tracks from some of the hottest producers out there. The album also boasts an impressive 13 exclusive tracks appearing for the first time on this superb album. The mix traverses the audio terrain of deep dubby house, hypnotic, tech-y electro, melodic nu-disco and Moroder-esque electronica. It is expertly mixed, perfectly sequenced and has the listener locked in from Craig Richards’ experimental remix of Jozif, to the closing bar of “Sleepy & Boo” — Art Department & Soul Clap’s sublime and blissful collaborative venture into the world of dubstep. The tracklist contain music from artists such as Lee Foss, Art Department (feat. Seth Troxler), Jamie Jones, Gadi Mizrahi, Justin Drake, Jozif, Craig Richards, James Teej, Jimmy Edgar, SECT, Robert James & Burnski, Deniz Kurtel as well as Soul Clap themselves and a host of No.19’s finest producers. It is a truly outstanding selection of some of the best electronic music out there right now. Other artists include: Soho 808, Benoit & Sergio, Tanner Ross, Flo Night, Puente & Rosch, Michael J. Collins, Nightplane, Sergio Santos, No Regular Play, Miguel Campbell, Lee Foss, Robert James & Burnski and Teeloo.

NS 519646LP

BJORK: Songs From The Volta Tour LP+CD (NS 519646LP) 16.50
2009 release. Live from the Volta tour, performed at Olympic Studios, London. 200 gram vinyl pressing, housed in a deluxe full-color gatefold sleeve; includes CD of the complete album. Featuring drums & percussion by Chris Corsano. Not featuring Omar Souleyman.

NS 79894LP

ENO & DAVID BYRNE, BRIAN: My Life In The Bush Of Ghosts 2LP (NS 79894LP) 24.00
2006 release. “The groundbreaking 1981 collaboration fully remastered, containing 7 originally unreleased tracks, and selections from the multi-tracks from ‘Help Me Somebody’ and ‘A Secret Life.'” 180 gram vinyl, housed in a deluxe full-color gatefold sleeve.”A milestone of sampled music, and a peace summit in the continual West-meets-rest struggle.” –Pitchfork


JACKSON, STONEWALL: Life Of A Poor Boy CD (OMNI 141CD) 18.00
“Stonewall Jackson is the epitome of hard drivin’, pure honky tonk. Feisty, heartfelt and down-home tunes delivered from behind a plow or the bottom of a beer glass. From the late 1950s through the 1960s Stonewall cut a vast catalogue of fine music and many of the greatest and rarest of these cuts are presented here for the very first time on this 30 track CD. Tracks include tales of the good gone wrong (‘I Washed My Hands In Muddy Water’), autocide (‘Drinking And Driving’) and suicide (‘The Water’s So Cold’). Things are sometimes bleak (‘There’s No Reason To Be Living’) but never without hope or redemption (‘I’ve Got To Change’) though one might be a prisoner (‘Thirty Links Of Chain’) or buried alive in a coal mine (‘While The Daises Grow Free’).”


KUBIN, FELIX: Bruder Luzifer CD (OMNI 142CD) 18.00
“For three decades Hamburg’s Felix Kubin operated as an undercover sci-fi pop visionary. Lurching from seasick electronics to dramatic outsider songcraft, the highlights of Kubin’s engaging teenage experiments (‘Krematorien’) and later pop masterworks (‘Lightning Strikes’) mingle here with electrified spaghetti-western romps (‘Sabàta’) and terminal noise-spasms (‘Dead End Brain’). Lovingly curated, this deluxe collector’s edition 23 track CD features exclusive liner notes, unpublished photos, rare 7″ sides and forgotten tracks spanning 1982-2010.”


