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|100% PURE (NETHERLANDS)|
| || LUMEN, JAY: Bop Doo 12″ (PURE 060EP) 12.00|
100% Pure welcomes Hungarian DJ & chart-topping producer Jay Lumen. Drawing from his love of house, techno and tech-house, Jay’s a versatile producer that fuses different genres to create his own unique, defined sound. “Bop Doo” is a dance slammer that scorches across cut-up vocals and sensual synth treatments — intense and relentless. “Do Not Cross” brings deep, warm stabs to big-room beats to create a melody marathon for those who like to get funked up.
| || DEAD FADER: Corrupt My Examiner CD (3BY3 005CD) 14.50|
This is the debut full-length release by Dead Fader. If the sound-destroyin’ processes of Cloaks aren’t enough of that type o’ violent (adopt Clay Davis tone) “shiieeeett” for your sick head, 3BY3 come correct again, and drop this unrelenting abomination of a record. On first impression, it’s hardly a production sound you’d associate with the backdrop of Dead Fader’s home base, Brighton. This sounds more like it was born out of some grim industrial slum on lockdown, all pent-up anger and a serious need to party hard; 2-step garage from a Hair Police state. Dead Fader’s hybrid of distorto-death grooves, limited-to-hell wonky-not-wonky productions, sound like Distance playing though Slayer’s back line — bit-crushed by inhuman hands, 2-step gets rammed face-first through analog chains, that speakers (and ears) simply weren’t designed to handle. Like Sunn O))) say, “Maximum volume yields maximum results” — apply this to Dead Fader and you’re likely to have your neighbors ASBOing your righteous ass all the way to the seaside. It’s not all sour-faced noise ethics, either. There’s enough playfulness in the low-end and cheeky industro-funk mischief going on throughout Corrupt My Examiner to keep it from becoming “metal kids discover 2-Pac and create Franken-Durst.” Oh yeah, check out the rewind on “No Thief” for a serious bit of DJ tackle! An unrelenting sound, (over)loaded with hooks, Corrupt My Examiner is an example of new forms emerging in heavy, beat-driven music. The identifiable stems of Dead Fader’s influences are pretty evident while at the same time totally obliterated by their fresh approach. It’s a balance of production, chops and attitude that define the style. Dead Fader are that band you leave your kid alone with for five minutes, to discover the child has put the CD on, and for some reason decided to set fire to their bedroom.
|ACKER RECORDS (GERMANY)|
| || JUSTIN SIDE: Seewalde 12″ (ACKER 018EP) 11.00|
“Slim, sporty and very casual- that’s the way in which current number 18 on Acker Records sneaks into listener’s ears and hereby wonderfully illustrates the much longed for beginning of the open air season in Europe. Other than the name Justin Side implies, it’s even two dudes from Denmark who conjure up this unusual ‘Voodoo.’ Bedded on a gently shaking groove and larded with tropical warm percussion and lots of vocals, the magic takes effect immediately but still unobtrusively. Beside the original mix, the groove of the A-side includes a minimal Club Mix by mister Mollono.Bass that creates rather nightly associations in its straightforward manner. On the flipside he pulls out some other stops of his sound repertoire and calls the sunbathed result very appropriately his ‘Summer Mix.’ Last but not least the unmistakable, humorous organ sounds of Rundfunk3000 represent the unique, local ‘Mecklenburg’ version of a mighty ‘Voodoo’ magic.”
|AMAZING SOUNDS (UK)|
| || ABBOTT, LUKE: Honeycomb EP 12″ (AMSO 003EP) 12.00|
Amazing Sounds welcomes Luke Abbott into the fold for a 4-track EP of delicious Kraut-tech mayhem. “Honeycomb” pits a pulsing 4:4 groove against hissing white noise and gurgling ascending arpeggios, while “One Hundred And Thirteen” sees a fragile, juddering drum track colliding with a stuttering synth melody. “Present” changes things up completely with a blistering pace of 164 bpm. Rounding out the package is “Schmitt Swell,” an apocalyptic noise-fest drenched in fizzing, sawtooth waves and self-oscillating, squealing squits and splats.
| || IMEK & XPANSUL: La Salud Remixes 12″ (APNEA 029EP) 12.00|
Based on the sounds produced by Xpansul & Imek for their “La Salud” track, three friends of the Apnea family make their own interpretation of the dubby sounds of the original. Pfirter & Grindvik’s remix is a pure techno track, a peak-hour dancefloor killer that maintains the deep soul of the original, adding muscle and energy. Marko Fürstemberg’s reinterpretation is state-of-the-art dub, warm and big. Finally, From Karaoke To Stardom delights his fans with his dark, hypnotic and minimal sound.
|AREA REMOTE (NETHERLANDS)|
| || SMOKIN JO: Native Dance 12″ (AREA 020EP) 12.00|
Area Remote welcomes back Smokin Jo, one of the most talented DJs and producers to emerge from the British dance music scene. Jo’s undeniable cutting-edge sound has carved her a niche in club-land, enabling her to spin around the globe. “Native Dance” is a thumping, tribal, tech-house treat. Expressive percussion, muted chants propelled along with powerful snippets from a speech to rally the (clubbing) crowds. “Now What” is a hard-hitting dance-slammer with a pumping bass-line and gritty, in-your-face lyrics.
| || TRICCA, EMMA: Minor White CD (BMS 024CD) 15.50|
“Italian-born, London-based singer-songwriter Emma Tricca has had her life shaped by two key encounters with folk legends. While still only an apprentice songwriter just out of school she met John Renbourn when he played a solo show in Rome. After the gig, Emma got the opportunity to play John one of her own songs; his approval gave her the confidence to start writing and gigging properly and they remain firm friends. Given both her itchy feet and love of the Greenwich Village folk musicians, it was perhaps inevitable that Emma would make the pilgrimage to New York, living there and in Texas for a while before returning to the folk clubs of London. In the summer of 2006 she was spotted playing at the Green Man festival in Wales by DJ and Finders Keepers/Twisted Nerve record boss Andy Votel and his partner, the singer-songwriter Jane Weaver. The meeting led Emma to be invited by Jane and Andy to play a night they were involved in as part of Jarvis Cocker 2007 Meltdown festival. Both her performance and her contribution to the attendant compilation album were critically acclaimed by the international press, leading to a full UK and European tour and dates supporting John Renbourn. Recorded in Famous Times Studios, Minor White is the perfect summation of Emma’s story so far — a natural product of all those miles traveled and all those songs played. Indeed, the elegance and unvarnished charm of the songs here is only matched by the sense of well-traveled melancholy that reflects Emma’s international upbringing. It’s a truly timeless work, which means that these songs will endure as much as those that inspired Emma to pick up a guitar and start to sing in the first place.”
|BECAUSE MUSIC (FRANCE)|
| || GODRECHE, JUDITH: Toutes Les Filles Pleurent CD (BEC 5772646) 15.50|
This is the debut album by French actress/director Judith Godrèche featuring original songs written and composed for the film Toutes Les Filles Pleurent. “Obviously, the musical story created in this movie could not finish there. The idea was to compose a complete album inspired by the movie. As an alive continuity, a musical twin, a memory that turned into a project.” This album was an opportunity to realize sophisticated and sensible collaborations. As they come, the songs sung by Judith are all original works from Bonnie “Prince” Billy, Benjamin Biolay, Syd Matters, Pete Yorn, Piers Faccini, Mary Gauthier, Julien Doré and Wallis Bird. As the artist herself explains, “All the songs are intimately connected to the movie but create an independent album that took its freedom away. I thought about Benjamin for the title song ‘Toutes Les Filles Pleurent.’ I felt that with his romantic seriousness, his precise and powerful writing, he knew. I saw the film, we talked about it and he listened to the songs written for the album: for me, it was obvious that he will produce the album. With his own virtuosity, he managed to ‘dream’ the project and I’m very happy with it.”
|BEDROOM COMMUNITY (ICELAND)|
| || FROST, BEN: By The Throat LP (HVALUR 006LP) 17.50|
LP version. This is Reykjavik-based composer/producer Ben Frost’s second release for the Icelandic Bedroom Community label. By The Throat is blood red and cloaked in shadow. Produced in Iceland by Ben Frost and Valgeir Sigurðsson (Björk, CocoRosie, Bonnie “Prince” Billy), this album features performances by Amiina of Sigur Rós fame, Arcade Fire’s Jeremy Gara, Swedish metal outfit Crowpath and composer Nico Muhly. Aside from the purely musical language of harmony and melody, there’s the level of musique concrète, the weaving of nonmusical sounds into the musical fabric. Borgar Magnason’s menacing double bass growls pure bestial noise throughout and the brass choirs of “Peter Venkman” are recorded so closely that they almost transform into pure human breath. And just as these voices slide away from “notes” and “harmony” to become concrete sound-images, the meanings of these images rattle around and collide into each other, forming a whole language all its own. With spot varnish lettering on the front and back covers and a full-color insert, the packaging of this LP looks and feels enormously better than actual human social interaction.
|BEST WORKS (GERMANY)|
| || LODEMANN, ANDRE: The Light EP 12″ (BWR 007EP) 12.00|
Andre Lodemann returns to his own label with his 4th release.”The Light” brings back Lodemann’s typical dramatic production style, always feeding the listener with intense moments, working to and away from the house-groove. Lodemann has incorporated those typical house-DJ techniques of mixing directly into his production-style. The tune has an overall analog feeling combining discoid sample stabs and piano e-bass. “Subtle Stimulation” brings back a more linear feeling with earthy, wholesome drums and a heavy bass line.
|BOXER RECORDINGS (GERMANY)|
| || DUOTEQUE: Duoteque 2CD (BOXER 080CD) 15.50|
No doubt: Dusty Kid’s album A Raver’s Diary (BOXER 070CD) is among the Boxer catalog’s highlights where the most versatile talent from Sardegna proves his excellent skills as “Master of Dramaturgy.” However, this album almost makes you forget that he is the other half of Duoteque, a project founded together with Andrea Ferlin, and which has been put on hold since their enormous success in 2007. In the meantime, Ferlin has been busy, too. Together with Francesco Assenza, he has founded another label with the apt title Sleep Is Commercial, has released a number of EPs, and has been DJing at a number of fantastic clubs worldwide. Since 2009, Dusty Kid and Andrea Ferlin have been working together again, and now, in order to adequately celebrate their reunion, Boxer presents a great Duoteque collection on two CDs. Apart from many bonus tracks including some exclusive remixes of Duoteque hits made by Marascia, The Dolphins and Pig & Dan, it is Dusty Kid’s Duoteque megamix that may be regarded as the centerpiece of this release. It represents a collection of the best of the complete Duoteque oeuvre, and it is the first time that some of the greatest Boxer releases are now available for non-vinyl spotters, too. Next to all three tracks released on the best-selling Boxer 12″ so far — You Know All About Drags EP — Dusty Kid adds a number of other jewels to the mix: the spooky spoken-word track “Lola” for example, top tracks such as “Adyra” or “Bilk,” and the basement funk of “Amarcord” — the whole spectrum of Duoteque embedded in a fantastic flow and a variety of layers that once again proves Dusty Kid’s narrative skills. An endless cycle of opening and closing spaces, a gradually rising temperature, and percussive workouts are followed by highly inspired space-opera melodies. But Duoteque’s (not that) secret star is the bass sound that sometimes comes along deep and mighty, and sometimes in a rather light-footed way. The audience is immersed in the kicking, hypnotizing sounds and breaks that explode right into your face. In the past, every single track already laid waste to dancefloors, and you can imagine what will happen if they’re presented in a whole bunch.
|BUREAU B (GERMANY)|
| || MOEBIUS & PLANK: Material CD (BB 049CD) 17.00|
On their second album Material, originally released on Sky Records in 1981, Moebius & Plank ventured far, far away from the double coordinates of the Harmonia world and pop music cosmos. Amazingly, they did not find themselves floating in space, but made an exemplary landing, avoiding getting caught between a rock and a hard place. Material saw them generate a form of genre-busting electronic music, more radical than anything one might have expected to come out of Germany, not even from the likes of Cluster or Harmonia. Having said that, one should add that the album is in no way a copy of the new wave and industrial scenes that were enjoying such prominence at the time. Material is, in the best sense of the word, without style, that is to say, it cannot be aligned with any of the conventional styles available. On their two first albums, Moebius & Plank take up their place in a lengthy list of musicians and composers who, from roughly the end of the 1970s, gave up caring about which stylistic category their music might belong to, no longer looking upon experimentation as a strategy of reckless abandon, but as a perfectly normal course of action.
| || ROEDELIUS: The Diary Of The Unforgotten (Selbstportrait VI) CD (BB 052CD) 17.00|
The Diary Of The Unforgotten is a collection of recordings from the years 1972 to 1978 and was first released in 1990 (with different artwork). Between the years of 1972 and 1978, Hans-Joachium Roedelius and Dieter Moebius, later joined by Michael Rother, lived out on a country estate in the idyllic, diminutive settlement of Forst in the Weser Uplands. It was here that the Harmonia albums, legendary recordings with Brian Eno and various splendid Cluster albums were created. Both the house itself and the surrounding landscape held a magical fascination for Roedelius. The time he spent here was intense in every sense of the word. He translated his feelings and impressions into music, giving rise to the “self-portrait” series. His sixth self-portrait bears the title The Diary Of The Unforgotten and offers a compelling aural record of the Roedelius psyche of the period. For Roedelius, Selbstportrait VI, in particular the 24 minutes of the “Hommage À Forst” centerpiece, were like messages in a bottle, cast into the water in 1990 and now ready to be discovered on the different shores of 2010. Every track on the album is a distant echo from the Forst era. “Even today,” Roedelius writes in the original liner notes (1990), “these pieces retain the spirit and atmosphere of those days in Forst, where I learned so much about life.” The windswept character of Selbstportrait VI is underlined by the sporadically lo-fi quality of the recordings: Roedelius just let the tape machine run, without overdubs. In the booklet, Roedelius casts his mind back again to the detailed creation of the tracks and their relevance to his later works: “At the end of the day’s sessions, I would sit in our small, makeshift ground floor studio almost every night. With the window open in summer, I could hear the ducks quacking on the river, the horses snorting and the cows mooing on the meadows across the water, the wind rustling through the leaves of old elm and oak trees on the riverbank behind the house. This set the scene for my first self-portraits, as well as providing the basis for subsequent studio productions, and other compositions which, in a way, could also be seen as self-portraits.” In the booklet, Roedelius looks back on his time in the Weser Uplands, where the recordings were made. Also included is an appraisal by Asmus Tietchens.
| || OUGENWEIDE: Herzsprung CD (BB 053CD) 17.00|
Bureau B presents a new studio album from legendary German medieval prog-rock outfit Ougenweide. While countless Ougenweide epigones have sprung up out of the ground like mushrooms over the past decade, the originals took the same length of time to prepare their new work, entitled Herzsprung, a spectacular fusion of medieval lyricism and sounds of yore with folk and rock in their early form: and it all sound marvelous! The Hamburg formation, who originated in 1970, can look back proudly on 40 years of creativity, choosing this particular anniversary to gift themselves and their many fans, old and new. Positively overflowing with ideas, the music draws on the riches of several centuries and a variety of different European countries, played on unusual instruments by absolute masters of the craft. Alongside the more conventional instruments to be heard on Herzsprung are the rather less familiar Triton horn, kinsho koto, dutar, clavioline, monochord, launeddas, fiddle, nyckelharpa and Waldoline. On “Ein Leis Und Traurig Lied” (words by Maria Stuart, it is believed) one can even savor the aural delights of some of the fantastic musical instruments and sculptures of the French Baschet brothers, now collected in Hamburg’s Museum Für Kunst Und Gewerbe. The idea for this CD came about some ten years ago. Inspired by texts covering several centuries and various European countries, founding member Frank Wulff embarked on new compositions. Distracted and detained by other theatrical, cinematic and band commitments, there was little time available to work on the project together. Thus it took a whole decade for this fascinating acoustic spectrum to see the light of day.
| || MAIOVVI, ANTONI: The Thorns Of Love CD (CVAN 003CD) 14.50|
This is the third album by Berlin’s Anton Maiof aka Antoni Maiovvi. The Thorns Of Love is an ode to a broken heart that embraces Italian drama and euphoric fear. His music exists somewhere between Patrick Cowley’s Hi-NRG epics, Arthur Russell’s melancholic beauty and John Carpenter’s traumatizing soundtracks. Antoni Maiovvi is the name by which Anton Maiof unleashes his bastard offspring of disco and psychotronic horror, and here with The Thorns Of Love he has produced a deeply personal symphony to love lost and the sanctifying power of the dancefloor. Antoni Maiovvi is a nefarious creature of the night, a figure of twilight opulence and the love child of Evelyn Thomas and Lucio Fulci conceived in the lurid backrooms of the Boccaccio Club. The sweatbox is in his DNA, throbbing analog circuitry courses through his flesh like rivers of blood and where his heart once lived there is now only yearning for the alchemical marriage of sex, death and technology. From Naples to Frankfurt, he has stalked the dancefloors of Europe, planning this moment — and at last, in this compendium of unbridled fist-clenchers, his time has come. Now he will stop at nothing to bring his arpeggiated talisman down onto the souls of men, squeezing out that last breath of humanity in a pulsing, Dantean dance-macabre. The Thorns Of Love takes a unique, muscular and cerebral approach to electronic dance music, bringing together the Italo love explosion, spine-tingling Euro-horror and the melancholic proto-techno musings of early Model 500 and “Sharevari.” Maiovvi takes the helm of this noir-tinged Trojan horse, carving out a dancefloor machine with commanding synth-work, operatic drums and mind-bending atmospherics. As the album climaxes and the smoke pours across a crowded room, he steps out from the shadows and delivers his final eulogy to 20th century hedonism, preaching with the unhinged vocals of a coked-up Brian Ferry. Love may be the drug, but for Maiovvi, death can be the only future.
