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12K 1060CD DEUPREE, TAYLOR: Shoals CD (12K 1060CD) 13.00
“Shoals is perhaps Deupree’s most specific album in material concept and sound. In late 2009, he was invited to an artist residency program at the University of York (UK) Music Research Center. He was given the freedom to create a project with the resources of the University and staff at his disposal. The idea was to find a unique idea that he would be unable to realize in his own studio — and this was when he discovered the University’s extensive collection of Javanese and Balinese gamelan instruments. Without hesitation, the groundwork was established for his project at the residency: he would create an album using only these instruments by developing a simple yet powerful audio looping program in the Kyma programming language to capture it all and provide the structure for the finished pieces. After the first day in the studio, Deupree quickly realized that he was less interested in the traditional ways these instruments were played and more fascinated by the sounds of the surfaces of the instruments. And so he began to utilize their edges and undersides and find their flaws, such as broken strings. These instruments, played by scraping, tapping, or with an eBow, became the basis for long and meditative looping beds of sound. In addition, the microphones in the studio would by accident occasionally pick up the sounds of Deupree moving around, brushing the edge of an instrument or setting down mallets. These incidental sounds became as important as the instruments themselves and lend an incredibly physical element to the recordings. Much of Shoals is the sound of microphones in a room as Deupree loops and composes live. The software Deupree developed in Kyma allowed him to very simply layer loops and change pitches of his sounds, often transposing them down 2 or 3 octaves to further emphasize the cracks and fragments. After recording many hours of densely layered loops during the residency, Deupree returned to his 12k studio and finessed the works into the 4 tracks on Shoals, each based around one of the loops. The result is an album that has the slow pace of Stil. mixed with the acoustic imperfections of Weather & Worn and the randomness of Occur. Particles of percussive sounds — bells, wood, mallets — are caught by the loop and repeated into a hypnotic underbelly that is coated with a loosely strung Celempung droned by an eBow. The unexpected and almost playful sounds of the instruments’ natural surfaces and room sounds are in stark contrast to the smooth tonal melodic elements, yet together they create an immersive space that seems to offer a microcosm of exploration.”
3LOBED 078LP HEAVY WINGED: Fields Within Fields LP+CD (3LOBED 078LP) 20.00
“They’re back. Heavy Winged has continued to stretch their leathery, scarred, er, wings and grow since their last release for Three Lobed Recordings, 2008’s Alive In My Mouth. The band was determined to make Fields Within Fields into a significant part of their discography from the very outset. In October 2009, the band decided to enter the 5D Studios in Brooklyn to engage in what would be a first-time experiment – recording in a multi-track studio with overdubs planned from the session’s start. Prior to this experience the band’s entire catalog was centered on displaying their ferocious live spirit. Having already proven themselves to be adept at creating grand and heavy statements in an improvised, one-take-only setting, they felt that were ready for the challenge of being both improvisational and composition-minded. The band hunkered down for the session and even brought in some friends to help augment the Heavy Winged vibe. Their time in 5D yielded the two dark fruits which combine to form Fields Within Fields. Brutal and hard, ‘Among The Maori’ leads the album off and encompasses the entire first side of vinyl. The track opens with a slow, deliberate fade into Jed Bindeman’s (Eternal Tapestry, Jackie-O Motherfucker) tribal drumbeat. This beat may start controlled but the track’s velocity and volume continue to accelerate, eventually turning ‘Among The Maori’ into a highly tuned jet engine. Ryan Hebert’s guitar playing is exceptional throughout, beginning with an initial prolonged banshee-like wailing and slowly building and fully giving way to a fantastically cranking and grinding post-metallic din by the track’s conclusion. ‘Among The Maori’ stands out among the band’s entire catalog as perhaps their truest moment. The album’s second side is fully dedicated to the drone doom opus ‘The Hum Of The Universe.'” Includes insert and bonus CD entitled Infinite In Every Direction.