VA: Electric Psychedelic Sitar Headswirlers Volumes 1-5 5CD BOX (PAPRBOX 010CD) 57.00
Turn off your mind, relax and float downstream with this deluxe 5CD compilation of Eastern-tinged rock, pop and folk from the hippie heyday of the late ’60s and early ’70s. Featuring acts from both sides of the Atlantic, as well as India, Germany, Sweden, Holland, Australia and elsewhere, the package comes complete with a packed booklet offering background information and rare pictures of the artists represented, making the set an essential trip back to psychedelia’s incense-shrouded golden age. Features volumes 1-5 of the compilation series originally released by Purple Lantern Records in a numbered limited edition. Artists include: Ray Brown & Moonstone, Linn County, JK And Co., Omega Redstar, The Basement Wall, Abacus, Broselmachine, Gualbert, Darius, Blonde On Blonde, The Pretty Things, The Frederic, The Flames, July, West Coast Pop Art Experimental Band, Fraternity Of Man, The Misty Wizards, Ramases, COB, Lord Sitar, The Vampire’s Sound Inc., U.S. 69, Merrell Fankhauser & HMS Bounty, The Paper Garden, Meic Stevens, State Of Mickey & Tommy, The Ghost, Mandrake Memorial, 1st Century, People, Sagram, Bobby Callender, Mushroom’s God, The Orient Express, Elmer Gantry’s Velvet Opera, Erkin Koray, Popul Vuh, Brainticket, Chocolate Watch Band, Big Jim Sullivan, Dr. Timothy Leary, The Mops, Amboy Dukes, St. Mikael, Strawberry Alarm Clock, Saffron, Truth, United States Of Existence, Train, The Third Rail, Hurdy Gurdy, Mystic Astrologic Crystal Band, Chim Khotari, Them, Ray Brown & Moonstone, The Storybook, Krokodil, Mecki Mark Men, Stunt’s Blue Leg Expedition, The Ugly Ducklings, Johnny Thompson Quintet, Moonkyte, Dantalion’s Chariot, Nick Carter, The Twilights, The Folkswingers, Ananda Shankar, The New Tweedy Brothers, Wizz Jones, Kuni Kawachi & Flower Travellin’ Band, Full Moon Band, A Little Bit Of Sound, The Lemon Pipers, Mehrpoojah, Popera Cosmic, The Book Of AM, The Shocking Blue, The Poppy Family, Magic Carpet, Montreal, Fit & Limbo, Pentangle, Red Chair Fadeaway, Sheila Chandra, Sally Eat On, Ananda Shankar, Wylde Olde Souls and Kali Bahlu.


WOLFRAM: Wolfram CD (PERMVAC 075CD) 15.50
Wolfram Eckart from Vienna has been on the forefront of the Italo disco revival since 2005 with his label Diskokaine and productions under his monikers The Diskokaines and marfloW. As Wolfram, he now releases true electro-disco fireworks with guest appearances by Euro dance legend Haddaway, Holy Ghost!, Hercules And Love Affair, Patrick Pulsinger, Sally Shapiro, Legowelt, Sebastian (Heartbreak) and former Patrick Cowley protégé Paul Parker. Andy Butler (Hercules And Love Affair) on Wolfram: “Wolfram is a musician and producer whose record intelligently and lovingly sings the praises of the significant contributions that the Euro sound from those early days of electronic dance music has made on pop music. Wolfram is an aesthete, operating in that Warholian tradition of seeing beyond what is considered by many to be “trash” and finding the beauty in it. The songs are listenable; so listenable, that in a way, listening feels like a guilty pleasure. When truly analyzed and contextualized however, the listening experience becomes a more substantial one — one might go so far as to even say a challenging one. The approach is fun and emotional. There are a host of collaborators; some new and some old. The result is a truly remarkable, colorful and diverse collection of songs that lift the spirits and will undoubtedly inspire make-out sessions on the dancefloor.”

RS 311932LP

YOUNG, NEIL: Chrome Dreams II 2LP (RS 311932LP) 19.50
2007 release and Neil Young’s 30th studio album. A sequel to the bootlegged, unreleased album from 1977. Includes the song “No Hidden Path.” Deluxe full-color gatefold sleeve; includes large-format 16-page booklet.

RB 099.2EP

PASSARANI, MARCO: Colliding Stars Pt. 2 12″ (RB 099.2EP) 12.00
BASSarani in your face again! Here’s part two of the ongoing Roma meets Running Back saga. Conveniently appearing in a white inner sleeve (slip it into the retro-futuristic telescopic picture sleeve that you hopefully already have). Three tracks of hardcore space music and magic carpet melodies: “White Dwarf” appears as the final link between Frankfurt trance and tribal house, “Black Dwarf” is its beat-heavy brother (for DJ use only!) and “Colliding Stars Pt. 2” proves that science ain’t no fiction.