|CECILLE RECORDS (GERMANY)|
| || VA: 2Y Cécille: 2 Years Cécille Records 2CD (CEC2YC 001CD) 23.00|
In celebration of Cècille Records’ 2-year anniversary, label-heads Marc Scholl and Nick Curly present a round-up compilation. Cècille Records, founded in 2007, has released 26 12″s and one CD, helping to establish them as a minimal house and techno imprint of note in the Rhein Main area. The people responsible for the mix are, on the one hand, Nick Curly, who is not only one of the label-heads, but is also someone who has revitalized this scene through countless bookings from Mannheim, infecting and infiltrating the international club scene, and Markus Fix, long-time companion and label mate. Besides some well-known tunes from Cécille’s back catalog by Markus Fix, Anthea & Celler, Sebo K & Metro, Robert Dietz or SiS, there are also 15 new and unreleased tracks by Nick Curly, Markus Fix, Ilario Alicante and Premiseku aka Livio & Roby vs. George G., amongst others. The release will be accompanied by an extensive tour through the best clubs in Europe, among them the Fabric in London, the Goa Club in Rome, the Studio 80 in Bucharest and Berlin’s very own Panoramabar. Other artists include: DJ Sneak, Kreon, Daniel Kampf, Nima Gorji, Ray Okpara, Jacuzzi Boys, Marco Effe, Ethyl & Huxley, Affkt & Felipe Venegas, Leon, Lemos, Reboot, Andomat 3000, and Negru.
| || CONGO, DAVID: Fusions – Electroacoustic Music CD (CRC 3017CD) 17.00|
“Fusions , the principal work on this disc, started out as a five movement electronic music piece created on Multi track reel to reel tape. The original quadraphonic version was ‘scored’ for recorded piano and percussion as well as electronic sounds. Standard techniques using multiple tape decks were used to create the final master tape. Fusions has been revised several times to include more advanced electronic music technology. In addition to much of the original sound material, this version includes sampled acoustic string, woodwind and brass instruments. David Congo (b.1952) has written works for both acoustic & electroacoustic instruments for more than thirty years.”
|CIRCUS COMPANY (FRANCE)|
| || GUILLAUME & THE COUTU DUMONTS: Breaking The Fourth Wall 2×12″ (CCS 047EP) 20.00|
This 2×12” features extended mixes of the album tunes for those who’ll want to slip this hot number into party time. From dark-and-stormy basement jams to Ethiopian-tinged fantasias, from Afrobeat to ambient house, Breaking The Fourth Wall finds Guillaume venturing far beyond the limits of 4/4 boompty-boompty. Featuring Dynamike, the DJs will have plenty to keep them busy, between driving cuts like “Helicoptère” and “Walking The Pattern,” and a kind of dub cumbia on “Radio Novela.”
| || BEYER/BRIAN SANHAJI, ADAM: Antistius/Higgs 10″ (CLR 032EP) 12.00|
Adam Beyer presents a track for the CLR 10th anniversary label compilation called “Antistius.” The track on the B-side is by CLR artist and mastering engineer Brian Sanhaji. His contribution to the compilation is pretty phat. This one is called “Higgs,” and the head of the CLR label has already played all over the place, with amazing responses.
| || ROTHER, ANTHONY: Popkiller II CD (DTP 036CD) 17.00|
Frankfurt-based producer Anthony Rother presents Popkiller II, the follow-up to 2004’s Popkiller. After freeing himself from his last remaining existing constraints, Rother re-designed his website and turned Datapunk into an exclusive outlet for his own material. Where the musical journey will go in the future is revealed by “Big Boys,” a track in a rocky electro style that has already united the pop world with the club world in an innovative way with the Popkiller sound of 2004. And yet somehow, Rother manages to not only tie in the ten songs with the Popkiller spirit, but to also breathe new life into his aesthetic. The first song “Night” is already a link and constitutes the counterpoint to Popkiller’s predecessor “Day,” at the same time. Similarly, instrumentals such as “Cinema,” “Skyline” and “Gates” reflect Rother’s musical range from sci-fi to abstract techno in an exceptionally diverse way. However, what makes Popkiller 2 distinctive on the underground music scene are its vocal-centric themes such as “Rotation,” “Mother” (as a follow-up to the Popkiller hit “Father”) or the dramatic “Grab Your Life.” Practically vocoded unfiltered, Rother goes all out with his vocals once again and convinces with melodic tracks full of emotion, raw beauty and irrepressible energy. Completely self-determined and artistically concentrated once again, with Popkiller 2 we are the ear-witnesses to an Anthony Rother who once again produces music that is fully free.
| || IKENGA SUPER STARS OF AFRICA: Ikenga Super Stars Of Africa LP (DECCA 278155LP) 23.00|
Grey area exact repro of this hypnotic high life band, led by Vincent Okoroego, a member of Steven Osita Osadebe’s Nigeria Sound Makers. This LP includes the track “Soffry Soffry Catch Monkey,” which appeared on the 2005 Lagos Chop Up compilation released by Honest Jon’s. “Rare and sought after Afro-funk and Afro-beat album from Nigeria 1977, apparently only released in France.”
| || GRUB, BASTI: Me Sabe A Porro 12″ (DESOLAT 007X-EP) 12.00|
Basti Grub is a German producer and label owner from the vibrant Frankfurt area. His musical journey began at age 14 with a birthday present — a Roland MC303 — and it has shaped his musical vision day and night ever since. This is a nice collection of tracks, comprised of modern groovin’ house with influences from all over the place. Pressed on colored vinyl with fine artwork by Florian Pohl — sure to become a collector’s item. On translucent green-colored vinyl.
| || PHONIQUE: Our Time Our Chance 12″ (DES 096EP) 12.00|
Fresh from the Phonique LP, Kissing Strangers, this super-package is based around the spine-tingling moment of future-house, “Our Time Our Chance,” featuring the haunting vocals of Ian Whitelaw. Andre Lodemann is a name well-known in the current higher-ranks of the electronic house fraternity. His cool, reduced remix bubbles along with amazing atmospheric qualities, subbed-up bass and graceful use of the vocal.
| || EFDEMIN: Chicago CD (DIAL 021CD) 15.50|
After the huge success of his self-titled debut in 2007, Chicago is the second album by Berlin-based producer/DJ Efdemin. Chicago, the artist’s contribution to urban blues, contains 10 tracks as a result of Phillip Sollmann’s immersion into his own archives and experiences — may it be as a singer in a band years ago, composing theatre-music or playing as a DJ in clubs all over the globe. Each incarnation deals with various influences, although always expressing his unique sense for deepness and his love for dance music. There is jazz, there is house, there is techno and there are his instruments: cello, zither, drums, percussion, organ, synths, drum-machines and several small things like flutes and pipes. Besides techno itself, there are many important influences in Efdemin’s music, from different sources and other times — a cosmos of music that has followed him for a long time and influenced his drifting and melancholic approach to producing electronic dance music, be it the otherworldly music of Chicago-based Sun Ra, the minimalistic jazz/world-music-studies of Don Cherry, the enterprising tape music of Basil Kirchin or the microtonal instruments of Harry Partch. Is this a Chicago house record? No! But the Windy City was the starting point to blow the cosmos with such abstract, lovely music developed in a thousand directions. Arts, literature, architecture, jazz, American folk music, hip-hop, Chicago seems to be the source of reference for so many important movements crossing Efdemin’s work.
| || ROLL THE DICE: Roll The Dice CD (DIGI 055CD) 14.50|
CD edition, featuring two bonus tracks and revised artwork. Though this is the official debut recording from Swedish duo Roll The Dice, Malcolm Pardon and Peder Mannerfelt are certainly not strangers to the world of independent music. Mannerfelt has been producing records for years as The Subliminal Kid and also produces for and tours with Fever Ray while Pardon continuously composes for film and television. Having shared a studio in southern Stockholm for several years, they finally decided to join forces in something musical. Each of their sessions together started and ended in the same way. There were to be no pre-conceived ideas going in, but there had to be a completed track at the end of each day. These forced limitations led to a creative cloudburst, finding unexpected passages from beginning to end. Elements of early analog electronics bleed into hints of minimalists such as Terry Riley and Arvo Pärt. Repetition and understated progression engage the listener subtly. It may bring a piece of Basic Channel to mind, but it’s another beast entirely. Each track consists of only synths and piano. Nothing more. No computer processing. No drum machines — pure analog. The result is something warm and emotive. There may be a murky darkness underlying these tracks, something almost sinister, but there’s a streak of something comfortingly familiar running throughout. Two years after their first session together, they put the finishing touches on the record through the API desk at the legendary Gröndal studio in west Stockholm. It is music that etches itself into your mind like diamond on glass. Pardon and Mannerfelt operate with absolute precision, expressing raw emotions and ideas that are as flitting as they are unforgettable.
| || HAYASAKA & MASARU SATO, FUMIO: Akira Kurosawa’s Movie Soundtracks 1950-1958 4LP (DOY 002LP) 72.00|
“Doxy brings you this deluxe 4LP set of Akira Kurosawa’s most celebrated soundtracks in commemoration of the 100th anniversary of the birth of this great master of Japanese cinema! Akira Kurosawa’s films dominated Japanese cinema for nearly half a century and his influence has been so widespread and profound that the world’s best filmmakers seem to unanimously sing his praise. He first gained the attention of the international filmmaking community in 1951 when his masterpiece, Rashomon, won top prize at the Venice Film Festival. It was during this time that Kurosawa also began collaborating with the award-winning composer Fumio Hayasaka. The two great men soon formed a deep connection, with Kurosawa later commenting that Hayasaka caused him to see film music as a ‘counterpoint’ to the image instead of a mere ‘accompaniment’. Another promising young composer, Masaru Sat?, soon joined the ranks at Toho Studios, working under Hayasaka. However, when Hayasaka died suddenly in 1955, Sat? was left on his own to finish the unfinished film score. Kurosawa was so impressed with the results that he asked Sat? to score his next two films, Throne of Blood and The Hidden Fortress. Includes soundtracks to: Rashomon (1950), the dramatic Ikiru aka ‘To Live’ (1952), the epic Seven Samurai (1954), Record of A Living Being aka ‘I Live in Fear’ (1955), 1957’s much celebrated adaptation of Macbeth, Throne of Blood, and 1958’s The Hidden Fortress.” Deluxe 4-fold gatefold 4LP set.
| || VA: Angola Prisoners’ Blues LP (DOY 636LP) 21.00|
“In 1959, a young folklorist and musicologist, Harry Oster, traveled to the State Prison in Angola, Louisiana to collect folksongs. He made a number of field recordings while at the prison, but his biggest discovery was undoubtedly the Louisiana Blues Hall of Famer, Robert Pete Williams, a truly gifted musician and blues writer, who was serving a life sentence. Of the 9 songs on this album, four are by Williams, who sings heart-wrenchingly about prison life and being down and out. Thanks to Oster, Williams was eventually released from prison, and was able to have a fairly successful career as a bluesman in the ’60s and ’70s, appearing at the 1964 Newport Folk Festival and touring the US and Europe. The other musicians featured here, fellow inmates Robert ‘Guitar’ Welch and Matthew ‘Hogman’ Maxey, are both extremely gifted musicians, but in the words of Dr. Oster (who would go on to write the Penguin Guide to American Folklore in 2000), ‘they are primarily the heirs of a clearly defined and standardized blues tradition, rather than innovators.’ In any case, this is acoustic prison blues at its finest, and includes such detailed liner notes as well as an annotated track listing that it is equal parts musical and historical document.”
|EASTBLOK MUSIC (GERMANY)|
| || MARKSCHEIDER KUNST: Utopia CD (EBM 018CD) 17.00|
Markscheider Kunst is a Russian band with a German name that plays tropically hot music. Rather odd. Or maybe not. Translated as “Mine Surveyor,” as most band members were studying surveying when they met in the early ’90s, they are one of the most prominent bands in Russia today. Their concerts often run for up to three hours, and they’re on the road with at least eight, often 13 musicians all at one time. By touring and playing festivals all over Europe from Finland to Austria for the last 10 years, they have made a name for themselves and gathered a faithful following. BBC’s very own world music guru Charlie Gillet as well as Berlin’s Russendisko team around Wladimir Kaminer have been fans from the very beginning. Brothers in mind like Manu Chao and The Skatalites have asked Markscheider Kunst to open up for them. Their melodic, infectious, and most of all irresistibly danceable music effortlessly crosses borders and charms smiles onto everybody’s faces. On Utopia, their fifth album since 1997, they get everything right and capture all the sunniness of their live performances. Positive vibrations — that’s the key to Markscheider’s work. This is fuelled by Latin ska, cumbia jazz, reggae, rumba or Afrobeat as well as Russian folk melodies and Russian vocals. The brass section pumps while the Hawaii guitar opens the Buena Vista Russian Club. As Boris Grebenshchikov, Russia’s uber-musician and poet put it: Markscheider Kunst is the only band in Russia that plays happy music. As an ensemble they play in a virtuoso manner, but luckily this doesn’t come across as academic or stiff, but as passionate, humorous and almost punk. There is also the odd drop of Russian melancholy and longing in some songs, mixed in with diverse experiments: there is meringue, bossa nova, and even some gypsy jazz. This is timeless music that has transformed St. Petersburg into a land of surf and sun.
| || CV313: Infinit-1 12″ (ECHOSPACE 010-A) 12.50|
This is the second single culled from cv313’s 2CD album Dimensional Space, featuring two versions of “Infinit-1.” Recorded in a live session of over 2 hours, “Infinit-1” refers to an infinite state of being. This project was based on an experiment using a hybrid form of discrete summation to create a new hybrid of both “waveshaping” and “subtractive”-based synthesis (“carriershaping”) currently being developed for mass consumption. Features the first remix ever from Stephan Laubner (STL) in one of his deepest moments.
|EDITIONS MEGO (AUSTRIA)|
| || EMERALDS: Does It Look Like I’m Here? CD (EMEGO 101CD) 15.50|
This is the third official album by Emeralds (after Solar Bridge on Hanson, and the self-titled LP on their own Wagon and Gneiss Things imprints, as well as countless small edition tapes and CD-Rs on a host of labels) and once again, it presents another radical new direction for this Cleveland trio. It sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrids as well as a great deal of guitar synthesizers, not to mention fine-tuning their skills as brilliant tunesmiths. Simply put, the results are outstanding. Comprising of a number of tracks from their ultra-limited 7″ vinyl series on Wagon, as well as new compositions exclusive to this release, this fine selection of tunes surpasses anything they have achieved in their 5-year career. Perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. Although most tracks cover new ground in that they follow a shortened “pop format,” more long-form cuts such as the towering “Genetic” and the title track will give fans of their earlier work something to grab onto, or totally let themselves go, depending on their state of mind. Having spent all their lives in the relative isolation of Cleveland means their music has developed into a vital, stunning unique hybrid that may not have been able to blossom in more active urban centers. Does It Look Like I’m Here? heralds a turning point for all those involved and is a perfect, vivid soundtrack to emerge out of a harsh, grey winter. Fresh, shiny and totally essential.
| || LAZY MOUTH: Affections EP 12″ (EINMAL 055EP) 12.00|
The Lazy Mouth project, brought to life by Jean-Daniel Tömör & Thomas Tietz, primarily wants to express a passion for electronic music culture and to present it in its multiple facets, making it accessible to a wide public. Mainly performing as a live-act in the club scene, these two guys excite their audience with a fresh, funky, experimental sound.
| || DOUMBIA, MOUSSA: Keleya LP (EMI 15956LP) 23.00|
Grey area exact repro featuring the 10 minute version of “Keleya” (an abbreviated version appeared on Luaka Bop’s Love’s A Real Thing compilation), along with “Papa,” “Femme Senegal” and “Mariage.” “Killer psychedelic Afro-funk from Mali with four long dancefloor bombs. Originally released on EMI-Pathe, France, in 1977.”
|EQ RECORDINGS (AUSTRALIA)|
| || AGORIA: Balance 016 – EP1 12″ (EQG 291EP) 12.00|
Here are some exclusive tracks taken from the Balance 016 compilation mixed by Agoria. The Same is a Polish duo who won a competition on Soundcloud for fresh tracks — they are the winners amongst more than 1,000 submissions. Oxia is a long-time friend of Agoria’s, and “Less Time” is a true jewel. Jozif’s track fit perfectly in the Balance mix, and Kid A is someone who you are likely to hear more of in the future with her amazing vocals.
|ERASED TAPES (UK)|
| || ARNALDS, OLAFUR: …And They Have Escaped The Weight Of Darkness CD (ERATP 022CD) 15.50|
Ólafur Arnalds’ highly-anticipated second full-length album …And They Have Escaped The Weight Of Darkness continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate, classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Barði Jóhannsson of eccentric pop/rock/electronica-formation Bang Gang. Barði has successfully colored the brittle minimalism of previous releases through the addition of an array of new instruments. Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly-orchestrated work of his career. When Ólafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film’s introductory monologue. Born in the suburban Icelandic town of Mosfellsbær, a few kilometers outside of Reykjavík, the composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Several of these pieces were written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road. On the other hand, it is the result of meticulous studio work, of refining compositions in close co-operation with compatriot Barði Johannsson, known for his eccentric personality and unique electro-acoustic sound. The enthusiasm translates to arrangements displaying a new sense of sonic diversity. Ólafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, …And They Have Escaped The Weight Of Darkness makes use of diverse instrumentation — drums, guitars, voice, Rhodes, a selection of subtle synthesizers, alongside Arnalds’ trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind. Arnalds’ fusion of 21st-century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.
| || ADVERTS, THE: Cast Of Thousands 2CD (FIRE 144CD) 21.00|
The ultimate reissue and part of the Fire Embers series. Deluxe mini-gatefold CD sleeve. 2005 2CD set now re-issued with a new catalog number. Now famously recorded with Mike Oldfield associate Tom Newman at the controls, the second album by legendary British punk rockers The Adverts, released in 1979, was never going to be just another punk album. Although the group’s live performance remained as fiery as ever, T.V. Smith was opening their sound to all manner of influences, including augmenting the line-up with keyboards — Richard Strange handled synth on what would become the new album’s title track, before Newman introduced another Oldfield sideman, Tim Cross. His flourishes and textures would come to dominate the record (he appears on all but two songs), adding to the alien environment that was the new, ambitiously-arranged world of The Adverts. It was not an album that was to win The Adverts many friends, but it probably wasn’t meant to. A flagrant departure from even the most extreme expectations, Cast Of Thousands not only cast the band adrift from the new wave mainstream, but it would also alienate all but the most adaptable of the band’s following. Live, the new songs had blended effortlessly into their surroundings, adapting so many of the characteristics of the older numbers that one could almost believe they were seeking defensive camouflage. Once in the studio, however, The Adverts dispensed with every last vestige of familiarity, treating each song as if it were a completely new piece, and not, as in the case of “Male Assault,” the oldest song in sight, something which they’d dragged along to every gig they’d done for the past 18 months. And, overall, it worked, although The Adverts themselves would not stick around to reap its rewards. Barely was the album in the stores than the band broke up, leaving Cast Of Thousands alone to be battered by the brickbats of misunderstanding critics — not until its CD reissue, a full 19 years later, was the album perceived as the heroic and, in places, precognitive effort that it was, a window opening into the extremes (and, occasionally, excesses) of the 1980s new wave, and doing so with such effectiveness that the bonus tracks, drawn from the band’s period singles, sound absolutely old-fashioned by comparison.