4M 521LP DURUTTI COLUMN: The Return Of The Durutti Column LP (4M 521LP) 17.00
“Despite the title, this is the debut album from Manchester’s Durutti Column, originally released on the legendary Factory Records label in 1980. This album is a collaboration between guitarist — and the only permanent member of the band — Vini Reilly, and producer/keyboard player Martin Hannett (Joy Division, Buzzcocks). Though lumped in with the post-punk movement, The Durutti Column’s debut is hardly reminiscent of what that term brings to mind. The Return Of The Durutti Column is a collection of guitar based instrumentals melding rock, folk, classical, electronica and the avant-garde. Absolutely stunning.”
4M 522LP DURUTTI COLUMN: LC LP (4M 522LP) 17.00
“The second Durutti Column album, originally released on Factory Records in 1981, marked the departure of producer Martin Hannett (Joy Division, Buzzcocks) and the addition of drummer Bruce Mitchell, who would remain a longtime collaborator with chief member, guitarist Vini Reilly. LC is as powerful as the debut, a fantastic collection of guitar excursions that transcend genre. This is also the first album to feature Reilly’s speak-sing vocal style on a number of songs (including ‘The Missing Boy’ a tribute to the recently deceased leader of Joy Division, Ian Curtis). Another stellar album.”
ALGA 028LP FERRARI, BRUNHILD: Tranquilles Impatiences LP (ALGA 028LP) 27.00
“Alga Marghen proudly presents the first record edition ever by Brunhild Meyer-Ferrari, a very refined and talented German composer, wife of Luc Ferrari with whom she collaborated for over 40 years in creating some of the most beautiful sound works ever created in the past decades. First there was ‘Et tournent les sons dans la Garrigue’ that Luc Ferrari composed in 1977 before ‘Exercises d’Improvisation’ in the same year (a previously unreleased work, to be issued on the PLANAM label). These two pieces ‘…conceived for individual or collective improvisation for any instrument or instrumental group…’ are based on identical sound elements. ‘Exercises d’Improvisation’ consists of a sequence of 7 separate tapes, while for ‘Et tournent les sons dans la Garrigue’ Luc Ferrari mixed these tapes into one. Listening to the separate tapes Brunhild Meyer-Ferrari felt the irresistible desire to compose a new piece using ad libitum five of these seven tapes. As she remarked: ‘Impatiences represents for me those high-pitched rhythmic sounds, those imperturbable wriggling interfering with the low rhythms which are falsely quiet, because each of them is submitted to different and contradictory rhythms. I wished these to be perturbing enough to make the physical balance stagger by fractions of seconds.’ Edition limited to 300 copies, issued by Alga Marghen to celebrate the Oeuvres sonores 3 event conceived in collaboration with the New Media Department of Centre Pompidou and La mason rouge, Fondation Antoine de Galbert in Paris. This LP is the third in the Oeuvres sonores series after the Charlemagne Palestine Sound I LP and Luc Ferrari Danse LP.” One-sided release.
ALGA 031LP PALESTINE, CHARLEMAGNE: Relationship Studies LP (ALGA 031LP) 31.00
“Relationship Studies LP includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or ‘Relationship Study No. 1’ (1967) and the generally titled ‘Electronic’ from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and Poème Electronique by Edgar Varese. Immediately fascinated, Charlemagne Palestine bought primitive electronic equipment and started to experiment, creating his original electronic-esque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid, ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s, these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies.”