RH 033EP

OLIVERWHO FACTORY, THE: Galactic Transit 12″ (RH 033EP) 12.50
The Oliverwho Factory returns to Rush Hour with their single Galactic Transit. The title track is another hot slice of raw and sexy Detroit house music. A great piece of 21st century soul! Includes a Recall mix and instrumental mix.


ELONKORJUU: Harvest Time CD (SHAD 127CD) 17.00
Elonkorjuu came from Pori, Finland and was founded in 1969. At first, the sessions were done in a rather dark cellar; the musicians were young, talented and highly motivated. That same year, Elonkorjuu won second place at a competition at Helsinki’s House of Culture. A short time after this, the band’s success grew very fast. They toured through Finland and quickly became well-known. One of the band’s highlights was the gig at the rock festival in Turku, where they performed before a hundred thousands youths who went wild about the fantastic band. By the end of the year, they decided to make the album Harvest Time, which has since reached cult status in the annals of progressive rock. This quartet are one of the many little-known bands that did heavy blues/psych with strong prog elements, drawing initially from the schools of Cream, Black Sabbath and Colosseum, but they expanded on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius. A killer album from beginning to end. Heavy guitar work all over and great English vocals.


EMBRUJO: Embrujo CD (SHAD 129CD) 17.00
The band Kissing Spell changed their name to Embrujo in early 1970 due to the political climate in Chile and conditions being less than ideal for a band with an English name. “Embrujo” is Spanish for “spell” or “bewitched,” and their album came out on Arena Records in 1971. This record sits among the great albums from Chilean bands such as Blops, Aguaturbia, Los Jaivas and Escombros, with beautiful compositions and instrumentation, strong vocals and poetic lyrics, and is quite possibly one of the best albums in South American history. Chile seemed to be a breeding ground for extraordinary, heartfelt pop and underground music. What a shame that during the period between 1973-1990 the Pinochet dictatorship made it difficult for so many promising bands to find work. We are missing a lot of great future albums by those bands.


KALEIDOSCOPE: Kaleidoscope CD (SHAD 130CD) 17.00
Kaleidoscope’s sole release is one of the best psychedelic albums ever recorded and also among the rarest albums of all time. Enrique Rivas located all the original band members as well as the original cover artist. Shadoks Music signed a deal with the band, and now puts this baby out legitimately for the first time, ever. The band was not actually from Mexico: the musicians came from Puerto Rico, the Dominican Republic and Spain, and the album was recorded in 1967 in the Dominican Republic. The manager took it to Mexico where it had a tiny release of 200 copies on the Orfeon label. They were friends with Addib Casta from Ladies WC, Venezuela, so one song is by Ladies WC — the rest are all original compositions. The music features some amazing, heavy, guitar-based psychedelia of the best kind, and there are three bonus tracks here, including a live track from 1969. The cover art has also been completely restored (bootleg versions were heavily cropped) with the original label artwork for the first time. The package also includes many photos and a band history, making this a collector’s dream come true.


SKUDGE: Below/Phantom 12″ (SKUDGE 004EP) 12.50
More killer output from the Skudge factory. “Below” is a brand new side of refined diva-haunted techno, while “Phantom” bites like it was designed specifically to turn Berghain inside out — huge sound. TIP!


NAGUAL (RON TRENT): Core 1993 – I Feel The Rhythm 12″ (CORE 093B-EP) 11.00
“The majesty of Ron Trent’s formative arsenal may best be represented by his space-soul masterpiece ‘I Feel The Rhythm.’ Closer in relation to the soulful circuitry of the early techno classic ‘Altered States’ than the aspiringly Afro-centric jams later unfurled under the USG banner, ‘I Feel The Rhythm’ conveys the same lush melodic warmth without suppressing the ghost in the machine of electronic futurism. Tough repetitive percussion and bubbling bass synthetics faithfully carry forward that signature floating synth riff eternally imprinted in the memory of so many house and techno heads alike. The next chapter of ‘slow to speak’s CORE series, the seminal Trent track is presented here in its sharpest form, the legendary Nagual version, featuring the housey vocal cut-and-pastes of clever 1990s production to oil up the rusted cogs of Trent’s machine-funk, forming an undying club landmark that still slays with the same steamroller force it wielded way back in 1993. Pressed on a full 12″ side to yield maximal aural annihilation, ‘I Feel The Rhythm’ once again stalks unexpecting party people worldwide, as yet uninitiated into the eternal brotherhood of Prescription worship.” One-sided release.