| || PASTELS, THE: A Truckload Of Trouble: 1986-1993 CD (SFIRE 003CD) 14.50|
2010 repress. Collecting most of the singles The Pastels released on Fire, A Truckload Of Trouble: 1986-1993 is a fine introduction to any newcomer and a vital piece of any fan’s collection. These songs see the Scottish indie originators at their shambolic best, whining guitars blazing and ringing, alternating slurred and dreamy vocals punctuating the finest-ever C-86 tunes, and blending pop and punk in the most aesthetically sublime way. Throughout the album’s running time, one can’t help but marvel about the sheer number of bands these songs inspired, and repeat listens make it obvious that The Pastels were a stepping stone between so many great bands and styles. In bottling up and mixing potent influences like The Fall, The Ramones, The Smiths, and The Velvet Underground, they opened the door for further experimentation by offspring such as Yo La Tengo, My Bloody Valentine, Magnetic Fields, Built To Spill, Beat Happening, and Belle & Sebastian. “As steeped in the classics and as inspirational as these songs are, their most glaring attribute is just how catchy, raw, and invigorating they are. Though it covers periods of major line-up changes and rampant stylistic shifts, Truckload Of Trouble is a cohesive listen from start to finish and a vital portrait of a band marching to the beat of different drum.” –All Music Guide
| || BIRCHALL, NAT: Guiding Spirit CD (GOND 004CD) 14.50|
This is the second album by UK saxophonist Nat Birchall on Gondwana Records. Birchall has always been something of an enigma, a sublimely soulful saxophonist hidden from view in the Northern hills. His debut album Sixth Sense (1998) first announced him to the jazz world as an urgent tenor saxophonist with a feel for pulsing, modal hard-bop. But it was his cult hit and now highly sought-after soulful slice of spiritual jazz Akhenaten (GOND 002CD) that suggested that the spirit of Coltrane was alive and well in Northern England. Acclaimed by the critics (MOJO for one hailing its “spacial sunship beauty” and “lyrical heat haze hypnotism”) Akhenaten, together with Halsall’s own releases Sending My Love and Colour Yes helped create the unique sound that the Independent On Sunday described as “rain soaked spiritual jazz from Manchester.” Inspired by the legendary Jamaican jazz-influenced saxophonists Cedric Brooks and Tommy McCook, and by lessons with an enigmatic local player, Harold Salisbury, he began by playing with various bands including Akay Temiz’s Zaman. Birchall led a hip-hop-influenced jazz band Corner Crew in the early ’90s and started to make a name for himself on the local scene but felt unsatisfied with the music, despite some encouragement from the legendary record producer Tony Hall (Dizzy Reece, Tubby Hayes). Meeting trumpeter Matthew Halsall and a group of like-minded players (including pianist Adam Fairhall, bassist Gavin Barras and drummer Gaz Hughes) gathered around Matt & Phreds in Manchester proved an inspiration. Guiding Spirit opens with “Open Up The Gates,” invoking the idea of huge ancient gates being opened to allow the procession through but with a subtext of acceptance and recognition. “Keep The Light Shining” is a sunny tune, while “Higher Regions” has something of a McCoy Tyner vibe and features harpist Rachael Gladwin on kora. “Going To The Mountain” is inspired by a simple phrase that Birchall heard Pharoah Sanders play which has an eastern feel. The uptempo “Becoming” is named for something Duke Ellington once said, that he liked to have his music always “in a state of becoming” and is enhanced by Fairhall’s luminous solo. Finally the rubato “Guiding Spirit” hints at the hidden forces or unconscious decisions that for Birchall drive both life and his own deeply-felt music.
| || DEETRON: Collide 12″ (GR 011EP) 12.00|
This is Deetron’s debut release for Green. Whether it’s creating the deepest and most soulful of house, or the grandest of emotional techno, Deetron’s ability to craft exquisite, timeless pieces is second-to-none. On “Collide,” Deetron’s Detroit spirit is evident through the power held in its euphoric synth arpeggio, which builds constantly to its climax. “Dark Matter” is a bass-heavy, almost steppin’ affair, with a darker atmosphere that is brightened temporarily by the lush pads in the break.
|HEAVENLY SWEETNESS (FRANCE)|
| || VA: Heavenly Sweetness Label Compilation # 1 2CD (HS 028CD) 23.50|
Finally a CD compilation from the Parisian jazz outfit Heavenly Sweetness! The musical family that is Heavenly Sweetness is made up of both unjustly neglected artists and fresh talents who are at the beginning of their careers. At a time when music is dominated by technology, the label has decided for artistic reasons to return to the conditions in which music was recorded in the ’60s, which means recording a track in a single take without any overdubs (or almost). This is not out of nostalgia but rather to preserve the intensity and authenticity of a track when it is played for the first time. The first take is synonymous with music that is rough, candid and honest, the flaws only adding to its emotional impact, but it offers complete freedom of expression to the musicians. This compilation is the opportunity to bring together tracks that have been released on various different media — on vinyl, CD and digital, some of which are no longer in circulation. The label has used the same concept as their famous 45 rpm singles with one side containing jazz tracks from albums and singles by the label’s artists (CD1) and the other with remixes and covers, for which the label has asked other artists to play new versions of tracks from their catalog (CD2). The two CDs are very different from each other, but they share a common spirit, a musical quality that will give you the same pleasure with which they were recorded. Package includes a fold-out poster of select album covers as well as extensive liner notes. Artists include:The Thunderbird Service, The John Betsch Society, The Rongetz Foundation, Byard Lancaster, Robert Aaron, Doug Hammond, Anne Wirz, Don Cherry & Latif Khan, Anthony Joseph & The Spasm, Abdul Rahim Ibrahim, Monnette Sudler, Sunil Dev, Professor Inlassable, Four Tet, Carlos Niño, Fulgeance, Kidkanevil, Chin Chin, Blackjoy, Patchworks, Blundetto, and Chickenwing All Stars.
|HISTORY ALWAYS FAVOURS THE WINNERS (UK)|
| || CARETAKER, THE: Persistent Repetition Of Phrases CD (HAFTW 003CD) 16.50|
Having already been chosen as one of The Wire magazine’s top 10 albums of 2008, as well as featuring on numerous “end-of year” charts, The Caretaker’s highly-acclaimed Persistent Repetition Of Phrases is finally made available on CD again — this time on The Caretaker’s own History Always Favours The Winners label. James Kirby’s work as The Caretaker has always dealt with the suggestion of haunted memory and the obscuring of temporal motion, and this album makes that more explicit than ever, with titles that reference amnesia, Alzheimer’s, past life regression and other such memory misfires and short circuits. Musically, this album might be compared to Philip Jeck’s manipulated vinyl tracts, featuring similarly oceanic swells of crackle and dust, with faded pianos or big band sounds wafting wraith-like across the mix. After conjuring the sinister atmospherics of The Shining with his debut album Selected Memories From The Haunted Ballroom, The Caretaker has been chasing this idea of sound leaving its indelible mark on a space and time, so consequently these creepy, semi-dissolved musical passages sound no more tangible than shadows, and the album for the most part comes across as some sort of séance held via wax cylinder.
| || CADIZ, ALDO: She Moved/Yemaya 12″ (HOEHE 015EP) 12.00|
Another house-bomb arrives with Aldo Cadiz. Played and supported by Luciano, Loco Dice, Nick Curly, SIS, Johnny D, and many, many more.
|HONEST JON’S RECORDS (UK)|
| || ACTRESS: Splazsh CD (HJR 049CD) 17.00|
This is the eagerly?awaited second album by Werk Discs founder and controller Darren Cunningham. Splazsh is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville (WERK 005CD). Determinedly off?the?map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations alongside Theo Parrish, Anthony “Shake” Shakir, Daft Punk, “binary codes and numeral systems,” and The Avengers. He’s a hard man to pin down — somehow a key player in the post?dubstep diaspora and yet not there at all — but everything comes across in his shape?shifting, richly-textured music. The South Londoner’s acclaimed debut lived up to its name: a series of dream-like sketches and ideas. For Splazsh, the fog has lifted, the sounds are less submerged than before, but still sticky and close — a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal clichés of the dance music he loves, Actress’ melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like “Get Ohn” and “Lost.” A range of musical influences is redrawn, from speed-garage to grime, with none crowned king. There is a reflectiveness — the ambient drift of “Futureproofing,” the radiophonic judder of “Supreme Cunnilingus” — in amongst the industrial, synth?wave flavors of “Casanova,” and the stirring, stately “Maze.” Actress has quickly and justly become one of the most respected names in the UK’s new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste?making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress — a substantial and eccentric work from a brave and coolly individual artist.
| || PEOPLE LIKE US & WOBBLY: Music For The Fire CD (IA 121CD) 15.00|
“A plunderphonic concept album depicting the lifespan of a relationship, as told through samples of hundreds of different songs & voices who had no idea they were all telling the same store until they were all spliced together. A bedtime store that is wildly inappropriate for children. No reliable narrators, just the familiar & absurd, which on different spins of the disc might strike you as either maudlin, poignant or almost painfully hilarious.”
| || AUFGANG: Aufgang CD (IF 1006CD) 15.50|
This is the first album by France’s Aufgang on the InFiné label. Rami Khalifé and Francesco Tristano met in the year 2000 in New York where they were both studying the piano at the very prestigious Julliard School. Being almost as assiduous in their clubbing as in their studies, the two began a passionate affair with electronic music commensurate with their classical training, focusing on house music. Things started shaping up in 2001 when Aymeric Westrich, a musician (former drummer) from the same school as Rami, went to New York and, guided by his two friends, immersed himself in electronic music. Thus the three boys sealed their union under the auspices of a common attraction for limitless experimentation. Aufgang’s official date of birth is June 2005 when they played at Barcelona’s famous Sónar Festival. Fired-up by this initial show, Francesco, Rami and Aymeric concentrated on structuring their songs and forging an original language, at the crossroads of acoustic and electronic. Their music is fuelled by different influences and nourished by an impetuous flow of improvisation. It absolutely refuses to be labeled: it wants above all to vibrate and move people. By using pianos like machines and confronting them with other machines, starting with the drums, Aufgang manages to generate a music that is as surprising as it is powerful. This music is deeply organic and reveals itself fully on stage where it can create chaos. Listening to Aufgang collectively or individually, on a dancefloor or in a living room is an ever-evolving experience: a track can go through many different stages, having many different layers. Once it has been recorded and pressed, it continues to live and breathe.
|INTERNATIONAL DEEJAY GIGOLO (GERMANY)|
| || SKWERL: Best I Can Do 12″ (GIGOLO 272EP) 12.00|
Skwerl’s “Best I Can Do” features Paul Randolph on vocals, and it was inspired by an enduring passion for Chicago/Detroit old school house. The genesis for this track can almost be traced to the first time Skwerl heard Paul Randolph on Carl Craig’s cover of The Stylistics’ “People Make The World Go Round.” Mr. Randolph is a vocalist who delivers from within the deepest, realest and most honest corners of a man’s soul.
|INTERNATIONAL FEEL (URUGUAY)|
| || MAXXI AND ZEUS: The Struggle/The Cell 12″ (IFEEL 005EP) 12.00|
Whether it’s as Radio Slave, owner of Rekids, purveyor of fine and rare vinyl and a digger’s digger, or together as Quiet Village, Matt Edwards and Joel Martin are serious music heads. On their first release for International Feel, their deep-rooted musicality shines through with soundtrack-inspired themes bursting with emotional content. Joel & Matt see “The Cell” and “The Struggle” take it to the next level, focusing on beautifully-constructed music to tug at your soul and alter your reality.
|INTERNATIONAL FREAKSHOW (GERMANY)|
| || LEON: Stars 12″ (IF 019EP) 12.00|
Italy’s Leon is a producer that is helping to re-invent the house sound. His tracks are getting support from all the major players right now: Steve Lawler, Luciano, Carol Cox, M.A.N.D.Y., Loco Dice, Ricardo Villalobos, Tiefschwarz, and many more. Leon delivers insane, heavy house tracks on this 12″ that is sure to be played throughout the summer. Includes a remix of “Stars” by Yousef.
|KARAOKE KALK (GERMANY)|
| || TOOG: Goto CD (KK 053CD) 15.50|
This is the second album on Karaoke Kalk for French musician, poet, blogger and director, Toog. He started his musical career in 1999 when he met the widely-venerated Scottish singer/songwriter Momus. They went on an extensive tour together, playing almost 150 shows. In 2004, Toog released his album Lou Etendue on Karaoke Kalk together with Italian actress and director Asia Argento. Goto is a collection of musical ideas, references, nostalgia and gags — background noise with coarse exaggerations, where madness and graceful levity go hand-in-hand. Whistles and explicit statements try a balancing act between humor and serious contemplation. A musical diary, reflecting memorable encounters, experiences and oddities. Toog is helped on some tracks by David Fenech and Fashion Flesh, who the artist admired for his work with Matmos, Cornelius and Momus. The artist’s wife Florence Manlik, who designed the cover, can also be heard on some songs. As Toog himself explains, “Goto is narrative, meditative. It’s travel with an electronic donkey, where the fern tree line at the top of the mountains is nothing but a miniature. Slow is how my heart beats: 56 bpm.”
| || MAYER, MICHAEL: Immer 3 CD (KOMP 083CD) 14.50|
Kompakt presents the third volume in Michael Mayer’s highly-respected Immer (trans. “Always”) mix compilation series — a mix CD that bridges a timeless period of emerging music from producers known and new in exemplary style and fusion. The Immer series has made countless best of decade charts normally reserved for studio albums (including Pitchfork and FACT Magazine) plus earning a #1 position of “Best Mix CD Of The 00s” in leading dance music authority Resident Advisor. Immer 3 is a tremendously personal and reflective mix. Opting not for the most current and hip genres or tracks of the moment, Meyer carefully chose timeless musical moments from his record crate that almost hints as a call to obliterate the current state of overhyped minimal bongo house, formulaic techno and dub step that rules the clubs today, as was similarly the case back with the first Immer release. The results reflect the smooth flow and selection that Michael brings to his fans in clubs week after week. Immer 3 opens with the haunting croon of Cortney Tidwell aided by the lush bed of Ewan Pearson’s ambient fluidity. Matias Aguayo & Dirk Leyer’s now-legendary alias as Closer Musik and their track “Departures” is awoken from its 2002 slumber in timeless form, giving sway to the mesmerizing trippiness of DJ Koze’s remix of Ben Watt. Tim Paris and the fundamental classic Smith N Hack track “Falling Stars” sets the pace with a solidified summer house tune to lead in to Raudive’s sinister stormer “Slave.” Gui Boratto presents his remix for Massive Attack which takes vocalist Hope Sandoval to insatiable levels of sonic bliss and thus makes for a pivotal part of the mix. Popnoname makes his Kompakt Pop debut with the Terranova remix of his hit “Hello Gorgeous.” Finally, after 3 years of waiting, the sleeping beauty that is Superpitcher’s lost Charlotte Gainsbourg remix makes its official debut appearance. The classic flair of Superpitcher’s sexy techno sway conjoins with Madame Gainsbourg in a duet like no other. It’s possibly one of the most bizarre DJ transitions in music ever, but amazingly, South Africa’s Culoe De Song’s emotionally-overwhelming anthem “The Bright Forest” makes total sense when linked with Justus Köhnke aka Kinky Justice’s cover of the Round Two house classic “New Day.” So there you have it, Immer 3: elegant, personal, enriching and as always, seductive.
|LA MUSIQUE FAIT LA FORCE (FRANCE)|
| || VA: Solid Sounds Sampler 12″ (LMFLF 029EP) 13.00|
Another sampler from this French label. Tracklist: A1. Larry Tee feat. Roxy Cottontail – Let’s Make Nasty (Afrojack Remix) A2. Reboot – Enjoy Music B1. Steve Aoki Feat. Zuper Blahq – I’m In The House (Sharam Love Fest Mix) B2. Tomcraft & Tim Healey Feat. DJ Assault – Real Smooth (Krafty Kuts Remix)
|LABORATORY INSTINCT (GERMANY)|
| || A GUY CALLED GERALD: Tronic Jazz: The Berlin Sessions CD (LI 017CD) 17.00|
A Guy Called Gerald has spent the last couple of years flitting through shadows, turning up on labels like Perlon, Beatstreet and Sender like a peripatetic prophet of the Berlin underground, seeding the scene with cryptic singles that return to the past to suggest alternate futures. Now he returns to Berlin’s Laboratory Instinct label with the follow-up to 2006’s Proto Acid: The Berlin Sessions (LI 011CD/LP). Tronic Jazz: The Berlin Sessions builds upon the foundation established by its predecessor to create an even more powerful statement of intent, one that communicates more persuasively than ever Gerald’s vision for techno. Where Proto Acid offered a seamless mix of 24 cuts, recorded in one epic session, Tronic Jazz collects 13 stand-alone tracks. That’s welcome news to DJs. But there’s something else: freed from the flow of the mix, the tracks go deeper into themselves, even while contributing to the overall shape of the album as a single, coherent form. They’re more varied in tone and mood, and even tempo. While Proto Acid was, by definition, a track-y affair, a kind of puzzle comprised of interlocking pieces, Tronic Jazz stretches out to explore its ideas in greater detail and greater depth. Nothing overstays its welcome: Gerald is a master of concision, and he manages to express everything he needs in five-minute chunks — inside which time stops still, arrested by the interplay of deftly-programmed machine rhythms, carefully arranged chord progressions, and a masterfully intuitive sense of sound design. Like Proto Acid, Tronic Jazz is an extension of a life spent listening closely to machines, knowing exactly what knob to tweak at exactly the right instant. It represents a feedback loop through the artist and his circuitry — a spontaneous journey though the miles of silicon in his vintage boxes. You could call Tronic Jazz’s sound classic: its Spartan drum machines, analog synthesizers and carefully-sculpted funk are all modeled after a blueprint laid down decades ago in Chicago and Detroit. Cutting a glissando lead through a field of drum shrapnel, like some kind of pixie earthmover, or rubbing two bass lines up against each other til they throw off sparks. This stuff is wide-eyed and full of life. When it funks, it funks hard, and when it smoothes out, it can be as intimate as a hand-written note left on a lover’s pillow.