ALGA 080CD PALESTINE, CHARLEMAGNE: Four Manifestations On Six Elements CD (ALGA 080CD) 19.00
“Four Manifestations On Six Elements, one of Charlemagne Palestine most well-known works, has now finally been included in the Alga Marghen Golden Research series of CD editions presenting the composer’s relevant historical recordings. In 1973 Charlemagne Palestine was commissioned to make Four Manifestations On Six Elements by the Sonnabend Gallery in New York. As the gallery was well known for its presentation of conceptual art Palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double LP record. ‘Two Perfect Fifths, A?Major Third Apart, Reinforced Twice’ (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. In this genre of his work Palestine feels akin to a kind of sound alchemy – blending elements over and over again through the years searching for the Golden Sound – the essence of the chord or harmonic structure itself. In ‘One + Two + Three Perfect Fifths, In The Rhythm 3 Against 2, for Piano’ (1973) the elements introduced are now elaborated upon on the piano. The resonant Bösendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. ‘One Fifth’ evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements, listening within them for variations of amplitude, mixture and inertia at the moment of the performance. ‘One + Two Fifths’ deals with the way a rhythmic sonority sounds when the sustain pedal of the piano is not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal the external rhythmic pattern begins to internalize, becoming an inert part of the whole tymbral fabric – a piece expressing the battle of rhythm versus timbre for dominance. In ‘One + Two + Three’ a third fifth is added – variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work. ‘Sliding Fifths for Piano’ (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is a homage to Debussy, Ravel and Monet. ‘Three Perfect Fifths, A?Major Second Apart, Reinforced Twice’ (1973) is the complexification and continuation of wall one. A pure and sonorous phenomenon. First pressing limited to 500 copies in digipack sleeve, with a full color 12-page booklet including two essays, originals score and visual material related to these compositions.”
ALGA 081CD FERRARI, LUC: Éphémère I & II CD (ALGA 081CD) 19.00
“Presented here for the first time, Éphémère I & II’ (for tape, or to be played with various instruments) are two previously unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalogue of Luc Ferrari. Even if Luc Ferrari’s perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two works presented here is quite surprising. Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performer’s intervention (a perspective he decided not to develop in future researches). ‘Exercises d’Improvisation’, a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP to be issued on PLANAM), directly comes from the two works presented here. Éphémère I’ (or ‘L’ordinateur ça sert à quoin?’ i.e. ‘What’s the use of computers’) is a 27 minute piece for tape only, created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a ‘sea-like’ continuum. Éphémère II’ (or ‘Lyon 75’ after the only recorded realization) is a 51 minute tape piece with guitar improvisation. The electronic repetitive structure reminds some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. The end of this long suite lead us back into more abstract and live-electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. First press limited to 500 copies in tri-folded digipack sleeve. Please note: these 2 previously unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition.”
AMS 008LP FOLK STUDIO A: Folk Studio A LP (AMS 008LP) 34.00
“Released nearly 25 years ago in a very limited pressing, Folk Studio A’s debut has quickly become one of the most rare and sought after LPs coming from Italy. We are aware that many collectible rarities can be musically very thin, but this is not the case with this stunning masterpiece. Following in the footsteps of the British folk-prog revival, they delivered a shiny little gem that can easily be put on the same level as giants like Mellow Candle, Tudor Lodge, Fairport Convention, Pentangle, Steeleye Span or Spriguns. Folk Studio A is a meeting of two cultures, popular and classical, and in this experience musicians with different origins are united by a common passion for the original music of Celtic countries, but at the same time the music is reinterpreted through a continental sensitivity rich with original compositions and careful arrangements.”
AMS 024LP ANALOGY: Analogy LP (AMS 024LP) 34.00
“The group was formed by four German musicians living in northern Italy, near Varese (three of them had grown up there, Thurn-Mithoff arrived in 1968), along with two Italians, keyboardist Nicola Pankoff (originating from Arona) and bassist Mauro Rattaggi. The initial name was The Joice, but it was changed by mistake by their record company to Yoice, and it was with this name that their first single was released by the small Produzioni Ventotto label, distributed by Messaggerie Musicali. In 1972, when Rattaggi quit and rhythm guitarist Schoene switched to bass, the group changed its name to Analogy, and had the chance to play some very important concerts like Caracalla Pop Festival in Rome (first concert with the new name) or the Be-In in Naples, though they remained totally unknown outside Italy, apart from Switzerland. Their only album, very rare and interesting, shows some rock-blues influences, with the nice voice of singer Jutta Nienhaus in strong evidence, and had a distinctive cover with the group members all naked. In 1973 keyboardist Nicola Pankoff left the group, though he kept playing and was also dedicating to painting, he was replaced by flutist Rocco Abate. The group split around 1974, after more than 250 concerts in Italy and around 60 in Switzerland. One of the rarest records from Italy, this is the very first release being a faithful reproduction of the original LP. The first 300 copies even feature the original giant poster with a foot (pictured also on the back cover), folded in six parts, that was conceived in order to hide the naked bodies of the original cover.”