PINK FLOYD: Careful With That Axe, Eugene 12″ (SHDW 1222EP) 13.00
“After something of a hiatus, Slow To Speak returns with a new round of highly-limited, hand silk-screened 12″ showcases, the project’s resumption heralded by the ever-brilliant cosmic abstractions of space-rock demigods Pink Floyd. Emerging from the belly of the United Kingdom’s psychedelic scene, the baby of seedy London nightclub gigging, drug induced psychic-alteration and an uncanny attraction to the musical decoding of extraterrestrial majesty lost and rediscovered, Pink Floyd redefined rock music during the cultural revolutions of the late 1960s. Their visionary and unique equations worked out the precise art of expansionist and heady free rock sound, arriving on the scene at the precise historical moment for their strange visions to be received with open arms — at the peak of the first wave of psychedelia. The band itself forged a large part of this new culture out of their own strange fantasies, complete with far-reaching thematic punctuations that define the aura and mystique of a true psych-rock pioneer. As the 1970s proceeded, their sound quickly strayed from the path of uncompromising cosmic invention towards the arguably more egotistical meanderings of progressive rock, but much of their early work remains quintessential staples of the kraut-minded cannon. ‘Careful With That Axe, Eugene’ and ‘Set The Controls For The Heart Of The Sun’ are obligatory lessons of a proper space-rock education, shining examples of the UK pioneers’ limitless early ambition that still fuels the heroic myth of these baffling immortals of transcendental medium-ship and timeless cosmic foresight. A blueprint for four decades of psychedelic experimentations to follow, these early specimens of Pink Floyd’s finest hour weather the passing of transient culture’s constantly rotating billboard, remaining monuments of rock history and units of measurement for future psychedelia’s brave new explorations into universes and dimensions waiting to be unearthed by the innovators of the light.”


VA: Cartagena! CD (SNDW 026CD) 15.50
Subtitled: Curro Fuentes & The Big Band Cumbia and Descarga Sound of Colombia 1962-72. Soundway set sail for the Colombian coastal town of Cartagena for their first selection of 2011. Sourced from a period when musicians effortlessly combined the swing of cumbia with the driving bass of salsa, Cartagena unwraps a period of musical history seldom heard beyond the tropical coast of South America. Compiled by Roberto Gyemant with the help of Colombian resident Will “Quantic” Holland and Miles Cleret, Cartagena! focuses on the extraordinary life and career of Curro Fuentes, the youngest brother of the family responsible for the Discos Fuentes label. Cartagena! explores a changing era for Colombian music, when new styles like porro, fandango and cumbia mixed with descargas and salsa, cementing Colombia’s reputation as a formidable dance music hotspot in Latin America. Features 19 tracks of which none have been released on CD outside of South America. Includes a 28-page full-color booklet with detailed, explorative liner notes.


VA: Cartagena! 2LP (SNDW 026LP) 23.50
Gatefold double LP version includes a full-color spread and detailed liner notes. Also includes a bonus track not available on the CD version.