| || CHOI, JIN: You’re No Good 10″ (LILTD 002EP) 12.00|
“Grey-coloured 10″! Lessizmore kick off 2010 with Jin Choi’s follow up to the Carnivores EP. His music is supposed to touch emotionally and to move the head and the body as well. This double A is the favorite of Ahmet Sisman, Agoria and Anthony Collins.”
|LIGHT IN THE ATTIC|
| || KRISTOFFERSON, KRIS: Please Don’t Tell Me How The Story Ends 2LP (LITA 050LP) 28.00|
Deluxe gatefold 2LP version on 180 gram vinyl. Subtitled: The Publishing Demos 1968-72. “After 7 years in the ever-changing, ever-challenging music business and with 49 titles under their belt — ranging from French provocateur #1 Serge Gainsbourg to Detroit psych soul master Sixto Rodriguez — how does Light In The Attic celebrate its 50th release? By bringing you their pinnacle album to date. Over 5 years in the making, and with the attention to detail and elaborate packaging the label is known for, LITA 050 is none other than the never-before-released 1968-1972 demos of Texas-born Renaissance man and maverick songwriting pioneer, Kris Kristofferson. With the outlaw Highwayman’s full blessing, Light In The Attic is proud and honored to present Kristofferson’s honest and upfront formative takes on the tunes that would eventually become part of the great American songbook. Since penning these numbers (many of which were written during the mid-to-late 60s while working as a janitor for Columbia Records in Nashville), over 500 artists including patron saint Johnny Cash, one-time lover Janis Joplin, and co-actor Bob Dylan (to name but three), have covered Kristofferson’s material. While we shouldn’t forget his vast commercial accomplishments as an award-winning recording artist and actor in more than 70 films (working under master directors like Martin Scorsese and Sam Peckinpah), it’s these soul-stirring demos that laid the groundwork for his rough and tumble creative journey. Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72 features comprehensive liner notes by Michael Simmons (MOJO, LA Weekly), including interviews with Kristofferson, the musicians, and other related-folks from these landmark sessions. This double LP gatefold release features 180-gram wax and an 8-page insert, with hand-written lyrics, track by track notes from Kris, unseen photos, archival material, and liner notes by Dennis Hopper and Merle Haggard.” Limited, numbered edition of 2000 copies.
| || AKENDENGUE, PIERRE: Verité d’Afrique CD (LUSA 562252) 19.00|
“Verité d’Afrique is the nineteenth album of Pierre Akendengué’s long and distinguished career. Released in Europe in 2008, the album was partly recorded in a shanty town in Libreville, Gabon and the remaining tracks were finished up in Paris, in the Lusafrica studios. While continuing to mine a traditional African vein, Akendengué also branches out in new musical directions, working with Cape Verdean producer Nado Andrade (best known for his role as pianist and musical director to Cesaria Evora), and even delving into reggae. However to please his fans, Akendengué also slips in an old favorite, ‘Considérable,’ amongst his new material. Originally written in 1972, the song’s lyrics about pan-African unity remain as topical as ever.”
| || MONOBOX: Realm EP 12″ (MPM 007EP) 12.00|
Robert Hood continues his “Perpetual Masters” series with classic re-releases. This time, it’s the first-ever Monobox release Realm, originally released in 1996 on M-Plant.
| || COLOGNE TAPE: Render 12″ (MAGAZINE 001EP) 14.00|
Hotly-buzzed super-group: Cologne Tape are Ada, Axel Willner (The Field), Jörg Burger (Modernist, Burger & Voigt), Philipp Janzen (Von Spar), John Stanier (Battles), Jens-Uwe Beyer (Popnoname), John Harten and Daniel Ansorge, as well as other friends from the label’s entourage like Mario Katz, Michael Heydebereck and Volker Pannes (Deepulse). When listening to the mini-album Render, Cologne Tape can sound like Heldon, Soft Machine, Emtidi, Human Resource, etc., all together, or completely different. And this is only the beginning. Limited, numbered edition of 300.
| || LOCO & JAM: Roundhouse 12″ (MBELEK 059EP) 12.00|
Loco & Jam are Northern Ireland techno duo Lloyd Reid and James Peoples who have been getting massive support from DJs including Dubfire, Marco Bailey, Richie Hawtin, Adam Beyer and Carl Cox. “Roundhouse” builds up slow with a nice, deep bass but turns into a big-room techno track. The remix of “Roundhouse” by Ascion & D. Carbone has a nice groove and will fit in a variety of record-bags. Finally, the uplifting “3D Symphony” is a peak-time techno destroyer.
| || CORMAC: Merlin 12″ (MEMO 010EP) 12.00|
Cormac’s DJ skills have become legendary over in the UK, and he has taken these talents on tour to almost all the world’s best known clubs. These tracks are contrasting yet coherent, and 100% dancefloor compatible. “Merlin” is a straight-up stomper featuring Deepgroove, with a banging beat and hefty bass. It rumbles along at mid-tempo, but has some serious drive behind it. “Wait” juggles a subtle, melancholy piano line with some implied house accents. Also includes a remix by Thomas Muller.
| || FNS: FNS CD (MIA 012CD) 14.50|
The latest addition to the Miasmah roster is Oslo-based musician FNS aka Fredrik Ness Sevendal. A veteran of the Oslo experimental scene, Sevendal has been associated with several bands over the years: DEL, Slowburn and Kobi. Additionally, his previous work has involved collaborations with Makoto Kawabata (Acid Mothers Temple), Mitsuru Tabata (Zeni Geva, Marble Sheep), Mark Francombe (ex-Cranes guitarist), and Bill Wood (1/3 Octave Band). For his Miasmah debut, FNS treats the listener to a spectacular excursion into the world of psych-folk instrumentals, with a collection of semi-improvised multi-layered pieces, primarily for acoustic and electric guitar and voice. These lo-fi home recordings capture a sense of astral travel, though explorations into drone, raga-styled melodies and layers of guitar feedback. The immediate allure of FNS’ spectral sound is in the understated nature of the performances — it recalls the magnetic interplay between Tom & Christina Carter’s work in Charalambides, the playful free noise of Sunburned Hand Of The Man, the ethereal blues of Loren Connors, and a variety of subtle but undeniable influences from the ’70s progressive UK folk scene. FNS’ sound is a sorrowful sound — a death-fuzz, a hazy, wailing wall of cavernous guitars, doom freak-out and swirling psychedelia, melded into one then drowned in echo and haze. FNS fires forth cosmic transmissions for the mind and spirit — the result is nothing short of an aural treat. Audio mastered by Helge Sten aka Deathprod.
|MILLE PLATEAUX (GERMANY)|
| || VA: Clicksandcuts: Five (Paradigm Shift) CD (MP 300CD) 17.00|
Volume 5 of the legendary Clicks & Cuts series. The influential electronic label Mille Plateaux kickstarts its newest chapter with its flagship: a new edition of the legendary Clicks & Cuts compilation series, that in fact, named its own genre. Volume 5 (subtitled Paradigm Shift) features a totally new generation of young artists giving a 360-degree view on fresh glitch sounds: from minimal clicks to IDM-/dub-ish tracks via ambient and sound art to the two Evac tracks going to art-core and organic extremes. Each song has its own distinct character, and with a significantly higher amount in melodic and compository details than its predecessors, this is probably the most musically-substantial Clicks & Cuts compilation ever. Other artists include: Scattertape, Aoki Takamasa, Wyatt Keusch, Loom, Ametsub, kiyo, Marow, Manathol, Kabutogani, Nicolaus, Sifa Dias, Flive, Gultskra & Artikler, Yu Miyashita, and Alinoe.
| || KABUTOGANI: Bektop CD (MP 303CD) 17.00|
The fourth album by French producer Kabutogani is his most conceptual to-date. Made entirely of mostly rhythmic glitch sounds (aka Clicks & Cuts), the album still has traces of melodies or tones — unlike many other minimal glitch productions. The cold, dry and noisy sound transports an almost morbid atmosphere. Experimental electronic music is seldomly so full of feelings — rather inconvenient ones, but feelings nevertheless. This is what makes this album special.
| || USHER, AL: Hilversum 12″ (MIS 003EP) 12.00|
Misericord presents more off-kilter missives for the back-room. First up is the welcome return of Al Usher at his most gorgeous, re-contextualizing an old Deutsche Neue Welle melody and weaving it into an intricate piece of post-Balearic loveliness. John Talabot’s “Wilderness Mix” is an absolute stormer — he chops and loops Al’s original, transforming it into an anthemic mid-tempo piano and percussion workout with an ecstatic breakdown. Features on Ewan Pearson’s We Are Proud Of Our Choices mix (KOMP 078CD).
|MO’S FERRY (GERMANY)|
| || DAPAYK SOLO: Decade One (2000-2010) 2LP (MFP 050LP) 20.00|
Gatefold 2LP version featuring 8 tracks from the 2CD release. This is the third full-length release from Dapayk Solo (Niklas Worgt) on Mo’s Ferry. Dapayk has been a producer and live act to be reckoned with for the last ten years. Starting in comfortable Thuringia, the Berlin-based musician can now look back on a decade of his work. With this album, Dapayk takes a stronger approach to jazz and classic film score influences, which already played an important role on his previous album Devil’s House (MFP 039CD). Tracklist: A1. Dapayk Solo – All Eyes On You; A2. Dapayk Solo – So High The Moon 2010; B1. Dapayk Solo – Back To Me (feat. Camara & Jon Hester); B2. Dapayk Solo – Kelly (feat. Jon Hester); C1. Dapayk & Padberg – Teapot (Oliver Koletzki Rmx); C2. Dapayk & Padberg – Island feat. Caro (Florian Meindl Rmx); D1. Dapayk & Padberg – Sugar (Pan Pot Rmx); D2. Dapayk Solo – Right Here With Me (Heinrichs & Hirtenfellner Rmx).
| || VA: Timeless 3DVD BOX (MO 004DVD) 41.00|
“Timeless describes moments outside of time – moments that exist so deep inside history that they break through that finite grid. Timeless: The Composer/Arranger Series is an homage to the composer and arrangers that have influenced hip-hop in the most literal and profound ways. The creative center of popular music today is the beatmaker/ producer. Whether it is Timbaland, Dilla, Dre, or Madlib, these musicians have an uncanny sense for voicings, a penchant for unusual sounds and catchy rhythms and a magical ability to manufacture a good performance. Today’s beatmakers are the direct descendants of yesterday’s composer-arrangers. Their processes -whether it be writing a memorable line for background singers or finding the appropriate moment for a baritone harmonica – mirror those of today’s musicians. The composer/arranger creates music through the frame of the bigger picture, often more concerned with how things sound together than individually. Similarly today’s beatmakers produce music on a grand scale, but through automation and sampling. Timeless brings these two seemingly unlike worlds together. The series honors the musical legacies of some of the greatest composers and arrangers ever. Timeless celebrates the work in the context it should be seen — with full orchestras. From Mulatu Astatke to J.Dilla to Arthur Verocai, the Timeless Concert Series touched upon the works of three musical giants. Mochilla is proud to announce the release of their 3xDVD box set. An extremely limited edition of 4,000 units will include full liner notes, a free fold-out poster exclusive only to this box set, extra features, songs and slideshows of images used in the presentation.” NTSC all-region DVD format; black & white, stereo; aspect ratio: 1.33:1; running time: 73 minutes each disc.
|MODERN LOVE (UK)|
| || STOTT, ANDY: Tell Me Anything/Love Nothing 12″ (LOVE 062EP) 12.00|
Andy Stott’s first material of 2010 delivers two house variants produced with his typically deep and luxurious style. “Tell Me Anything” centers around shuffling snares, a rugged bass line and sparkling keys anchoring the track. “Love Nothing” is the slower of the two, unraveling to expose an unfathomably deep arrangement of decomposed vocals and mangled percussion. It sounds like Newworldaquarium, Mount Kimbie and DJ Qu shooting the breeze, evoking the humid spirit of a hot summer in the city.
| || SASSE & JAMES FLAVOUR: The Right Way 12″ (MOOD 089EP) 12.00|
Sasse & James Flavour continue the assault on the floors with another bomb on Moodmusic. “The Right Way” keep the vibes alive with dirty, pushing drums, an insistent vocal sample and some genuine old school love once the bass drops. For remix duties the mighty Tony Lionni takes the original’s nagging vocal and builds a solid base of 909 drums and Detroit-influenced keys for an orgasmic deephouse chugger.
|MULE ELECTRONIC (GERMANY)|
| || FABRIANESI & DONATO DOZZY, CLAUDIO: Disco Infecta 12″ (MULE 070EP) 12.00|
This is the first release from Italian producer Donato Dozzy on the Mule Electronic label, who has releases on various labels such as Prologue, Time To Express, and Curle, to name a few. This time, Donato invited his friend Claudio Fabrianesi. The music from this collaboration is very different, sounding somewhat like Larry Heard, Theo Parrish, or slow-mo house producers like Mark E.
|MY BEST FRIEND (GERMANY)|
| || KAISERDISCO: Dulce Frutas 12″ (MBF 12067EP) 12.00|
Kaiserdisco are back once again with another glamorous and eerie tech-house stormer. A two-track monster that ought to keep all the die-hard fans of MBF happy. “Carambolo” is a true Kaiserdisco tune, working with vocals and merry-go-round sounds, but unique to this track is the drumming in-between the beats. With the fantastic disco track “Pitaya,” Kaiserdisco prove that they are the masters of many genres.
| || JULES-DE-PEARL: Café la Perla 12″ (MBF LTD023) 12.00|
Jules-De-Pearl’s debut 12″ for My Best Friend is a steady, rocking, deep, soulful piece of music. “Under A Spell” feels similar to that of Chicago legend Chez Damier. No stunts or cheap thrills, just pure love for music. His attendance as a clubber at Frankfurt’s Robert Johnson club can be felt on “Café La Perla.” This track is a moody, cool, yet joyous celebration of house, with a collective spirit that needs to be heard and felt.
| || SPINA, ANNA: Works For Viola Solo CD (NEOS 10920CD) 21.00|
Performed by George Aperghis; Gerard Grisey; Salvatore Sciarrino; Bernd Zimmerman. “Swiss violist Anna Spina presents a new CD of solo viola pieces. She works out her interpretation jointly with the composers. Since 2004 she undertook research in microtonal music.”
| || WIDMANN, JORG: Works For Ensemble CD (NEOS 10923CD) 21.00|
Freie Stucke, Sieben Abgesange Auf Ein Tote Linde and Oktett performed by Collegium Novum Zurich (Olga Pasichnyk, soprano; Jorg Widmann, conductor). “Composer and clarinetist Jorg Widmann is one of the most sought after composers on the contemporary scene today.”
| || KOERNER, SPIDER JOHN: March 1963 LP (NN 006LP) 18.50|
A major archival discovery, taped March 24, 1963 for a Milwaukee, Wisconsin radio program, on the eve of the very same day that the seminal Blues, Rags & Hollers LP by Koerner, Ray & Glover was created. Spider John Koerner is the man who first introduced a young Bob Dylan to the 12-string guitar, a bona fide legend who is acknowledged as an influence by artists as diverse as John Lennon, Beck, The Doors & Dylan himself. Nearly 50 years ago, Paul Nelson, writing in the Little Sandy Review and Sing Out respectively, said that “Koerner’s art is like Chaplin’s, as great and lasting as it is entertaining,” while calling him “the most innovatively brilliant acoustic blues musician of his generation.” In the year 2010 — seldom performing and now in his 70s — the reclusive Koerner is “one of the world’s greatest living practitioners of traditional American folk music.” It is with enormous pride that Nero’s Neptune presents this long-lost piece of American musical history. Tip-on sleeves, pressed on 180 gram vinyl.
| || SALLY, ZAK: Fear Of Song LP (NN 010LP) 15.00|
Zak Sally is a Twin Cities-based musician, publisher and comic artist. After 12 years with minimalist rock band Low, Zak left. Planting roots in Minneapolis, Zak began focusing on cartooning, and also established a small-press publishing concern, La Mano 21. Although Zak initially planned to abandon recording, he remained “absolutely terrified by music.” Eventually, and with the help of his friend Ben Durrant (Andrew Bird, Dosh), he polished off a Sub Pop 45 (“Why We Hide” b/w “When I Said I Missed You I Just Meant My Aim Was Off”). Now, Nero’s Neptune releases this delightful, full-length LP. All sounds you hear on the record are courtesy of Mr. Sally. In fact, Zak was involved in EVERY aspect of creating this LP, not only performing all the music contained within, but also designing the cover, laying it out for printing, making the plates, printing the damn thing on his OWN PRESS, trimming, folding, and finally inserting and sleeving the records! The LP is called Fear Of Song, and, in Zak’s words “it’s the sound of one man clanging.” Limited numbered edition of 340 vinyl copies only.
| || BRAIN SOUND: An Attempt To Record Coincidence LP (NN 011LP) 22.00|
Pictured in all its tantalizing, eye-popping glory in Hans Pokora’s 1001 Record Collector Dreams, this hellishly-rare Austrian avant garde LP from 1972 is nothing short of astonishing. There are no instruments, but rather varying configurations of solo, duo and ensemble vocal improvisations, presumably informed by the aforementioned (and nearly impenetrable) code (or “charts”). Although this might be seen as part of an interesting continuum, this unique and prescient music will stun even the most astute followers of outsider art. Describe it, you say? Sweet Jesus! “Shape note singing for acidheads,” perhaps? From an avant-classical perspective, one might mention late-’60s Penderecki as a possible reference point (along with Ligeti, or perhaps even Nono). In improvised music, the Spontaneous Music Ensemble’s larger workshop groups similarly feature masses of vocal sounds; comparisons with Alan Watts’ This Is It are as plausible as they are inevitable. Ultimately, though, nothing will quite prepare you for this LP. In fact, when an original copy landed at Nero’s Neptune headquarters, one notorious “outsider” label chief/collector extraordinaire’s peni-meter became so perilously engorged, that he nearly burst with envy, casting ridiculous offers of rare wax and unmentionable “favors” Nero’s Neptune’s way while begging to let him take over. In other words, it is strongly recommended that you purchase this limited reissue while you can, while securing appropriate spiritual condiments for the trip. After all, you CAN be anyone this time around. Strictly limited edition of 500 copies only. Packaged in high-gloss, tip-on sleeves, and pressed on 180 gram vinyl.