ARBOR 135LP SUN CIRCLE: Lessness 2LP (ARBOR 135LP) 21.00
“Following in the tradition of minimalist composers such as La Monte Young, Yoshi Wada, and Charlemagne Palestine, Sun Circle exemplifies a contemporary focus on long form drone music. Members Greg Davis and Zach Wallace have shown their interest in the field with extended works on Kranky and Root Strata respectively; together on Lessness, they show a deep-rooted interest in the power of simple forms. Building upon themes from their recent solo work (Davis’ subtly shifting tonal work with electronic oscillators and Wallace’s acoustic drone work on the glass armonica), Lessness is comprised of four side long works each exhibiting a different acoustic instrument in isolation. Exploring drums, tambouras (both rhythmic and droning), and gongs with a meditative precision, Davis and Wallace’s work seems at once both mechanic and human; the product of focus, revealing a vast beauty within the subtlety of the geometric potential of sound. In an edition of 400 copies with full color matte jackets.”
ARBOR 145LP CLOAKED LIGHT/PALE BLUE SKY: Clear Of/Someday, Sometime LP (ARBOR 145LP) 12.00
“Working together, but differently. Clear Of, shows Cloaked Light working within a new mode; an expanded temporal sensitivity through field recording and discrete static chords. Slow movement- revealing growth and decay at the subtlest thresholds; disappearing music with a heavy presence, a shifting sense of space, not in the room, but of the room. Pale Blue Sky’s Someday, Sometime approaches a similar expansion of perception and unobscuring blur. Through tape manipulation, the inner workings of tonal relationships are placed under focus; extending time to reveal new moments; widening the view. Distorting to understand; a reorienting pause. Originally conceived to coincide with the Cloaked Light/Pale Blue Sky California tour with Pedestrian Deposit, Infinite Body, Earn, and Mirror to Mirror in January 2010; a testament to a common point and its different trajectories. Approaching the possibility. Mastered by Pete Swanson; cut at 45 rpm. In an edition of 400 copies with glossy jackets and inner sleeves.”
COR 0800 JANDEK: Camber Sands Sunday CD (COR 0800) 7.00
Recorded live at Camber Sands Holiday Park, England on May 14, 2006. Featuring Richard Youngs (bass guitar) and Alex Neilson (drums). Continues the Corwood representative’s “Mannequin series” of album covers started in 2003 with The Place (COR 0772) and The Gone Wait (COR 0773).
DG 2734438 HERBERT, MATTHEW: Mahler Symphony X Recomposed By Matthew Herbert CD (DG 2734438) 27.00
“Gustav Mahler, the great composer on the brink of modernism, wrote his last symphony during a time of great personal trouble. Just as his friend and admirer Arnold Schoenberg believed to observe the loss of subject in Mahler’s 9th Symphony, this subject was to manifest itself fully in the last tragic work of Mahler. His unfinished symphony is an expression of the personal anguish that he was suffering in the summer of 1910. Mahler was desperate and the abyss of loss and madness surrounded him. Death, always a central theme for Gustav Mahler, really seems to take shape in Symphony No. 10, a factor that Matthew Herbert has taken as a departure point for his version of Mahler’s Tenth. And Herbert has taken Mahler at his word. He fitted a coffin with a car radio, played the Tenth on it and recorded the result. The viola solo from the prelude was recorded anew at the master’s grave in Vienna. He played the adagio over the loudspeakers in a crematorium and placed a microphone behind the curtain. For Herbert, it was about focusing on the close proximity of the banal and the profound in Mahler’s work, the constant friction between life and death, love and confusion, grandeur and mortality. ‘My version is not intended to just be fascinated with death though, it is supposed to be an amplification of that unsettling balance he creates between light and dark. I want to relish the friction of the fearful with the glorious.’ This is why one constantly has a feeling of ambiguity when one approaches Herbert’s version of Mahler’s Tenth. Beneath apparently safe ground, an unknown darkness is waiting. That which is audible, tangible to the senses, has a dark side; and ever do the shadows push up to the surface. Herbert has masterfully turned the psychic and artistic thin ice that Mahler was standing on in the summer of 1910 into music. Through subtle adaptation of the structure, the sounds and the spatiality, we hear the Tenth Symphony as we have never heard it before. Occasionally softly underlined, at times overstated, Matthew Herbert regards Mahler’s unfinished symphony from the inside out. Through his sense of time and dramaturgy we are unavoidably drawn into this radio play about Mahler and his last great work. Perhaps the room in which the composer was and surrounded him like a cocoon, the sound of footsteps and the claustrophobically close rustling of paper, are among the few overdubs that Herbert used in his Mahler project. There is an obvious analogy of isolation with the small house in Toblauch (Tirol) where Gustav Mahler composed and struggled. Matthew Herbert has enriched the Recomposed series in one crucial sense: that of the work-immanent approach. He wasn’t just striving to give the Tenth Symphony his own personal point of view, rather to understand and reinforce it in all its complexity. Far more than a re-composition, Herbert has achieved a piece of sound-art which takes the subject matter and creates a mirror image of it. A reflection on Gustav Mahler and his Tenth Symphony in the best sense of the word. Original Recording: Philharmonia Orchestra, Giuseppe Sinopoli, Deutsche Grammophon (1987).”
DEMEGO 012CS FOX, ROBIN: A Handful Of Automation Cassette (DEMEGO 012CS) 12.50
Cassette version, limited to 200 copies. Includes two bonus tracks not on the LP.
DEMEGO 012LP FOX, ROBIN: A Handful Of Automation LP (DEMEGO 012LP) 19.50
First solo audio-only release by Melbourne-based sound and laser artist Robin Fox and first solo release since the mind-melting Backscatter DVD on Synaesthesia (2005). Taking time out from his duo with Anthony Pateras, A Handful Of Automation showcases Fox’s unique and highly individual take on the usually misunderstood extreme computer music genre, and is a pleasurably disorientating ride. Alongside chaos trips such as “Boundary Layer Skin Friction” and the stunning title-track, sit beautifully-scored examples of electronic concentration such as “GODSPEED” and the closing “Melophobia (Final Edit).” This album is a must for connoisseurs of high-grade computer usage, and is released as a vinyl LP as well as a C50 cassette featuring 2 bonus cuts. Cover features images from Fox’s photographic collection Proof Of Concept — a series that has grown out of his legendary laser performances. Edition of 300.
DEMEGO 013CS PETERLICKER: Last Slave Cassette (DEMEGO 013CS) 12.50
Cassette release. Vienna-based Peterlicker (Hergovich – Rehberg – Schachinger – Weissegger) were an underground unit operating between autumn 1989 to possibly spring 1990, playing three or four blistering performances, and rehearsing even less. They were so underground that even the actual members had forgotten its existence! Inactive for 20 years, Last Slave is not so much a return to form but picking up the pieces again. And yes, those pieces were very broken. Extremely good, extremely brutal, rumbling, low-end noise-drone, with ear-splitting screeching. Limited edition of 100 copies only.
EMEGO 095EP HECKER: 3 Track 12 Inch 12″ (EMEGO 095EP) 12.50
3 track 12″ featuring pieces produced on occasion of a Comme des Garçons HOMME PLUS fashion show held in Paris, January 2009. This could be seen as some of Hecker’s most accessible work to-date, and a fine addition to any serious electronic music collection. Edition of 500.
“Before his career defining records on Arista/Novus in the 80s and 90s, jazz and fusion guitarist Michael Gregory Jackson recorded his debut for ESP-Disk’. The sessions, recorded in New York, Connecticut and Los Angeles in the summer of 1976 are wildly meditative and personify the seventies laid-back vibe. A trio of soft, lilting melodies set the mood; David Murray on tenor sax, Oliver Lake on flute, and the album’s leader, Michael Gregory Jackson, on acoustic guitar. The unfolding stream of ideas make these improvisations vital today; arrhythmic strumming, an enchanted R&B vocal from Mr. Jackson, avant percussive clatter, processed electric guitar, and fiery horn lines over timpani and flute. Composer and trumpeter Wadada Leo Smith, cited as a major influence by Mr. Jackson himself, is featured on the album.”