VA: Strade Trasparenti CD (STAUBDIG 009CD) 17.00
Strade Trasparenti features the original exclusive music by The Necks, David Grubbs, Mira Calix, Mute Socialite and O-Type made for the soundtrack to Augusto Contento’s film Strade Trasparenti (trans. “Transparent Roads”). The film delivers the physical sensations of a bus trip — it’s so realistic it becomes oniric at times and portrays Brazil’s human variety in a series of encounters. The landscapes seen through the windows, the restaurants on the road, the testimonies of common and awfully endearing people are so touching, because they don’t correspond to the stereotypes we have about this country. The soundtrack was composed by prestigious musicians from different countries especially for the film. Strade Trasparenti is part of a tetralogy of films that are set in Brazil and share the same ethic and aesthetic principles. This film is not a trip in Brazil, it’s rather a trip into the depths of the Brazilian land and people. It is about Brazil, but not only. Brazil is a mirror used to reflect visions and arguments that could be universally valid. Strade Trasparenti is a cinevoyage, a ritual of initiation to the journey, to the discovery of the unknown, the indecipherable and the irreducible. It’s to go beyond the logic of one’s own national, cultural, and perceptive borders.


O’ROURKE & CHRISTOPH HEEMAN, JIM: Plastic Palace People Vol. 1 CD (STREAM 1028CD) 13.50
“An album of previously-unreleased recordings that go back as far as 1991 when Jim O’Rourke had just graduated from music school and traveled to Aachen, Germany to meet Christoph Heemann — who had just set up his studio there. Both The Elvis Messiahs — Jim’s first band from school days — and Christoph’s H.N.A.S. were in their final stages, and both collaborators felt the desire to explore different directions, drawing inspiration from their wide ranging musical interests and varying backgrounds. Volume One presents an intense three-part journey, a mix of granular synthesis and concrete sounds, reshaped, reassembled:’But there was something high in the sky, swinging slowly down toward the mound. Something globular that wore what looked like a shining crown and shook like a mound of jelly.Nearer it came and nearer, swinging lower with each vibration of its circular bulk.It blazed suddenly into sharp visibility. It wasn’t a king, and it wore no crown. It was a floating spheroid, veined and translucent, filled with an intricate assortment of moving parts that gave off a continuous whirring sound…'”

SR 301CD

NOVI_SAD: Inhumane Humans CD (SR 301CD) 15.50
Part 4 of Sub Rosa’s Framework series. Novi_sad is the guise for Thanasis Kaproulias who holds a degree from the Economic University of Piraues. He lives and works in Athens, Greece. Influenced by the pioneers of audio assault, he began generating sounds in 2005. No studies, no academic education, no scholarships, just pure learning by doing. Amplified environmental recordings, drone manipulations, structured ambient soundscapes, microtones vs. overtones, all come together in a hyper-structure of iconoclastic form. Novi_sad’s artistic output displays a high level of technical ability, as well as a sensitivity to the nuances of location. The strength of his soundscapes works in the same elaborateness for the whole creation process, starting from a basis of very strong conceptualism, the intense examination of field recordings over the actual composition work, to the point of performing back the result onto location. Every sound that occurs is treated with a sculptural integrity and his sonic power operates on a level in which the audience participates as transcendental listeners. Novi_sad is the mutated body that stands on the tips of its toes to look over a wall of white noise. It reaches the edge, almost getting a glimpse of what is on the other side. It almost sees. And when it almost sees, then it hears. And when it hears, it hears the sudden attack of static. And as it hears it looks: the sky is static and falls like a sonic ceiling collapsing on its sole inhabitant: Novi_sad. Novi_sad is the sound of the shadow of the body that faces the wall of sound. The mutated body steps back from the wall. It is not a wall, it is a mirror. The mutated body looks at itself. It sees: an open mouth that is shouting to itself and is not heard, it sees closed ears bleeding for themselves that do not hear. It says: lift sonic ceilings up over my head, push them up over the sky, as far as my arms can reach, as far as my eyes can see. I will hear, I will here.