| || FINE/PAUL METZGER, MILO: Concerning The Other Condition/Spontaneous Composition.. LP (NN 012LP) 18.50|
…Generator. Nero’s Neptune presents a split LP of solo works from free-jazz improv master/multi-instrumentalist Milo Fine and guitar experimentalist Paul Metzger. “‘Moosbruger’ was recorded on the occasion of my first public collaboration with Paul Metzger. Before the concert, and for a number of reasons, my thought was that, when my name was drawn for a solo, I’d be playing drum set. But, as befits the spirit of improvisation (the moment), I grabbed the B flat clarinet, and then, echoing the first time I played piano in public (1971), moved off stage to the prepared piano remains, where the two instruments conjoined. ‘Ulrich’ is a self-contained section of a set-long (drum) solo I played at the Art of This Gallery’s Tuesday Night Improvised Music Series. ‘Moosbruger’ was recorded on March 21, 2009. ‘Ulrich’ was recorded on January 20, 2009.” –Milo Fine “I created the Spontaneous Composition Generator to produce a random series of musical actions. It is a device consisting of 37 altered music box movements mounted in a wooden painter’s box. The alterations include dampening, detuning, replacing, removing, doubling, and reversing the tines. Most of the original melody pins on the cylinders were removed. Rubber bands of various lengths and thicknesses were attached to the winding stems to facilitate a continuously variable tension. One dozen hand-wired piezo pickups are attached to output a stereo signal. The piece on this recording was created November 9, 2009 with a time of 18:43. It was specifically made as a complement to Milo’s contributions to this Nero’s Neptune LP. –Paul Metzger Strictly limited edition of 421 vinyl copies only. Screen-printed onto wax paper sleeves, with an insert. Pressed on 180 gram vinyl.
| || HECKER: NEU CD CD (NEU 007CD) 17.00|
Galerie Neu presents Florian Hecker’s NEU CD. In apparent contrast to Acid In The Style Of David Tudor (EMEGO 094CD), this CD features three computer-generated pieces which were produced in close relation to Hecker’s first exhibition at Gallery Neu in 2007 as well as a contribution for the exhibition Off The Record/SOUND ARC at the Musée d’Art Moderne de la Ville de Paris in 2004. NEU shifts back and forth between detail-saturated fragmentation and a near-static structuralism. “Wq Acid VII” and “Neu Ext” show evidence of Hecker’s interest in the notion of the déja entendu, where the repetition of rhythmic patterns slowly densify the emission of events, further rupturing the sonic affect into a new re-structured gestalt. In “? ?” constant fluctuations and ever-changing waveforms along the lines of a dynamic stochastic synthesis rupture the classic definition of “noise signal” used within the field of psychoacoustics. The last track “Yin Pitch Detection Synthesis Kissing” takes a seemingly opposite approach while re-synthesizing the recording of a garden. NEU CD comes with a 12-page booklet featuring the product photography of the original CD case design by Peter Saville: a laser-cut block of open porous foam, housed in a transparent, smoke-grey acrylic cover. Photography by Nick Turner. Mastered by Denis Blackham.
| || VA: Zulu Stomp!! South Africa Garage Beats!! LP (NOSMOKE 007LP) 29.00|
LP version. “While national newspapers portrayed them as ‘hordes of sloppy, aggressive, be-jeaned louts and their girlfriends who cause so much trouble in South Africa,’ a whole new generation of garage rockers was flooding the clubs with savage, primitive fuzz sounds. No doubt South Africa was the in-place in Mother Africa in the ’60s, with a strong scene as can be heard on the Cazumbi compilations and this new Zulu Stomp that is exclusively dedicated to that country. Expect some of the best garage music you’ve ever heard from Africa, and don’t miss this one if you liked Cazumbi… This release includes an insert with liner notes plus a bunch of rare photos. Great remastered sound as well.”
| || BRUNER: Songs For A Friend LP (NPH 44002LP) 16.00|
“Thought to have been recorded between her stint with Rockford, Illinois, psych-rock outfit Pisces and her lone 45 on the Vincent label, Songs For A Friend is the last known recordings by Linda Bruner. Tracked in one continuous session in the back of Nielson’s Music Store, Bruner drags herself through five doleful reinterpretations (‘Don’t Let Me Down,’ ‘Thorn Tree In The Garden,’ ‘Georgia On My Mind,’ ‘Wichita Lineman,’ ‘Rainy Night In Georgia’) and one original. This neglected lover’s note caught our eye by chance, the blue spine of its box crying out from a disheveled clutch of Pisces outtake reels. We’ve chosen to preserve the tape’s intimacies, allowing it to roll through its imperfections, bits of banter, and hiss. If her disconsolate pop recreations reveal a tormented songbird soaring toward the edge of despair, its only affirmation of what little we know for sure about Linda Bruner, now long lost. Pressed on high quality 150 Gram virgin vinyl, the 20 minute mini-album features an etched B-side and is housed in a textured tip-on sleeve.”
|OPTIMO MUSIC (UK)|
| || BIG NED: Bad Angel 7″ (OM 001EP) 9.00|
This is the debut single from Big Ned, released in a limited edition 7″ of 500 copies. Big Ned are Glaswegians D. James Clark and John Murray who have a penchant for dark and twisted tones. “Bad Angel” is backed by “Killer,” only available here. Imagine David Lynch stuck in a barrel of booze with a big crooning cowboy. Tales of dark liaisons, women trouble and spiritual prowess are finely blended with dark melodies, terror noises and warped guitars.
| || DEN HAAN: Release The Beast 12″ (OM 002EP) 12.00|
Den Haan are the dynamic Glasgow duo of spacial electronical disco grooves. Matt and Gardi seemed to have met in some Italian discothèque circa 1979 if their sound is anything to be believed. However, they are far from a retro pastiche. They ooze camp funk, glitter and glamour. This 3-track debut 12″ features “Release The Beast,” a bona-fide floor-filler in Glasgow, “Metamophosis” — a Cowley-esque, camptastic anthem, and “Looking For Love” — pure sequential space disco.
| || DIVORCE: Divorce 10″ (OM 005EP) 12.00|
Glasgow’s Divorce presents their debut 10″ EP, featuring four examples of their anvil-heavy, rhythmically-propulsive nae-wave sound; incorporating elements of late ’70s lower Manhattan art-noise and mid-’80s Chicago ferocity, then embellishing the lot with their own very individual sense of intent and execution. It’s a recording that captures all these elements, aiming to offer a mere taste of the rough-edged aggression of their live show.
| || OLDER LOVER: Older Lover EP 10″ (OM 006EP) 12.00|
Glasgow-based visual artist and musician (Mother And The Addicts, Big Ned) Douglas James Morland’s solo guise as Older Lover is a smoky, noir-ish take on psychedelia with glam stylings and dub sonics. Both the cinema of the silent-screen villain and the pulsing, saturated analog signals of the immediately pre-digital, Cold War period are as much influences as any musical genre. A compelling exercise in dark and seductive rock n’ roll with a nod to The Homosexuals and Swell Maps.
| || MONTGOMERY, GEN KEN: Birds + Machines (1980-89) CD (POGUS 21055) 13.00|
“Gen Ken Montgomery’s sound worlds are full of activity. Not in the sense of sinuous melodies and chord progressions that try to set flea-hopping records. The sounds conjure up images and atmospheres of workshops where people busy themselves with assembling and repairing a variety of contraptions. Places where humans and tools intermingle, where technology (both hi and lo) appears as a trusted and respected companion. It is as much accepted as an integral part of the human sphere as a dog or a cat might be – and it sounds equally homely. That is not to say that all sounds you’ll hear in his music are commonplace, mundane. Many of them are immediately recognizable. Many of them can be traced to their source, even through dense veils of modification. Some derive clearly from instruments, some from birds. But many are absolutely singular, there’s no telling what produced them. And to tell you the truth (my truth): it doesn’t really matter. Regardless what sounds or sources form the components of this music (everyday or extraordinary objects; musical instruments or electronic tools; his own voice or environmental recordings), what is important is the mind that processes them and welds them together into the independent entities that we call songs. It is evidently an open mind that enjoys toying with sounds. His music sounds as if he works with what he finds. Obviously he has prepared materials to be used. But the way he puts everything together makes the impression of someone following his judgment of the situation on the spot. These are not guided tours, mapped out beforehand. These songs are explorations. Trips into an unknown. They aren’t, however, excursions done in seclusion. Everywhere he goes Ken Montgomery creates a buzz. He creates a sphere of sound around him that feels humane, sociable. A warm cloud of sonic strangeness. But a loud cloud, too, mind you.”
|POKER FLAT (GERMANY)|
| || COSTELLO, DONNACHA: Before We Say Goodbye – The Remixes 12″ (PFR 112EP) 12.00|
Poker Flat presents remixes of tracks from Donnacha Costello’s Before We Say Goodbye (PFR 025CD/LP), courtesy of producers Lawrence and KiNK & Neville Watson. Combining richly-dubbed atmospheres and beautiful melodic structures, Lawrence’s remix of “Leaving Berlin” presents a new world of dense strings and softly-pumping percussion. KiNK & Neville Watson turn up the dials on their rework of “It’s What We Do.” Classic acid all the way, but with a modern studio finesse, their version jacks from floor to ceiling.
| || VOIGT, WOLFGANG: Freiland Klaviermusik CD (PROFAN 009CD) 18.00|
If experimental minimalistic dance music as we know it today had existed during the lifetime of Arnold Schönberg and Paul Hindemith, it might have sounded much like this present album. Something fascinating and possibly well known, is that Kompakt label founder Wolfgang Voigt has a fondness for historical music like this. Freiland-Klaviermusik stays true to this idea, maintaining its focus on music composed for the piano, but composed with a very different approach. It’s once again Voigt’s effort to find a musical structure that eliminates the boundary between freely-improvised “virtuosic” music and fine-incremental sequencing of a computer matrix. In Voigt’s Freiland project there is one underlying theme; one single sound varied in many different ways surrounding the main idea of minimal-techno music: the four-to-the floor bass drum. In this case, it’s a synthetic piano, which moves between rhythmic and abstract, between deliberateness and coincidence, within a somewhat predefined structure. Sometimes the clock of the bass drum does not accompany its presence at all. The present aesthetics of atonal, sometimes Kafka-esque and early 20th century classical music are rather a “pleasant by-product” than an authentic classical-music statement. Blasting borders and breaking rules to create apparently new revelations has always been Voigt’s drive. Apart from his timeless preference to adopt different musical styles such as classical-music, jazz, schlager or brass music into his own music, in this case, Voigt’s encounter with the music of composer Conlon Nancarrow (1912-1997) was an important influence. In Nancarrow’s work, Voigt found strong parallels to his own; the search for unpredictability and spontaneity, often affecting his way of working, to find a symbiosis between man and machine. This approach has also influenced Voigt’s work as a visual artist. The front cover of the record presents an excerpt from one of Voigt’s Tetrapak-paintings, in which he covers, combines, and confronts a predetermined mechanical structure (pattern, wallpaper ? loop, pattern) with more or less a free, progressive, and rhythmic painting technique. The current releases on Voigt’s re-launched ’90s label Profan together with the reunion of his music with his lesser-known work as a performing artist represent that in 2010, Voigt sees minimal music through as it relates to minimal art rather than minimal techno. It could also be that Voigt believes that art can express complication and pain in ways that the minimal techno of today cannot.
|PSYCHIC CIRCLE (UK)|
| || VA: Texas Flashbacks Volumes 1-6 6CD BOX (PSYCHBOX 005CD) 67.00|
Subtitled: 95 Nuggests From The Lone Star State. The Lone Star State was home to a disproportionate number of fine garage, psych and punk bands in the 1960s. This stupendous boxed set gathers together no fewer than 95 of their greatest moments, culled from some of the rarest singles ever issued. Complete with a packed 32-page booklet (featuring discographies, rare pictures and background info) it’s a truly essential purchase for all fans of snarling, snotty, sneering rock and roll. Digitally remastered using 42-bit technology. Artists include: The Esquires, The Headstones, Floyd Dakil Four, The Playboys Of Edinburgh, Finnicum, The Excels, The Reasons Why, The Cicadelics, The Countdown 5, The Lynx, The Warlocks, The Barons, The Trolls, The Sweettarts, Sherwoods, The Jades, The Oxford Circus, The Blue Things, Jimmy Rabbit & The Karats, Wally And The Rights, The Boys, The One Way Street, The Twilighters, The Outcasts, S.J. And The Crossroads, The Iguanas, The Chevelle V, The Runaways, The Six Pents, Knights Bridge, The Blox, Murphy And The Mob, The Ninth Street Bridge, Brothers And Sisters, The Chants, The Continental V, The Barons, The Undertakers, The Visions, The Mods, The Shades Of Night, The Circus, Shiva’s Head Band, Sweet Smoke, The Mind’s Eye, The Wind, The Noblemen, Mike Renolds & Infants Of Soul, The Notations, The Exotics, Infinite Staircase, The Modulation Corporation, The Roks, Leo And The Prophets, The Perils, The Madison Revue, The Bear Fax, Changing Times, The Heard, The Bards, The Briks, The Trackers, The Moving Sidewalks, Tommy Jett, Bobby Mabe & The Outcast, The Cynics, The Fanatics, The Lavender Hour, Electric Love, Buccaneers, The Wanderers, Kit & The Outlaws, The Five Canadians, Larry & The Blue Notes, The Visions, S.J. & The Crossroads, The Fabs, The Minute Men, The Chessmen, The New Breed, Livin’ End,,The Bourbons, The Wig, The Reddlemen, The Nomads, The Sons Of Barbee Doll, The Shades, Kempy & The Guardians, Yesterday’s Obsession, and Nobody’s Children.
| || ALVA NOTO + RYUICHI SAKAMOTO: Insen CD (R-N 065CD) 17.00|
Originally released in 2005, this is a re-press of Insen by Alva Noto (aka Carsten Nicolai) and Ryuichi Sakamoto. Their debut album Vrioon (R-N 050CD) released on Raster-Noton in 2003 was voted “Record Of The Year, 2004” in the electronica category by The Wire, and particular interest was shown in Nicolai’s creation of a new synergy of acoustic piano and digital post-production that had not been witnessed before, in his approach and interpretation of Sakamoto’s piano clusters. The strict splitting of the composition process on Insen (piano: Sakamoto; production and additional sounds: Nicolai) reminds one of the debut album. However, this record carries a kind of “transcendental aura” of an early morning meditative exercise, but at the same time avoids the field of new age philosophy. Enriched by new elements, this “high-tech meditation” follows a consistent line. On Vrioon, Nicolai’s typical sinus sounds counterbalanced Sakamoto’s piano accords. On Insen, Nicolai works directly with the piano sounds. He dismantles Sakamoto’s recordings with a “surgeon-like precision” into micro-loops, into its atomic elements. Starting with these atoms of sound, he creates a new basis for form, compressing floating, rotating rhythm with harmonic sequences, with melodic counterpoints, and laying it underneath the piano tracks. This makes Insen appear more of a complex experience, although the time-stretched flow, or even the clear lines of the piano stay untouched. From the sleeve notes one can learn that the album was a dedication to certain people. Created far away from these people, Insen might be a kind of dialog. It definitely represents a diary of a stay over several months at Leon Feuchtwanger’s Villa Aurora, where a large part of the production as well as the final mixes were completed. The themes and the track titles directly refer to that place, to the times of the day, and the events there. Even the colors of the album cover reference the emotions and atmospheres experienced at Villa Aurora. Only the track “Berlin” was recorded later, with Nicolai and Sakamoto together, during a session at Nicolai’s studio in Berlin. As a reference to that place, one can hear a flock of birds singing in the background of the recording. “Aveol” closes the album also seen as a diary, with a mysterious beauty. The evolution of piano recording and digital post-production were pushed the furthest on this track. The combination reached its (temporary) final point.
| || BRETSCHNEIDER, FRANK: EXP 2CD (R-N 108CD) 21.00|
Audio CD + data CD. Berlin-based Frank Bretschneider is a musician, composer and video artist who co-founded the Raster-Noton label in 1996. EXP is a music-visual work based on the idea that fine art should attain the abstract purity of music. An attempt to assimilate the qualities found in music — including movement, rhythm, tempo, mood, intensity and compositional structure — within visual phenomena. The music for the project was composed of specific generated and selected waveforms, feedbacks, impulses, clicks, the sound of mechanics, electricity, magnetism, light and other radiation. In addition, since the animation is mainly driven by sound frequency and intensity, the sonic quality of these sounds makes it possible to obtain an optimal effect on the graphics motion. In combination with several other ways of controlling the animation — from MIDI programming to applying motion curves — the visualization represents an exact reproduction of the audible occurrences. As a consequence, the computed images often attain an unexpected beauty, from simple geometrical patterns to extraordinarily complex forms. The data CD is an 18-minute video generated from the realtime live visualization of EXP.
|REMOTE AREA (NETHERLANDS)|
| || CHAPTAL, JULIEN: Pump 12″ (REMOTE 025EP) 12.00|
Remote Area’s 25th release presents Julien Chaptal, Amsterdam’s favorite Frenchman. Although a Parisian at heart, Julien moved to Holland more than 10 years ago and has become a key member of the Amsterdam New School Sound generation. He’s back again with another massive release: “Pump” is hard-hitting and in-your-face. This dance bomb can’t be ignored — it pumps, squelches, soars and thumps — a killer tune for the club floor.
|RIVERMAN MUSIC (KOREA)|
| || EUBANK, JEFF: A Street Called Straight CD (BTR 055CD) 17.00|
Originally released in 1983, this is Jeff Eubank’s sole Kansas City private-press gem, originally produced only in an edition of 500 copies. Jeff Eubank is not a boner. A cursory read of the lyrics, printed in full in the space surrounding Mr. Eubank on the back cover artwork, more or less confirms this. They are literate and poetic without giving the reader anything to laugh at. At this point, any smart record digger will pull this particular title. A cursory needle drop may or may not reveal the album’s potential. Depending on where the needle lands, it may sound like Crosby, Stills and Nash, or it may sound like the music we have come to know as “yacht rock,” the smooth-sailing sounds of Christopher Cross, Hall & Oates, The Doobie Brothers, or Kenny Loggins. There’s even a bit of the old, mellow, West Coast A.M.-rock canyon sound in there as well, with complex harmonies and a general hazy, lazy vibe. The truth behind this music’s distinct sound is somewhere in between all this. There is an undeniably dated aspect to this music, an over-emphasis or over-reliance on being easy-going, but at the same time, it’s wonderfully next to impossible to exactly pinpoint when or where this music was made. Like an ’80s Tim Buckley on downers, Eubank’s voice is smooth as silk, and there is no attack in his delivery; instead, his voice coasts along in a gentle, affable flow. But don’t be so easily assuaged, when you get this album home and listen more closely, the conflict and rough edges of this music begins to reveal itself. Regarding the title, the artist himself explains it this way” “(‘rise and go to a street called straight’ from Acts 9:10-19) finds Ananias being directed to risk harm and perhaps his life to help a man he knows to be dangerous. The implication of the fact that the name of the street was (and is) Straight (like straight and narrow) shouldn’t be lost on someone who is reading carefully. As this relates to the lyrics of the song, we all have had to, at some time (or many times), move on in courage and leave the past behind (good or bad). In the case of these lyrics, there is hope: ‘there is an end to this endless night… after all.'” Astral, unplaceable music that will fill your head-space, highly recommended for fans of Bobb Trimble, Robert Lester Folsom, and other purveyors of lost late ’70s/early ’80s music.