“Following up the critically acclaimed 2008 release, Stéphane Furic Leibovici and Chris Cheek return for this second volume, produced by Jim Black and featuring the alto saxophone giant Lee Konitz. An achievement in balance and taste, the resulting music is so thoughtful, intent and vibrant that it need not be forced upon you. The music unfolds for the listener in the subtlest of ways, as if the composer is challenging our very notion of what will come next. Like a mediation on color and space, you begin to let go of your assumptions and allow the harmonies and structures wash over you. The interaction of Konitz with his bandmates is a delicate dance of lyrical brilliance. Criss-crossing saxophones glide through Furic’s intense and wide open bass work. Furic’s compositions fuel extended interplay as the musicians seem to bounce from one musical theme to the next. This music is the epitome of finesse. Effortless and deep at the same time.”
ESPDISK 4060CD SUN RA: College Tour Vol. 1: The Complete Nothing Is… 2CD (ESPDISK 4060CD) 17.00
“In 1966 Bernard Stollman sent Sun Ra and his Arkestra, along with audio engineer David B. Jones on a tour of five New York Colleges. When they returned, just 39 minutes of music was chosen to be released as the original ESP 1045 Nothing Is…. 44 years later, after extensive research, producer and Sun Ra archivist Michael D. Anderson has pieced together the missing parts of the infamous New York College Tour. Recorded on May 18th 1966 at St. Lawrence University in Potsdam, NY, this illuminating document represents the full 70 minute first set, of which ESP 1045 Nothing Is… was taken, including an introduction by ESP alum Burton Greene. In addition, producer Michael D. Anderson has uncovered a partial second set from the same evening and some rare rehearsal footage recorded during a sound check before the concert. With over 90 minutes of additional material, this two disc set allows a close up look at the band’s repertoire and sound over an entire evening, including the rarely performed ‘State Street’ and alternate versions of ‘Theme Of The Stargazers’ and ‘The Second Stop Is Jupiter.’ Remasted from the original tapes and presented in superb quality, College Tour Volume One is a vivid snapshot of the mid-sixties Ra and his intergalactic band.”
FV 066CD SAKATA & CHIKAMORACHI, AKIRA: Friendly Pants CD (FV 066CD) 14.00
2009 release. “Friendly Pants is the first American release by legendary Japanese saxophonist Akira Sakata in more than 20 years. It pairs the 65-year-old traveler alongside Chikamorachi, the bombast rhythm section of drummer Chris Corsano (Paul Flaherty Duo, Bjork, Jandek) and acoustic bassist Darin Gray (On Fillmore, Grand Ulena, Brise Glace). Since the late 1960s, Sakata has been a constant figure in jazz and creative music scenes as an ever evolving and adventurous, multi-instrumentalist, and member of classic groups such as Yamashita Yosuke Trio and Wha-ha-ha plus many of his own, like the Sakata Akira mii. He has recorded with Chris Cosey, Peter Brötzmann in Last Exit, DJ Krush, Yoshimio, and others. Since 2005 Sakata has been aligned with Corsano and Gray – a duo equally informed by underground American rock, noise & free jazz – and already issued two other smoked and blown out albums with them in Japan. On each of those they were joined by Jim O’Rourke, who remains in the producer’s chair for this session. Sakata deliverers ferocious / highly lyrical approaches to the post-bop field and with Chikamorachi’s recalls late-period John Coltrane or Pharoah Sanders during the early 1970s at times. While the three smear and tear at the edges, Sakata’s massive tone and melodic sense reins in the chaos to create beauty and awe. Originally issued on O’Rourke’s Japanese imprint Shakaijin Records, Friendly Pants is now reissued for the rest of the world to dig.”