SF 062CD

HAYVANLAR ALEMI: Guarana Superpower CD (SF 062CD) 16.00
Hailing from the Turkish capital of Ankara, Hayvanlar Alemi is a group of contemporary players steeped in the art of psychedelics, surf, and expansive rock instrumental grandeur. Formed in 1999, the band is led by Özüm ?tez (electric guitar) and I??k Sar?han (percussion) and they’ve released a variety of CDs and mp3 tracks in Turkey and beyond leading up to this, Guarana Superpower, their first official release outside their home country. The tracks drift from majestic beauty to blazing delirium with ?tez etching his manifesto for electric guitar every step of the way backed by Sarihan’s wide variety of percussion styles. Although the group is rooted in classical and modern Turkish psych-rock in spirit, they draw on a large range of sounds and influences, and traces of Turkish styles are hard to pin down. Two of the tracks, “MEGA Lambada” and “Guarana Superpower,” are more reminiscent of late ’80s post-punk experimental mind-melting, referencing Torch Of The Mystics-era Sun City Girls in grand fashion. Other cuts expand on a diversity of areas including tripped-out surf, retro Cambodian rock, electrified Thai Mor Lam and Saharan guitar music. Every single track is memorable and the incredible variety helps confirm the fact that Hayvanlar Alemi is one of today’s great rock instrumental combos. CD version features two bonus tracks and includes an 8-page color insert with photos of the group.


KEBNEKAJSE: Idioten LP (SUBL 079LP) 25.50
LP version, limited edition of 500 copies. Kebnekajse takes folk rock to new heights on Idioten. Forty years after their debut, the Swedish ’70s folk rock pioneers have gathered no moss. A short biography for new listeners: During the 1970s, Kebnekajse was known as Sweden’s highest band, pioneering and leading the Swedish instrumental psych/progressive groups. They electrified folk music and made six albums from their inception in 1971 to 1978, after which they split up. Kebnekajse reunited during the summer of 2001 and in the early spring of 2009, they released their critically-acclaimed comeback album Kebnekajse (SUBL 026CD/LP), filled with pure Swedish folk songs. Two years later, and proven by countless tours, they now present what is perhaps their strongest recording ever. On this album, Kebnekajse widens views and lets the folk music tone find new forms, free from any tightly-held reins. As the band themselves explain: “We wanted to give the folk music new feet. From the vast canon of ancient Swedish folk songs we wanted to highlight songs that stand out, rare songs that leave room for improvisation and debauchery in the spirit of the psychedelic ’70s.” With these resolutions, the band got into the studio (the same one used for recording Dungen) for three sessions of four days each, from May to September. The result was 10 new tracks. This is unlimited music where intricate melodies and distinctive rhythms take unexpected turns — electrical and eclectic while unified in a dynamic drive. Kebnekajse have deepened their interplay in their last years of touring. On the initial track “Barfota” (trans. “Barefoot”) the electric guitar and violin weaves melody over pulsating drums, percussion and double basses — heavy and soft at the same time. “Fäbodpslam” (trans. “Mountain Shack Psalm”) breathes beautiful melancholy before the great polska “From-Olle” (trans. “Pious-Olle”) whips up a furious pace. “Hans & Greta” is tight like a music box in its melody interplay while “Senpolska” (trans. “Late Polska”) from Hälsingland becomes a drawn-out, distorted drone piece (“like a grunt from the deepest of halls of the mountain king”). The musicians also break up the action with jam trips and let loose the love of their musical roots. The title track “Idioten” (trans. “The Fool”) madly mixes a Hälsingland polska with hard progressive rock. “Stockholmpolka” has a snorting, country feel mixed with dream-like Afro-funk psych and an Alpine feel. The closing Norwegian “walking tune” “Sangenuten” (trans. “The Song Without”) is connected with a long tail of psychedelia. With Idioten, Kebnekajse lifts Swedish folk rock to new heights and new psychedelic overtones.


WATSON, VINCE: Atom EP 12″ (TRESOR 239EP) 12.00
This is the debut release by Vince Watson on Tresor Records. The title track is a mass of positively- and negatively-charged elements spinning around one another in a naturally organized orchestra of sound. Up next is “Flux,” which is a much harder affair and less musical then its predecessor. But at 8:55, it is an opus of ambience and melody with swirling synths held together by a driving bass line. The perfect closer to the perfect introduction.

L33 1420EP

CRUSADERS, THE: Street Life 12″ (L33 1420EP) 10.00
Lead track from the band’s 1979 album of the same name.


WESLEY, FRED & THE J.B.’S: House Party/Pass The Peas 12″ (RPO 100EP) 10.00
“House Party,” originally released as the title-track from the 1980 RSO LP; “Pass The Peas,” originally released on 1972’s Food For Thought. “Reissue of the classics.”