| || HOLMES, NICK: Soulful Crooner CD (BTR 059CD) 17.00|
Nick Holmes first played with the musicians on Soulful Crooner while singing with White Elephant, the ’70s jazz-rock big-band. This 1973 solo record followed that double record collaboration, and it still sounds good today, although in those days they didn’t have digital yet. Mike Mainieri’s production and arrangements from that period are full and honest. It’s a jazz record in many ways — many of the songs have more key changes in the intros of the songs than Nick used on entire albums in the ’80s and ’90s. Nick learned his harmonic sense from these years with the jazzers, and his voice is in fine shape. Weird, hazy, hypnogogic jazz/folk-pop, accompanied by Holmes’ voice, which is pure velvet and totally hypnotic. Originally released on the legendary Just Sunshine label. Includes two bonus tracks.
| || JUST OTHERS: Amalgam CD (BTR 061CD) 17.00|
A totally rare UK private press record, Amalgam was recorded making the utmost of the most basic equipment in the spring and summer of 1974. Just 250 copies were pressed, and the record was sold only at gigs. What kind of album did Just Others make? For sure, there are songs on Amalgam that manage to convey a variety of human feelings — part optimism, part melancholy, that makes this a uniquely interesting addition to any serious collection of acoustic music of the period. The cross-fertilization between their separate enthusiasms and previous musical experience goes a long way toward explaining the uniquely distinctive blend to be heard on Amalgam. Highly recommended for fans of British folk-rock in the vein of Tir Na Nog and John Renbourn. Housed in a miniature LP sleeve.
|RUNE GRAMMOFON (NORWAY)|
| || BUSHMAN’S REVENGE: Jitterbug CD (RCD 2097CD) 17.00|
This is the third album by Norway’s Bushman’s Revenge (Even Helte Hermansen, Gard Nilssen, Rune Nergaard). Like great records from Elephant9, Scorch Trio, Supersilent, In The Country, Spunk, Fire! and others, Jitterbug was recorded in the old fashioned way, meaning the musicians played together and interacted live in the studio with few or no overdubs. With classic recording studios closing down all over the world, this way of recording could indeed soon be a thing of the past, and the world of music would be a poorer place for it. As with players such as John Coltrane, Albert Ayler and John McLaughlin, there’s a fine line between chaos and spiritual ecstasy, one that Bushman’s Revenge tread with great success; however, there’s still an untamed, raw and punky energy at play. But since the release of You Lost Me At Hello (RCD 2083CD/RLP 3083LP), they have matured as individual musicians and as a collective, coming across more focused, with plenty of great interplay and instrumental skills. There’s even room for a couple of beautifully reflective ballads, showing a sensitive side to this otherwise hard-hitting, energetic trio. While their previous album was somewhat lazily described as a mix of Black Sabbath and Albert Ayler, the band is more inclined to agree with the Jazzwise review who likened them to Jeff Beck being backed by Elvin Jones. Jimi Hendrix and Mitch Mitchell also springs to mind, same with Red-period King Crimson. Bushman’s Revenge was founded by Even and Gard back in 2003 in their hometown of Skien, a couple of hours south of Oslo, while Rune joined from the northern town of Bodø. Even is also a member of Shining and grew up with groups and musicians like Kiss, Pantera, Sepultura, Faith No More, Frank Zappa and John Coltrane, while Gard and Rune met at the Jazz Academy in Trondheim, breeding ground for musicians like Arve Henriksen, Ståle Storløkken, Nils Petter Molvær and many more. Gard also plays with pop sensation Susanne Sundfør and in Puma with Øystein Moen (Jaga Jazzist) and young guitar experimentalist Stian Westerhus. Most of the track titles are references to popular culture, some more obvious than others, and there’s a furious instrumental version of Motörhead’s “Damage Case.” Even Helte Hermansen: guitar; Rune Nergaard: bass; Gard Nilssen: drums; Ståle Storløkken: Hammond organ on track 2 and 3.
| || HERE WE GO MAGIC: Pigeons CD (SC 207CD) 14.00|
“Here We Go Magic is a five-piece band made up of members Luke Temple, Kristina Lieberson, Michael Bloch, Jennifer Turner, and Peter Hale. They originally came together in New York in early 2009 through a series of chance encounters, overheard conversations and supernatural occurrences.”
| || HERE WE GO MAGIC: Pigeons LP (SC 207LP) 15.00|
| || BLK JKS: ZOL! CD (SC 217CD) 9.00|
“The raw appeal and romanticization of their look and biography is now an afterglow. The audacity of their sound is familiar to music fans around the world. It’s a new year and what we’ve got is the band back home in Johannesburg, steady gigging and gearing up for the performance at the opening ceremony at the world’s biggest sporting event, taking place in BLK JKS’ backyard. The World Cup. This is the sort of moment for which BLK JKS were built. While FIFA may have already selected its theme song for the Cup, we’ll let you in on a secret. The unofficial anthem — the song kids in Soweto are singing on their way to matches — is not something imported or made for the moment. It has lived there, waiting for the world to turn its ears to South Africa, just now. Secretly Canadian is stoked to present you with ZOL!, the new BLK JKS EP just in time for The World Cup.”
| || BLOME, BENNO: Nausicaä 12″ (SENDER 087EP) 12.00|
Nausicaä, the female hero, fights for survival through ecological disaster. The Japanese manga-art movie inspired Benno Blome on his new release for Sender. “Nausicaä” opens with an instrumental amplitude that creates a soulful width. Swinging bass weaves a well-constructed atmosphere. Circulating, flexible sequences combined with sensible vocals taken from A Guy Called Gerald create an impulsive, drifting sound aesthetic. “Calamaris Street” travels with greater acceleration, spinning strings of sound and voice into a hypnotic bustle.
| || UNKNOWN: New York Is For Jack Asses 12″ (SLEEPY 001EP) 11.00|
Why is New York for jack asses? There are probably a number of reasons, but here we have 2 and they both play at 45.
|SOUL JAZZ RECORDS (UK)|
| || GRIEVOUS ANGEL (FEAT. RUBI DAN): Move Down Low 12″ (SJR 225EP) 9.00|
“Original garage and junglist Grievous Angel makes dubstep, UK-funky and 2-step. Originally from East London, he migrated to Brixton before settling in Sheffield in 2002, where he started producing seriously. His first vinyl outing on his own Devotional Dubz imprint was a dubstep and garage re-fix of D’Angelo’s ‘Lady Dub,’ championed by Radio One DJ Mary Anne Hobbs and dubstep impresario Martin Blackdown Clark. Grievous Angel’s gigantic garage remix of jungle don Naphta’s ‘Soundclash’ came out on Blackdown and Dusk’s seminal dubstep label Keysound in late 2009 to much acclaim, alongside another Margins Music Redux, where he remixed the entirety of Blackdown and Dusk’s first album before re-making it as a DJ mix. As well as doing music, Grievous Angel runs the magazine Woofah, covering reggae, grime and dubstep.”
| || KALBATA & MIXMONSTER: Sugar Plum Plum 12″ (SJR 227EP) 9.00|
“Recorded in Kingston, Jamaica, two legendary Jamaican MCs, Jah Thomas and Little John, recorded this tune using live musicians and analog equipment. This is the latest project from 2-step/electro producer Kalbata, continuing on from his earlier re-fixes of tunes like Courtney Melody’s ‘Ninja mi Ninja’ and previous tracks on Soul Jazz with Warrior Queen and MC Clapper Priest. Here he takes it to the next level with this heavyweight Discomix 12″ featuring two vocal tracks plus a killer dub. Superb!”
| || VA: Palenque Palenque: Champeta Criolla & Afro Roots in Colombia CD (SNDW 022CD) 15.50|
…1975-91. Boasting 21 pulsating tracks drawn from the northern coasts of Colombia, Palenque Palenque reveals a unique and fascinating story of how Afro Colombian music developed from the 1970s onwards and how the local sound-systems in Cartagena and Barranquilla played such an important role in shaping the sound of the Colombian champeta. Co-compiled by Lucas Silva (resident of Bogota and owner of Palenque Records) and Soundway Records’ Miles Cleret, the album highlights the long relationship that the Caribbean coast of Colombia has with Africa stretching back to the 17th century — specifically, the rise of the percussion-heavy champeta sound, born out of a wave of popularity for psychedelic Afro, Latin & Caribbean music inspired by the DJs of the time. The influence of the sound-systems spread to local artists as well as re-energizing traditional African folk songs and rhythms that had survived since the days of slavery. Record labels recognized the major change in direction from the days when cumbia and porro ruled the hearts of the ghettos and began employing bands that began experimenting and tapping into these new cultural and musical movements. Around 1981, several groups were recording Afrobeat in Baranquilla including Abelardo Carbonó who features with his ode, “Quiero A Mi Gente.” A true proponent of the avant-garde, he can still be heard playing in Anibal Velasquez’s orchestra. Son Palenque were considered pioneers of the crossover sound of Africa and the Caribbean and are featured three times including the title-track of this album. Fela Kuti’s “Shakara” is reworked by Lisandro Meza entitled “Shacalao,” while Fela’s influence is further felt through Wganda Kenya’s contributions, especially on the shuffling cut that is “Pim Pom.” Soundway have unearthed a magical era, exposed a radical movement and have, in the process, found some of the world’s most eccentric and highly addictive modern dance music. Housed in a CD digipack with a 36-page booklet with in-depth liner notes.
| || HANCOCK, JOHN: Antenna Death LP (SAINT 016LP) 15.00|
“Thank heavens, for adroit dance music of John Hancock, who, at every turn on Antenna Death, finds the perfect, sexiest balance of slick dance-pop and the rawer funk decadence of yore. It’s future-pop that knows the grinding together of hips and the exploration of your own awkward physicality, while not always comfortable, is a part of the greater elation. Dance music is about trading sweat with other humans, not the cold seclusion of space. And Hancock’s homebase of Miami is dripping all over Antenna Death. The sites and sounds of Hancock’s neighborhood, Miami’s Little Haiti, are often manifested through a pop pallet reared on Prince, Funkadelic, the best of Beck, Simple Minds and Jon Secada (yeah, I just said that). He’s plucked wholly different but equally delicious fruits, and with them whipped up a fine, fine fruit salad, which you are expected to feed hand-to-mouth to your next lover.” Custom stencil-sprayed front and back covers.
|STIL VOR TALENT (GERMANY)|
| || CHANNEL X: X Files CD (SVT 045CD) 17.00|
Berlin-based producers Mirko Hensel and André Staedter aka Channel X release their debut album after tons of great singles and EPs for Autist, Kassette, Opposum, Upon You and of course, Stil vor Talent. X Files is a continuous mix CD with ten new and exclusive tracks as well as some of the best tracks that they have released on Stil vor Talent in the past. Channel X have been known for their combination of well-produced, driving minimal techno and tech-house and a very soulful feel to their sound. On their first long player they stay true to both their thumping club sound, yet maintain their eloquent patterns in music production. Creating 11 tracks for the floor, this album is a classical producer album — from the club for the club. From their groovy minimal house anthem “Against The Wall” it’s straight on to the new album track “Monday.” The hook line of the vocal speaks out of the heart of everybody who likes to extend their weekend until the early hours of Sunday, at least while the music is a two-steppy tech-fest like on this track. “Behind The Mirror” is a perfect showcase of the funkiness that Channel X brings to minimal tech-house: funky effects, short vocal snippets, and some melody stabs. The same customs can also be heard on “Freak Show” and “Circus Bizarre” — two tracks that symbolize why techno in Berlin could just as well be set in the Golden Twenties: burlesque-sounding magic circus craziness, weird effects, and driving, fast melody patterns. But Channel X can also go from light-hearted tech-y sounds to deep house music. Tracks like “Ghost,” a heavily-breathing piece of tech-house or “Spooky Lights,” a soulful tech-fest full of effects, melody pads and of course, tons of hi-hats, snares, effects and percussions, are the perfect examples. The mix highlights “We Love The X,” a vocal-induced tech-house stomper with those typical signature kick drums and an enormous sub-bass. Next to these new cuts, there are also the best of their old favorite releases like “Against The Wall,” “Black Coffee” from the Bug In The Coffee EP, a Channel X remix of Niko Schwind’s “Fly,” “Mosquito,” as well as two unreleased gems: “Ticket” and “My Dear.” The cinematic beginning and ending of this mix are the intro and outro to and of a mix that communicates what Channel X stand for as a live act: intuitive and classy, mixing with the feeling for the right moment to drop the right tune. Effects, percussion, soulful grooves and bouncing minimal tech-house: this 70-minute DJ mix is a journey through the best of Channel X.
|SUB ROSA (BELGIUM)|
| || VA: I’m Going Where The Water Drinks Like Wine CD (SR 287CD) 15.50|
Subtitled: 18 Unsung Bluesmen: Rarities 1923-1929. Sub Rosa presents another volume in their “Fundamental” collection, devoted to rare and lost recordings from the ’20 to the ’60s. While artists such as Robert Johnson, Charley Patton, Blind Lemon Jefferson, Bukka White, Sleepy John Estes, Skip James, etc. became legendary in their lifetime (due in part to their discovery by the 1960s British rock scene), the musicians highlighted here, similarly to Oh, Run Into Me, But Don’t Hurt Me!, are the ones that didn’t become major figures, either constructed by myth or defined by history. These musicians didn’t meet their destiny at a crossroad; no folk or blues label rediscovered them. They never got a second chance. They had to accept lowly jobs unrelated to their art. They survived. Most of them came from Mississippi, Memphis, St. Louis, etc. They were all highly unique, and they recorded at a young age — a very young age in some cases — in the ’20s. They would walk into a hotel, guitar in hand, for a recording session or two. For some, we don’t even know their real names, since they cut a few 78rpm sides and left for who knows where. Their traces get lost in the Great Depression. May their voices resound once more and keep the flame of our belief burning a little more, our belief in the beauty of the struggle. Presented in an 8-panel digipack with extensive notes on each of the artists. Artists include: Sylvester Weaver, Bo Weavil Jackson, Richard Rabbit Brown, Andrew Baxter, Willard Ramblin’ Thomas, Luke Jordan, Buddy Boy Hawkins, Ishman Bracey, Arthur Petties, Rube Lacey, Tom Dickson, Freddie Spruell, Jesse Babyface Thomas, Willie Baker, Kid Bailey, Willie Blind Joe Reynolds, Henry Townsend, and Noah Lewis.
| || VA: Ethnic Minority Music of Northwest Xinjiang, China CD (SF 057CD) 15.00|
Laurent Jeanneau and Shi Tanding have returned from the northwest corner of China’s Xinjiang province with an amazing batch of recordings collected during the weeks leading up to the volatile Uyghur uprising of 2009. Armed with their trusty audio gear, the couple was set on getting married and recording various styles of regional ethnic music near the Chinese border with Kazakhstan. However, the local authorities suspected that the pair had other intentions, shadowing and interrogating them wherever they went. Their marriage in Shi Tanding’s home town of Ili would have to wait for another time (the marriage documents were delayed in processing deep within the Chinese bureaucracy) but the recordings, preserved here, display several magnificent and unique varieties of traditional Islamic folk music with traces of Arabic, Persian, and Turkish influences heard throughout. The players are Kazakh, Uyghur, Kirgiz and Mongol Erut musicians performing on a wide array of local stringed instruments including topchar, komuz, rushtar, rawab and tchang. One amazing example is Kurmanjiang Zaccharia, a Kazakh string virtuoso, whose lightning-fast fingers blaze up and down the neck of his two-stringed dongbra. Another is an epic 10-minute vocal muqam performed by a trio of Uyghur musicians on satar, tambur and dotar. Also featured is a Kazakh singing-style called Ay Ikesse performed by Aken (improvising poet-singers utilizing dongbra accompaniment), Kirgiz songs sung in the Manas style and played on the komuz, and Mongol Erut bai boor den instrumental pieces. The CD comes with a 16-page full-color booklet featuring photos of the musicians and informative liner notes chronicling the journey, instruments and styles documented, and background information on the performers by Laurent Jeanneau.
|SUNBEAM RECORDS (UK)|
| || INGOES, THE: Before We Were Blossom Toes CD (SBR 5077CD) 17.00|
Recorded between 1964 and 1966, this is the first-ever collection of tracks by the quartet that would soon evolve into psychedelic heroes Blossom Toes. Formed in London, they were managed by the legendary Giorgio Gomelsky (discoverer of The Rolling Stones and manager of The Yardbirds), and honed their live act in Paris, Spain, Morocco and elsewhere, issuing 45s in France and Italy but not at home. This comprehensive set collects all their studio recordings, as well as previously-unheard demos and a rare live cut that captures their exciting stage act. It comes complete with a full booklet featuring rare photos and detailed notes by guitarist Brian Godding. Available on CD for the first time ever.
|SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)|
| || VA: African Pearls 1: Congo: Rumba On The River 2CD (SYLLART 6129042) 20.00|
2006 release. Syllart Productions releases the first volume in their African Pearls series of compilations — an essential 2CD collection of Congolese rumba circa 1954-1967. Congolese music is like the heartbeat of the African continent. The twin capitals of Kinshasa and Brazzaville on the banks of the River Congo supply the international music scene with a non-stop flow of creativity. Rejuvenated by four generations of artists, Congolese music has remained true to the spirit of its founders. These two volumes devoted to second generation groups like African Jazz, OK Jazz, Rock A Mambo, African Fiesta, Bantous de la Capitale, and Festival Maquisard are an invitation to discover, or enjoy again, a music that is anchored in the history and culture of its people, but that has lost none of its freshness over the years. Includes a 16-page booklet with full-color photos and notes in English and French.