GD 013CD VA: Psychogeographical Dip CD (GD 013CD) 14.00
“The first release in a series of compilations based on the concept of psychogeographical recordings and the theory of the dérive among the artists (the various) assembled here. Musique concrète, electroacoustic and experimental music shape a psychogeographical map of the abandoned McCarren Park Play Center & Pool in Greenpoint, Brooklyn, New York. The 74′ CD is packaged in a custom-designed wallet fold cover with images by Geoff Dugan. A blueline printed booklet insert contains graphics from each artist. Released in 1997.” Artists: Gen Ken Montgomery, Chop Shop, Geoff Dugan, Francisco López, Sean Meehan, Brian Conley, John Hudak, If, Bwana and Pat Courtney.
GD 014CD VA: The Architecture Of The Incidental CD (GD 014CD) 14.00
“The second release in a series of compilations based on the concept of psychogeographical recordings and the theory of the dérive among the artists (the various) assembled here. Musique concrète, electroacoustic and experimental music centered on the subject of a non-site-specific state of transit. The 74′ CD is packaged in a custom-designed wallet fold cover with photographs by Pat Courtney and a blueline printed booklet insert with a text: Incidents of Displacement, by Allen S. Weiss. The various artists are the same as on the previous release Psychogeographical Dip. Released in 1999.”
GD 018LP SHIRAISHI & SEAN MEEHAN, TAMIO: Annual Summer Concerts LP (GD 018LP) 16.00
2006 release. “Two of Tamio & Sean’s annual summer concerts in New York City recorded in binaural pedestrian splendor by Geoff Dugan, Tamio (sax), Sean (percussion) and the city. Binaural recordings are optimal for headphone listening but I recommend listening via stereo speakers in a room, on a summer day with the window open and the volume turned up. Playing records is a recreational activity. A handmade multiple edition of 500; 12″, 180-gram vinyl in a screenprinted kraftboard jacket.” Sleeve features Hanson-style Droll-Flaps.
GD 019CD DELAURENTI, CHRIS: Favorite Intermissions CD (GD 019CD) 14.00
Subtitled: Music Before And Between Beethoven, Stravinsky, Holst. “Available again! Repackaged by corporate demand in a limited edition of 900 sans the satire of the original which is no longer available. ‘Why record intermissions? One duty of the composer is to expose the unexpected, overlooked, and hidden skeins of music woven in the world around us. Culling sounds from the world as a composition subverts long-standing, essentialist notions of music as comprised of notes, melody, traditional instruments (violin, guitar, drums, piano, etc.) and so forth as well as flouts contemporary expectations of abstractly agglomerated, musique concrète-ized sound.’ An excerpt from the liner notes by DeLaurenti.”
GD 020CD LOPEZ, FRANCISCO: Conops CD (GD 020CD) 14.00
2008 release. “Conops is a work created from recordings of environments which are dominated by networks of insect sound. It is a composition of sound immersion that is not designed to represent reality, but rather transform it into a new sound universe, absolute and hyper. Original environmental sound matter recorded at multiple locations in Brazil, Canada, Costa Rica, Greece, Japan, Senegal, and the USA between 1990 and 2005. Edited and mastered at Mobile Messor, spring 2007. Compact disc in an all white digipak. Limited edition of 1000.”
GD 021CD IF, BWANA: 31 CD (GD 021CD) 14.00
“31 is the latest release by legendary cassette culture artist If, Bwana — aka Al Margolis. This album of electroacoustic compositions is built on 25 years of If, Bwana improvisations. Haunting, shimmering microtonal pieces are juxtaposed with compositions of reconfigured breath: flute and voice. Collaborators for this incarnation of If, Bwana include: Lisa Barnard (vocals), Jane Rigler (flute), Jacqueline Martelle (flute) and Tom Hamilton (Nord modular synth). Hamilton also mastered the music for production. Compact disc in a screenprinted raw kraftboard wallet designed by GD with photos by Al Margolis. Printed by VGKids. Limited edition of 500.”