BORBETOMAGUS: The Rape Of Atlanta LP (XOX 001LP) 16.50
Recorded on October, 30, 2004 at the Destroy All Music festival in Atlanta, Georgia. Jim Sauter (saxophone), Don Dietrich (saxophone) and Donald Miller (guitar). Two gloriously crude side-long barn-burning tears into the fabric of the universe — another vicious installment in Borbetomagus’ on-going pitch for the mainstream jazz market. Housed in a classy stickered sleeve; includes an insert with an excerpt from an interview. State trooper-approved pressing of 500.”You know that bit at the end of the Monterey concert where Hendrix sets his guitar on fire? That’s what we do. For a whole hour.” –Miller

UY 044EP

CHANNEL X: Orient Express 12″ (UY 044EP) 12.00
“Salome” is not only the A1 track of the new Upon You single from Channel X, it’s also the title of a famous exotic fox trot composed in 1920 by Robert Stolz. Riding on the “Orient Express,” they let the well of inspiration pass by the A2 window for this proper vinyl. During their journey, the colleagues Audio Jack rub on “Salome” their patented dance-paste, which momentarily waxes almost every well-known dancefloor.


ABSTRACT EYE, THE: Cool Warm Divine EP 12″ (SIGN 003EP) 12.50
Valentine Connexion Records presents a five-track EP from little-known artist, The Abstract Eye. Five brilliant, analog techno tracks, which keep the spirit of original Detroit techno alive. It will really leave you breathless. Beautiful stuff! For fans of Dopplereffekt, Drexciya, et al.


MULLANE, MATTHEW: Solo Acoustic Volume Four LP (VDSQ 004LP) 17.00
“This recording came to us as an unsolicited demo and was a revelation in its intricate beauty and unique phrasings. Hailing from small town Ohio, this young player encapsulates everything exciting about modern composition for acoustic guitar. Performed live in one take. No overdubs.” Each LP in VSDQ’s acoustic guitar series is housed in a letterpress sleeve.


MOORE, THURSTON: Solo Acoustic Volume Five LP (VDSQ 005LP) 17.00
Subtitled: 12 String Meditations For Jack Rose. “Limited to 1000 copies. Solo, untreated, 12-string compositions in tribute to one of the greats. An album of instrumentals in requiem.”


KARPINSKI, ALLEN: Solo Acoustic Volume Six LP (VDSQ 006LP) 17.00
“Four string minimal symphonies for the grey side of America. Each note perfectly placed for maximum solitude. Karpinski offers a starkly melodic album of nighttime instrumentals.”

R1 2574LP

FACES: A Nod Is As Good As A Wink… To A Blind Horse LP (R1 2574LP) 16.50
180 gram Rhino reissue of the 1971 album; includes large-format poster. “On A Nod Is As Good As A Wink, Stewart, Wood, Jones, Ian McLagan (keyboards), and Ronnie Lane (bass), deliver nine unforgettable tracks, timeless gems in the genres of R&B, folk, and classic rock, and solidify their place as a band with continuing influence on the future of rock and roll. In addition to the undeniably catchy ‘Stay With Me’ — now ranked by Rolling Stone as one of the ‘100 Greatest Guitar Songs Of All Time,’ thanks to Wood’s ‘acrobatic solos’ — stand-outs include ‘Miss Judy’s Farm,’ ‘You’re So Rude,’ ‘That’s All You Need,’ and the Faces’ definitive cover of Chuck Berry’s ‘Memphis.'”

YM 006EP

SCANONE: Bleep EP 12″ (YM 006EP) 9.50
This is the long-awaited 3-track EP from ScanOne, the production persona of Yellow Machines owner Jude Greenaway. This blast of dark, introspective, bass-heavy electronics is an intent-declaring opener for the label’s 2011 campaign. “Breedle” fuses Radioactive Man-esque machine-funk electro with junglist and hardcore influences. “Feep” gets a dark bashment treatment and “In Session” is a mutant hip-hop electro track that fuses a synthetic bass line with dislocated, dub-delayed sampled vocals. An emphatically solid release from an increasingly strong label.

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