| || VA: African Pearls 2: Guinée: Cultural Revolution 2CD (SYLLART 6129872) 20.00|
2006 release. Syllart Productions releases the second volume in their African Pearls series of compilations — a unique 2CD collection of Guinean music circa 1957-1986. “Guinean music was in the vanguard of African music — it was the musical beacon of Africa.” These words by Maestro Mitoura Traoré beautifully reflect the importance and influence of the renowned Guinean bands of the 1960s and ’70s. Traoré was a trailblazer as the leader of Horoya Band National, one of the first Guinean bands formed after independence. Horoya Band National, as well as other bands such as Balla et ses Balladins, Kélétigui et ses Tambourinis, and Super Boiro Band were forerunners of the “cultural revolution,” whose official objective was to modernize traditional Guinean music and to restore national pride and dignity. This cultural revolution, like many other radical events in Africa during the 1950s and ’60s, found its roots in the fight for independence. A diverse collection that includes Kouyaté griot Sory Kandia, female singer-in-exile Miriam Makeba, legendary Guinean saxophonist Momo Wandel, and so much more. Includes a 24-page booklet with full-color photos and notes in English and French.
| || VA: African Pearls 3: Mali: One Day On Radio Mali 2CD (SYLLART 6130132) 20.00|
2006 release. Syllart Productions releases the third volume in their African Pearls series of compilations — a diverse and rich 2CD collection of songs from Mali circa 1965-1985. Assembled by Ibrahima Sylla, a prolific producer of West African music, fêted by Charlie Gillett as “The African Phil Spector.” This collection of pearls covers the period 1965-1985 — much of these tracks made long before the coining of the term “World Music,” and preceding by over a decade the real discovery by Western audiences of the “Mali sound” and the desert blues phenomenon. This great set goes to show that none of this is really new; that the sound was fermenting decades ago, and that the message was already strong — it’s just that the voice did not carry far enough first time round. Includes a 24-page booklet with full-color photos and notes in English and French.
| || BAMBI KINO: Some Other Guy/Falling In Love Again 7″ (TR 182EP) 7.00|
In cooperation with Tapete and in celebration of the 50th anniversary of the first Beatles concerts in Hamburg, Germany, Bambi Kino, comprised of members Mark Rozzo (Maplewood), Ira Elliot (Nada Surf), Daron Murphy (Moby), Erik Paparazzi (Cat Power), will play a run of four shows at the Indra. The band will resurrect the sound and the spirit of those heady days in August 1960 by performing exactly the same songs that comprised the Beatles’ set 50 years ago!
| || TECHNASIA: Central CD (TA 105CD) 17.00|
This is the first new Technasia album since 2006 and sure to be one of the musical highlights of 2010. The much-anticipated LP is powerful testimony to why Technasia is one of the most respected acts in electronic music. Taking its name from the Hong Kong metro system, Central is an emphatic creative statement that marks a new milestone in an evolving story. Technasia mainstay Charles Siegling was in no hurry to put out an album: the result of his patience is the purest Technasia album to date — a seamless interweaving of sounds, styles and moods. Central views house and techno through the lens of Technasia’s experience, creating music that is both refreshing and familiar. The melodic soul of the album may surprise some, who are most familiar with Technasia’s fierce live techno sets, but it evokes a longer heritage. Fans who cherish the Fuse Presents Technasia mix as well as the 2000 hit single “Force,” respectively voted one of Resident Advisor’s Top 50 mix CDs and Top 50 singles, will also instantly recognize the signature blend of house, techno and electro driven by an artistry that both acknowledges and pushes the boundaries of electronic music. Central is the locus where Siegling’s roots in Chicago house, epic Detroit soundscapes and the tough beats of early UK techno meet with the sensibility of futuristic European techno — particularly the crisp, clean style coming from Berlin and the warmth of the house revival which has swept clubs everywhere. Central will whisk you into a musical universe that moves from midnight cityscapes to Balearic sunsets to the bowels of a dark, effervescent club somewhere outside of Chicago. It is music in constant motion, evoking both the itinerant life of an international DJ and the global reach of electronic music. This album both captures and comments on the interconnectedness of 21st century life, mixing space-age electronica with gritty, street-level techno. As a result, the album functions on both an instant aural level and on an emotional level. It sounds different from its contemporaries because it is different: it is designed to continually get further under your skin. Guest artists include Dosem, Diana Ayanna, and Viviana Espinosa.
| || PURSUIT GROOVES: Fox Trot Mannerisms CD (TEC 008CD) 9.00|
This the debut full solo release by Brooklyn-based producer and MC Vanese Smith aka Pursuit Grooves, and her first for the Tectonic label. Unexpected, and yet somehow perfectly at home on Tectonic. Props to Pinch for his consummate A&R skill sets, though no doubt this would also bless labels such as Motown, Stones Throw, Hyperdub or even Rush Hour’s Beat Dimensions series, where Ms. Grooves debuted. In these times of overhyped one-trick, nu-jacks it’s a rare blessing indeed to discover such an accomplished and original artist with a vision and flow to ignite flames for all the true-school heads and still bring new ears to this stylish music. Altogether it makes the best soundtrack to midnight inner-city motoring, it will work brilliantly in beat-driven club situations with its effortless production science to the fore. “Pressure” drops like a lost Erykah Badu & Madlib collaboration, Miss Smith’s vocal here is even a little reminiscent of Badu’s considerable stylings, but watch out girlfriend, she flows with the best in a style somewhat similar to Bahamadia. “Start Somethin'” rocks the downtempo beat-down harder than most, and is the most electronic-feeling cut on this album — vicious fuzz bass lines, filthy claps, oiled snares and block-rocking cut-up beats. Drop this in a DJ set and watch all crew get busy. If you had to pick a single highlight, then “Shabaps” might well be it. A heavyweight hip-hop roller, all luscious bass frequencies and cosmic synth drifts that keeps an upful tempo for maximum bugging fully on lockdown. “Whisper” dubs it heavy like a feather, all bubbling, Mantronik-style 808 beats with melting jazz piano drops and a sweetly mysterious, softly-spoken vocal. “Tweezers” adds a 2-step electro flex to an L.A./Detroit hip-hop feel — mind-blowing stuff on headphones, only still built for the biggest systems. “Mister Softee” is perhaps the most traditional-sounding hip-hop cut — turn out the lights, because the delivery here is world class ‘010 — we reach the outro refreshed by a cooling breeze on a mad hot summer day. This album is big with Kode9 and company already, so get on this soon!
| || BALDI, GABRIELE: All I Want 12″ (3120 013EP) 12.00|
“Thirtyonetwenty is the international dialing code to reach Amsterdam. It’s also the name of Amsterdam’s hot label run by Sandy Huner, who co-founded techno imprint 100% Pure in 1992. For the 13th release on Thirtyonetwenty we welcome Gabriele Baldi, a young, talented Italian whose recent release on label Bitten got heavy play from top DJs such as Oxia, Ricardo Villalobos and 2000 and One, causing havoc on the dancefloors. Gabriele’s passion for music began at a very early age, from piano to rock, blues to soul, funk to ’80s. His evolving eclectic musical background provides him with the foundations for his productions now — heavily influenced with deep, house and acid funk sounds. This time he’s back with two grooving, funky, (tech) house tracks — ‘All I Want’ and ‘Crash Love.’ Amsterdam’s own Tom Ruijg (Bangbang!) finishes it off with a deeper house take of ‘All I Want.'”
| || EXTRAWELT: Mosaik EP 12″ (TRAUM 125EP) 12.00|
Extrawelt’s “Mozaics” trembles with excitement — the low kick starts and draws in electronic sounds that are made for the dancefloor. This is a track that works with different genres of music — piano chords meeting acid bass lines meeting distorted sounds ala Ricardo Tobar. “Tim Says” is a deep and melancholic track with a heavy, 808 bass-kick, somehow post-Detroit in its feeling. A definitive old school track for the Detroit fans.
| || MILLS, JEFF: Waveform Transmission Vol. 1 CD (TRESOR 10011CD) 12.50|
This is part of a series of re-released titles, formerly licensed away by Tresor Records to other labels. This is the debut album from seminal techno DJ Jeff Mills, recorded in Detroit and released in 1992. Waveform Transmission Vol. 1 is a time-capsule of electronic music at its high point, a musical work that shows the state of electronic music in 1992 while giving important, retrospective hints towards the possible future of this genre. Even today, there has been no production in this music style that has not been influenced by this album — a classic of brutal, rock-breaking strength that continues to guide ever since its first release.
| || MILLS, JEFF: Waveform Transmission Vol. 3 2LP (TRESOR 10076LP) 23.50|
2LP version. Waveform Transmission Vol. 3 by the legendary American techno artist Jeff Mills is part of a series of re-released titles, formerly licensed away by Tresor Records to other labels. This is the last in the legendary Waveform Transmission series, originally released in 1994 and arguably a stylistic swan song. Markedly less ruthless than Waveform Transmission Vol. 1, this volume saw Mills expand his palette of beats and textures into slightly more futuristic territory, while still retaining his hold on hard loops and his signature relentless tempos.
| || HOOD, ROBERT: Internal Empire 2LP (TRESOR 10077LP) 23.50|
Vinyl release. Tresor represses the genre-defining minimalist classic from Robert Hood, Internal Empire. It is clear how much Robert Hood has characterized and impressed the electronic music scene with Internal Empire. The fact that in modern days techno is characterized by Detroit is a credit that is owed to this record in particular. Originally released in 1994 and long unavailable, Internal Empire is a Detroit classic of perfectly looping minimalist repetition. Hood has since released music for Cheap, his own Drama and later M-Plant, and countless other labels, but this is his defining moment and one of the heaviest, most abstract Detroit records — with near-perfect sound construction. Robert Hood’s official contribution to the music scene in Detroit at the end of 1990 was selling records made by other musicians. He was MCing and recording music cassettes until Jeff Mills and Mike Banks discovered the young talent and got Hood to work at their studio, forming the Underground Resistance label. His premier as a songwriter debuted on X-101 with “G-Force” and “Rave New World.” He received all kinds of support from the two masterminds Mills and Banks — Hood calls the two his mentors, who also promoted his idea to found his own label Hardwax, where he developed his very own unique musical signature. After UR split up, he still worked together with Jeff Mills and the two of them founded the Axis label. A little while later, the busy Robert Hood created yet another outlet of his creativity: M-Plant Records. With Internal Empire, he redefined techno, reducing sounds to their essentials, while continuing to develop in new, revolutionary directions.
| || DREXCIYA: Neptune’s Lair CD (TRESOR 10129CD) 12.50|
Detroit’s Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya’s grand history was written entitled Neptune’s Lair, featuring 21 exclusive tracks released in the fall of 1999. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods ranging from the dark, foreboding “Intro” to the shimmering beauty of “Polymono Plexusgel.” While words won’t do Neptune’s Lair proper justice, rootsy Kraftwerkian techno (“Universal Element” and “Oxyplasmic Gyration Beam”), gives way to G-style electro (“Fusion Flats” and “Andreaen Sand Dunes”), while jazzy freestyle funk (“Running Out Of Space” and “Funk Release Valve”) evolves alongside classic 4/4 club sound (“Species Of The Pod,” “Devil Ray Cove” and “Lost Vessel”). Although the roots run deep, Neptune’s Lair heralded an important new chapter in the musical connections between Detroit’s finest and Tresor.
| || DREXCIYA: Neptune’s Lair 2LP (TRESOR 10129LP) 23.50|
2LP version, featuring 13 tracks from the CD version. Tracklist: A1. Intro: Temple Of Dos De Agua; A2. Andreaen Sand Dunes; A3. Running Out Of Space; A4. Universal Element; B1. Habitat Of Negative; B2. Funk Release Valve; B3. Organic Hydropoly Spores; B4. Draining Of The Tanks; C1. Surface Terrestial Colonization; C2. Oxyplasmic Gyration Beam; D1. Triangular Hydrogen Strain; D2. Bottom Feeders; D3. C To The Power Of X+C To The Power Of X=Unknown.
| || SCION: Arrange And Process Basic Channel Tracks CD (TRESOR 10200CD) 12.50|
Tresor represses Scion’s legendary Arrange And Process Basic Channel Tracks, originally released in 2002. Rearrangements and reworks of seminal back-catalog tracks from Basic Channel with the help of Ableton’s “Live” audio software. The result is not a simple mix CD or compilation, but the connection of new software possibilities combined with Scion’s experience as DJs. Scion (Pete Kuschnereit aka Substance and René Löwe aka Vainqueur) have arranged and reworked back catalog tracks from Basic Channel (Moritz Von Oswald and Mark Ernestus) with the help of Ableton’s live audio software. The selection is focused on the more clubby tracks of the BC-projects Cyrus (“Enforcement,” “Recall,” “Inversion”), Phylyps (“Trak I,” “Trak II”), and Quadrant (“Q 1.1,” “Infinition”), and “Octagon/Octaedre,” for example, including “The Climax – Basic Reshape,” and also applying atmospheric tracks as found on the Basic Channel CD (1996). Most of the tracks were previously only available on import 12″s, and the result is simply groundbreaking and astounding.
| || RENE HELL: Porcelain Opera CD (TYPE 077CD) 14.50|
Rene Hell is the latest and possibly greatest moniker of U.S. noisenik Jeff Witscher. Over the last handful of years, Witscher has made a name (and possibly a cult?) for himself under a plethora of different pseudonyms exploring various disparate styles. He has been known as Impregnable, Secret Abuse, Marble Sky and as part of Roman Torment and Deep Jew, among others, and now he’s settled on Rene Hell. With this project, we find him focused on synthesized kosmische sounds — but unlike many of his contemporaries (Emeralds, Oneohtrix Point Never etc), instead of delving into nostalgia, there is something decidedly modern about Witscher’s compositions. The bubbling, effervescent synthesizer sequences and percussive patterns seem to twist and turn over each other with a near-techno precision, and at times you might be forgiven for thinking that Porcelain Opera had more in common with Basic Channel than Cluster. Porcelain Opera is an album made by a consummate music obsessive, and Witscher is just as obsessive about his composition as he is his influences. The album’s tracks seep into each other like viscous lava, decomposing and reforming as the track markers fade and re-appear. This is pure electronic music — songs created with analog circuits and half-baked patch cables, dusty cassette tapes and greased-up potentiometers. And despite his noise roots, there is something distinctly sparkling about this collection of tracks. “Prize Mischief Hold” fizzes and cascades from the speakers like a box of illicit Chinese fireworks, and the album’s glorious centerpiece “L. Minx” thunders through an electrical storm to reveal glorious, warming harmony. Electronic music has been much maligned in recent years and its contemporary rediscovery seems almost too rooted in kitsch to be taken seriously, but Jeff Witscher’s synthesizer gospels are more than just a flash in the pan. This is analog exploration at its best, and once it digs its rusty talons into you, it refuses to let go.
| || HELIOS: Live At The Triple Door CD (UNSEEN 002CD) 15.00|
Since 2003, multi-instrumentalist and composer Keith Kenniff (aka Helios) has been a mainstay in the electronic music/IDM community with releases on influential labels such as Merck Records and Type Records as well as countless remixes and compilation appearances. His signature blending of electronics, ambience and found-sounds have garnered attention from some of the top music critics in the industry. Kenniff’s cinematic soundscapes have also caught the ear of the film world both under Helios and his piano-based alter-ego Goldmund, with music appearing in feature films such as Mister Lonely by acclaimed director Harmony Korine, documentaries for the BBC and a trailer for the film Revolutionary Road. Each year, the Decibel Festival brings artists from all over the world to participate in several days of music taking place at various venues in Seattle, Washington. Shortly after the release of his album Caesura (TYPE 042CD/LP) in 2008, Helios was asked to perform at the ambient music showcase along with fellow artists Eluvium, Deaf Center and Brian McBride. Performing on this night as a venerable one-man-band, Helios’ live set features Kenniff constantly switching off on instruments, looping keyboards, guitar, and playing live drums, often pulling double duty on two instruments at once. Live At The Triple Door compiles material heard on his past albums, Unomia, Eingya (TYPE 011CD/LP) and Caesura, as well as previously-unreleased material. Professionally recorded and re-mastered, this recording (originally released as a limited CD-R-only pressing) captures a rare and special night of Helios’ music, with the sounds of nature swirling in and out of Kenniff’s signature brand of soothing, sun-soaked ambient electronica reminiscent of artists such as Boards Of Canada, Sigur Rós and early Brian Eno.
|UPON YOU (GERMANY)|
| || MEINHARDT, MARCUS: All In 12″ (UY 034EP) 12.00|
Marcus Meinhardt has the bow strings pulled tight and is aiming for the techno heart of the dancefloor with this release for Upon You. On “Trouble,” the arrow subtly touches the souls of the crowd, making Eros faint with jealousy in front of the DJ booth. “Restart” is a track from deep within the techno-boiler that goes in the same hypnotic direction, to a place where the night’s haze rises into the sky and is carried by exalted hands.
| || KADEN, MATHIAS: Studio 10 Remixes #1 12″ (VR 006EP) 12.00|
Late in 2009, Mathias Kaden’s debut album Studio 10 (VA 004CD/LP) was released, garnering positive feedback from the scene’s most important DJs. Vakant follows up with a series of remixes for this very important album. DJ Koze lays into the album’s dub track “Kawaba,” featuring the voice of singer Tomomi Ukumori. Deeply-pitched vocals and Koze’s very own groove give this remix a very special appeal. AFFKT delivers a peak-time tech-house remix of “Mascleta” that is already causing a storm.
| || VA: The Afrosound Of Colombia Vol. 1 2CD (VAMPI 108CD) 22.00|
Over 2 ½ hours of funky, hot Afro-influenced tracks from the ’60s and ’70s golden-period of the seminal Discos Fuentes label in Colombia. Forty-three dancefloor hits provide an irresistible mix of genres: salsa, cumbia, boogaloo, tropical funk, and chicha. The story of the Afrosound is a tale of transformation. It tells of the enslaved African peoples who were taken to Colombia, who mixed with Europeans and indigenous inhabitants (by force or choice), and were eventually set free, as well as the escaped cimarrones (maroons) that lived in palenques (fortified settlements) and continued their own traditions. The Afrosound sings of a double diaspora, first the trek in chains during the infamous Middle Passage from the Motherland of Africa to the so-called New World, then much later, the migration from the plantations to the cities. This release deals with the unique sounds produced as a result of the inventive mixing of pop and roots that took place in the urban confines of the Discos Fuentes studios, far from Colombia’s coastal regions. The invented term “Afrosound” serves as the title of a thrilling and sometimes odd soundtrack that chronicles the diffusion and evolution of the musical culture from those coastal regions as it was brought inland, where it was translated, simplified, mass marketed, manufactured, modernized, “whitened,” globalized, recycled, and then sent back to the world at large, disseminated from the cities of Medellín and Bogotá, where the major bulk of the music production industry resided in the ’50s through to the ’70s. To tell the story of Afrosound, you not only have to know about the influence of Afro-Antillean music and indigenous Colombian tropical coastal genres, you also have to know something about the history of Discos Fuentes and musician/producer Julio Ernesto “Fruko” Estrada. Suffice it to say that the coastal area of Colombia shares in common with other areas in the Caribbean Antilles a certain tropical mix of sensuality and syncopation that somehow manages to combine joy and pain in a transporting wave of rhythm and melody that is food for the soul. The tracks on this compilation were chosen from the vast archives of Discos Fuentes because they are fun, funky, and unexpected. The title of this compilation comes from one of the Fuentes bands, Afrosound, but here it’s taken more as a general term to denote the funkier side of the label’s prolific output in the ’60s and ’70s. The unifying factor for the collection is that the tracks all have something to do with African roots or influences in one way or another, and they mark a period of sonic experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers, and engineers. Deluxe tri-fold packaging includes a 38-page booklet of rare photos and extensive notes.
| || VA: Cumbia Beat Volume 1 2CD (VAMPI 116CD) 22.00|
Subtitled: Experimental Guitar-Driven Tropical Sounds from Peru 1966-1976. In 1960s Peru, a thrilling and unstoppable style of music was born: Peruvian cumbia, also known as “chicha.” Tropical genres such as merengue, guaracha, rumba and cumbia mix with ’60s beat and psychedelic rock, while electric guitars reinterpret folk melodies and traditions from the Andes and the Amazonian jungle, in a musical representation of the exodus from rural areas to Lima and other big cities. This is the first volume of a new series dedicated to documenting this most exciting and popular genre. In mid-’50s Peru, mambo was progressively replaced by preferences for other rhythms like merengue, guaguancó, cha cha cha, joropo, guaracha, rumba and cumbia. In Lima, it’s the golden age of great orchestras and music ensembles which are capable of playing swing and jazz, but especially the diverse tropical variants inundating the market. The most successful of all, La Sonora De Lucho Macedo, released an LP in 1965 consisting exclusively of cumbia. Around this time, the successful folklore group Los Pacharacos released the album Los Ídolos Del Pueblo, which included a cumbia number in the middle of a potpourri of huaynos, waltzes and polkas. The marriage between folklore and cumbia had taken place. The groups preserved the fusion of foxtrot and mambo rhythms along with huayno and cumbia in the execution of their music. That feeling would be the basis for the success of such unorthodox and unclassifiable songs as “La Chichera” or “Petipan.” The recording in 1965 of these two songs by Los Demonios Del Mantaro on a seminal 45 rpm with the Sono Radio label was the jumping-off point for the birth of cumbia andina, also called “chicha” precisely for this song, which is dedicated to a vendor of the well-known Incan liquor. The electric shock of rock guitars enters the world of cumbia in 1968. The cause of such copulation was Enrique Delgado Montes, regarded as the genre’s godfather. He did it as part of his band Los Destellos, on a 45 (“El Avispón”/”La Malvada”) and an eponymous LP. His songs constitute the most surprising musical fusions and amalgams of the time: whether they merge Cuban music and psychedelia, explore the sounds of Andean or Amazonian music, combine the digitalization of the Creole guitar with huayno melodies or abuse fuzz tones and distortion pedals with enormous strength. The metamorphosis of cumbia turns it into a genre that seems to voraciously cannibalize acoustic traditions and modern technologies. There wasn’t an innovation that tropical guitarists didn’t add to their sound: delay, fuzz tone, overdrive, wah-wah, reverb, modulating effects typical of rock bands were assimilated into a stunning sonic cocktail. In this context, cumbia reached the top of the charts in popularity. Cumbia replaced rock as the urban sound. The groups would slowly develop an ethnic sensibility inspired by native Shipibo motifs and an astonishing and bewitching sound that seemed to drink from all the mysteries, secrets and myths of the jungle. Includes a 36-page booklet in English and Spanish plus photos and memorabilia.
| || VA: R&B Hipshakers Vol. 1: Teach Me To Monkey CD (VAMPI 122CD) 16.50|
The first volume in a new Vampisoul series — an uptempo and danceable collection of ’60s R&B and early soul from the Federal and King vaults, compiled by renowned DJ Mr. Fine Wine (“Downtown Soulville,” WFMU). Most tracks have never been reissued. “When compiling Vampisoul’s dip into King Records’ deep, deep rhythm-and blues vaults, I realized that I’m a sucker for the sounds of ’61. And, well, ’62 too. Not that other years slightly earlier and later aren’t represented as well, but, fully a quarter of the tracks herein are from 1961. What happened then? President Kennedy happened then, for one thing, inaugurated on January 20th. Also: chimps and their perhaps marginally more civilized human cousins in space; Roger Maris eclipsing the Babe, albeit with a conceptual asterisk; Jets vs. Sharks on the West Side; the Cold War in full swing; a hot war in Vietnam just starting to smolder, though few Americans had even heard of the place yet. And brilliant black musicians making timeless records for a Cincinnati, Ohio family of labels — gibbling and gobbling down Broadway, implanting indelible, stinging guitar lines in the public consciousness, and making folks do the ginger snap like there was no tomorrow, which I’m sure there didn’t always seem to be. This collection of genuine King and Federal R&B sides encompasses crazy dances, intense guitar instrumentals, inspired forays into mind-altering whimsy, timeless odes to male horniness, and hook-filled, honest-to-goodness love songs. For a raucous and potentially life-changing R&B dance party in a box, though, you’ll find Teach Me To Monkey to be just the thing.” –Mr. Fine Wine; WFMU’s “Downtown Soulville,” New York City, 2010; Artists include: Willie Wright, Hank Ballard, Lulu Reed, Little Willie John, Lloyd Nolan, The “5” Royales, Little Mummy, The Valentines, Eugene Church, Charles Brown, El Pauling, Roy Milton & His Orchestra, Freddy King, The Drivers, Carol Ford, Little Bobby Moore, Little Emmett Sutton, Sonny Thompson, Johnny Watson, and Eddie Kirk.
|VIDAB X SERIES (GERMANY)|
| || KOLJAH: Simple Things EP 12″ (VIDAB XI-EP) 11.00|
“Et voila. This is the first release from our newly launched Vidab X series. It’s Vidab’s new platform that aims to show some of the unknown and unexpected sides of our artists. First issue comes from Koljah. On his last EP he proved himself to be a big lover of the deeper sides of house. Now it’s up to him to show his passion for epic, soundtrack-inflected stuff like on the A-side, ‘Simple Things’ and his dark and reduced alter ego on the flip with ‘It Makes Me Think.'” On red-colored vinyl.
| || SOUL CLAP: R&B Edits 12″ (WLB 005EP) 12.00|
The R&B Edits is a great selection of Soul Clap’s ground breaking, genre-blurring bootlegs/edits in a limited edition pressing. “Extravaganza” is a guaranteed “ladies-report-to-the-dancefloor-for-booty-shake” anthem, while “Sex In The Kitchen” schools you in the culinary arts while raving, and now this bass-heavy edit done changed the game. “Dreams Of Tomorrow” — take one Colombian jam session, add a sprinkle of Lee Curtiss drums and a whole lot of Lonnie Liston Smith and what do you get? Mo’ money!
|WAH WAH RECORDS (SPAIN)|
| || BESOMBES, PHILIPPE: Libra LP (LPS 081LP) 28.00|
“When the bunch of filmmakers known as The Pattern Group (Roland Moreau, Georges Perdriaud and Jean Talansier) did Libra, their second movie, in 1973 they thought it would be a good idea to use bits from Pink Floyd’s Ummagumma and Atom Heart Mother to create its soundtrack. The movie, a 90-minute film with no dialogue, depicts the story of four youngsters living in communion with nature, an idyllic life that is drastically changed when a U.S. satellite crashes in the area and attracts the attention of journalists and TV crews that come to destroy the peace of the place. Obviously, the Pink Floyd bits had been used without permission, and The Pattern Group saw they needed an original soundtrack if they wanted the film released without legal trouble. They approached Jean-Michel Jarre, who declined the invitation to create the new soundtrack, but suggested instead Philippe Besombes. Besombes was a sound explorer who walked similar paths as other avant gardist young musicians from his generation such as Richard Pinhas (Heldon), Paul Putti (Pôle), Jean Louis Rizet or Jean-Michel Jarre himself (way before he became the famed wizard of commercial synth music as we know him today). Besombes was requested to produce a soundtrack ‘in the style’ of those Pink Floyd tracks used. However he came up with that and more. Always aiming to find new ways of musical expression, he produced music that fitted perfectly in what the filmmakers needed but which was totally of his own. Surrounded by a cast of friends, he locked himself in the basement of his girlfriend’s father (who even ended up providing the financial funds for the project to reach an end!) and taped the amazing sounds that form the Libra soundtrack, a landmark in French electronic tripping music. The soundtrack was recorded in 1974, and it was released as a vinyl LP on the Tapioca label in 1975. It has since become a highly sought-after LP among collectors of electronic music worldwide, and gets its first vinyl reissue on Wah Wah in a deluxe edition that features a lavish 12″ sized, six-page booklet with plenty of photographs from the era and information on the making of Libra in texts written by Philippe Besombes himself and Raul G. Pratginestós.”
| || MCGUIRE, MARK: Tidings/Amethyst Waves 2LP (WEIRD 051LP) 28.00|
2LP version, limited to 1,000 copies. “Trying to put the last fifteen years of music into context, you’d be hard pressed to get anyone to agree on a single thing. If anything, this period has been a collective convergence of all things cool-sounding: naive experimentalism, academic composition, art-rock synthesis, electronic nihilism/flagellation, and, well, everything else. Mark McGuire could muddy anyone’s interpretation of the contemporary canon with his buddies in the triadic mega-unit, Emeralds, his collaborative outings in Sun Watcher and Skyramps (with Daniel ‘Oneohtrix Point Never’ Lopatin), and his prolific, yet well-executed, solo work. ‘Have you heard his shredability, incomprehensible astral traveling and meditative neutron stasis on any of those solo jams, the dude must be ancient!’ Truth is, Mark Mcguire is a youngin’, not a refuge of the ’70s. Nor is he mining unfamiliar territory; he produces something old and familiar, yet it sounds so fresh and necessary for today. Originally released as limited edition cassettes and masterfully cleaned up for this definitive release by James Plotkin, Tidings/Amethyst Waves finds McGuire packing 60-plus minutes with trance-inducing, melodic guitar intricacies, an occasional wall-of-squall reminiscent of Mizutani riding a thunder horse, and filaments of a drifting stratosphere where organic synthed-out solos are nestled in tight. With this release, Mark McGuire has hatched a true American Euro-vision utilizing major shifts in the ‘music as language’ paradigm. No joke, this is where Wyld Stallyns is heading in the year 2398 A.G. and Tidings/Amethyst Waves is as essential as anything in the Emeralds catalog. Deluxe 2xLP version comes in Stoughton, old-style tip-on gatefold jackets with color printed inner sleeves.
| || OLA PODRIDA: Belly Of The Lion LP (WEST 067LP) 16.00|
“Belly of the Lion is David Wingo’s much anticipated sophomore effort under the name Ola Podrida. Chockfull of unsentimental love songs, the album pulses with the burgeoning sexuality borne of feral adolescent summers spent in the sprawling suburbs of the South. It’s hard not to be wooed, as the songs gingerly lay to rest the calamities that inevitably befall an adventurous heart.”
|WHITE BOX (UK)|
| || INGRAM, RICHARD A: Consolamentum CD (WHITEBOX 005CD) 14.50|
This is the debut solo album from Manchester, UK-based Richard A Ingram. Consolamentum is a bold body of work and a fearless statement of intent. As guitarist in rock outfit Oceansize, little in Richard’s day job suggests either the genesis or the source of this album. This music comes from somewhere else entirely, some undefined center; organic and ever-expanding, fiercely powerful compositions, tonal explorations and melodies, with Richard himself as its source. Using electric and nylon string guitars, piano, a variety of tape recorders and assorted electrical equipment, Consolamentum casts an oppressive shadow over a distant and very dark horizon, a vision of bleak futurism. While Richard admits to taking inspiration for the track titles from the history of the Cathars, he is adamant that “this is not a fucking religious concept album.” Consolamentum could be classified as some form of “acoustic doom,” perhaps some form of drone-based music, but it is none of these things; it exists entirely in a realm of its own. Despite its title, “Kll Thm ll…” presents a cautiously optimistic entry point, and is something of an overture for what follows: melody emerges from a backdrop of machine hum, where curious tonal phases suggest something unfamiliar yet exultant. Then comes “de Montfort” — its sustained, opening (treated) piano chord planted with determined finality. Creeping piano segments and washes of static tape hiss create a tension that builds and builds, until it finally resolves back to its opening piano chord, bringing everything full circle. The beauty is in the simplicity of the parts — Ingram’s expressive playing and economical approach to the pieces, at times lo-fi, at times presented like field recordings, is the key to these stunning and peculiar arrangements. Take for example, the lurching emptiness of the title track, its drunken, hazy detuned guitar phrases, low and sustained, submerged under an ever-present silence — the result is deeply unsettling. “Beziers” exacerbates the tension further, and, as the longest track, acts as a kind of centerpiece. “The Melioramentum” and then “…Gd Wll Rcgnz Hs wn” feel like mournful recapitulations of the four tracks so far, but there is little consolation offered, as the album comes to a close with the sound of all the machines slowly being switched off, until there is just hiss, and then it ends
|WOLF AND LAMB|
| || NIDAM, MAAYAN: Isitin 12″ (WLM 010EP) 12.00|
Maayan Nidam, formerly known as Miss Fitz, presents a fine selection of wonky house and slow grooves. The cheeky “Isitin” is a spaced-out mid-tempo house groove driven by an effortlessly funky and hypnotic bass line. “Merry Go Round” serves up a cumbia-slow Barry White edit, “Na Und” investigates reversed samples and slinky-slow jazz percussion for the fonkiest ends of the night, and “Better Stop” hits a terrific 100bpm groove for fans of the Workshop 12″ or Juju And Jordash. –Boomkat
|WOLFSKUIL LIMITED (GERMANY)|
| || BLANKENA, FERDI: Seance 12″ (WLTD 010EP) 12.00|
The Wolfskuil label presents the debut by Ferdi Blankena, whose take on (deep) house and disco is original, fresh and energetic. “Langkawi” sounds as warm and exotic as the island it’s named after, and “Mother’s Son” is a very catchy nu disco track with vocals and guitars paving the way for a summer smash. “Séance” is the deepest one of the bunch, built around a vocal sample and percussion that sounds like it’s recorded in another realm. On otherworldly ghost cloud-colored vinyl.
|WOLFSKUIL RECORDS (GERMANY)|
| || ESSER, DARKO: Balans Remixes Part 3 12″ (WOLF 017.3EP) 12.00|
This is the third volume in a series of 12″s containing tracks from Darko Esser’s album Balans (WOLF 001CD/LP). Chymera kicks off a proper old-school mix, which brings to mind timeless, early ’90s E-Dancer and Reese compositions. He makes the bass line bite, growl and howl like the best Saunderson productions back in the day. More Detroit vibes on the regular remix, which takes a bit of the acid out of the original and replaces it with those melancholic Motor City strings.
|WURST MUSIC CO|
| || GREAT WEEKEND: It’s Now/That’s Where It’s @ 12″ (WET 1012EP) 12.00|
Great Weekend is the brainchild of Anthony Khan aka Master Khan. The Chicago native spent his formative years dancing to Ron Hardy, Frankie Knuckles and Lil Louis, as well as producing his first tracks with Armando and Mike Dunn. Great Weekend is a collective of musicians, performers, artists, DJs, style aficionados and others whose passions span music, art and fashion. Master Khan is the grand conductor of this movement. This release includes “It’s Now,” with vocals by Justin Carter.
|Z RECORDS (UK)|
| || NEGRO, JOEY: Backstreet Brit Funk 2CD (ZEDD 018CD) 17.00|
Subtitled: A Collection of the UK’s Finest Underground Soul Jazz-Funk and Disco. Backstreet Brit Funk, compiled by Dave Lee aka Joey Negro is a double disc album featuring highly-collectable tracks from the late ’70s through to the mid-’80s with sleeve notes from soul weekender veteran Mark Webster. This compilation will appeal as much to fans of labels like Soul Jazz as the usual Z Records collectors. Brit Funk tells the story of the underground scene in the UK when punk and disco were giving way to a new blend of jazz, soul and funk, heavily influenced by the American big-hitters of the day but re-worked by the UK pioneers for the British dancefloors. This is a unique selection of high quality music, which will have a shelf-life lasting well beyond the currents trends and fads. All tracks have been Cedared and re-mastered to a very high standard and now sound better than ever before. Joey Negro has also re-edited many of the tracks exclusively for this album, updating them with a fresh new approach. A collection of rare and very sought-after underground British disco, funk and soul tracks avoiding the obvious hits. Many of these tracks never went beyond a very small local release but have since become very collectable. Buying this lot would set you back somewhere in the four figures. When it comes to being at the cutting edge of clubbing culture, the Brits are always right there at the front of the line. Just as revolutionary as the clubber’s style was the music they were into — often provided by American musicians easily twice their British audience’s age and what’s more, very much from the American jazz establishment. Names such as Roy Ayers, Lonnie Liston Smith, Donald Byrd and George Duke had already been around as dedicated jazzers, while groups such as Earth, Wind & Fire and The Crusaders were also borne out of that tradition. Created by British musicians for the UK audience, Brit funk was raw and up-tempo and what it lacked in the smooth finesse of the polished American jazz funk, it made up for with unbridled enthusiasm and energy. Joey Negro has some of the genuinely “unsung” heroic records of the style; hard-to-find but absolutely right THERE in terms of those soul, jazz, funk and disco influences — with that Brit funk twist. Artists include: Mirage, Freeez, China Burton, Breakfast Band, Hudson People, Ritual, The Warriors, Stikki Stuff, Nigel Martinez, Savanna, Surface Noise, 52nd Street, Incognito, MBT, Elixia, Intrigue, Ed Bentley, Style X, Adrenalin, Leiah Ikafa, Ransom McKenzie + Friends, Underground, and The Cool Notes.
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