“GenCon Duets is dedicated to a friendship etched in stone — errr — letter-pressed in paper. It is also an unusual musical collaboration between Gen Ken Montgomery and Conrad Schnitzler. A follow-up to their 1988 album CONGEN New Dramatic Electronic Music (Generations Unlimited), this is a different kind of electronic music. These recordings were made in 1996 with CON’s contemplative 12 finger piano compositions and GEN’s everyday recordings. Besides a long pleasurable listen these recordings represent an examination of music, how we listen to it and what we hear, intended or not. The music of GenCon Duets is not a perfected formula or mathematical equation. It is the resonance of a moment, a series of moments that play out in time and space beyond the control of the artists and ultimately our control as listeners.” — Geoff Dugan “The audio CD is comprised of 7 untitled tracks: 58 minutes of music. The package includes 12 image cards, video stills of the artists from Trans Berlin-Brooklyn Exchange created by Guido Englich (1985) using a Mac Plus from the video On Their Way by Gregor Schnitzler (1985). The cake-box like container and image cards were designed by GEN, Ben Owen and GD. The entire package was letter-pressed at Middlepress, Brooklyn, New York in a limited edition of 300.”
HJR 048CD VA: To Scratch Your Heart: Early Recordings From Istanbul 2CD (HJR 048CD) 23.50
Honest Jon’s presents a 2CD package drawn from recordings made in Istanbul by the Gramophone Company and HMV, during the first three decades of the 20th century. Amidst the ruins of the Ottoman Empire, it crosses and mixes the folk and classical heritage of Turks, Greeks, Armenians and Gypsies, Muslims, Christians and Jews, urbanites and country?people, and the demands of tradition and modernity, musical improvisation, composition and system. Most of the singers are haf?z, versed in a musical reading of the Koran, and renowned for mastery of the exalted, improvisatory form of the gazel. There are several magnificent examples here, by legendary artists. Three of these gazelhans beautifully interpret folk songs, and another contributor, the folklorist A?yazar Efendi, sings a long Armenian air with utter authenticity, but in the style of a gazel. Exemplifying the new political freedoms of the Republic, there are two heart?melting female vocal performances of a kind of art?song called sark?. Also featured is the taksim, a kind of improvisation in which one?off musical fireworks, designed to ravish the listener’s soul, illuminate deep fluency in the makam. A who’s-who of the pre?eminent instrumentalists of this first half-century of Turkish recording, in performances which are simply stunning, breathtaking, exquisite and other?worldly. The music here is so transfixing, intensely devotional and sublimely beautiful, that some contemporary listeners thought they were levitating. Brilliantly restored at Abbey Road, and housed in an elegant mini-LP style gatefold package with a 27-page booklet of extensive liner notes and historic photos.
HJR 048LP VA: To Scratch Your Heart: Early Recordings From Istanbul 4LP BOX (HJR 048LP) 54.00
Luxuriously packaged deluxe 4LP version in cardboard slip case with individual sleeves for each LP.
HOTTRAX 5125CD NIGHT SHADOWS, THE: Volume 2: The Little Phil Era 1964-1967 CD (HOTTRAX 5125CD) 14.00
Warehouse find of this long out-of-print collection compiling this garage band, released in 1997. “This CD is the second volume of a limited edition musical anthology featuring the legendary Night Shadows. The Night Shadows are well known to serious record collectors as one of the pioneer ‘garage bands’ of the 1960s and was the paragon of psychedelic music in the Deep South. The group’s infamous 1968 album The Square Root of Two on Spectrum Stereo Records is currently valued at more than $1000 in mint condition.” Tracks include “Dancing To A Different Beat,” “The Hot Dog Man,” “I Wish I Could Sing Soul Music,” “Wild Thing,” “Louie Louie,” and “In The Air.” Includes a 20-page booklet with notes and rare photos.
IMR 002CD-LTD TRENTEMØLLER: Into The Great Wide Yonder: Special Edition CD/DVD (IMR 002CD-LTD) 18.50
In My Room presents a special edition version of Into The Great Wide Yonder, the second studio album by Anders Trentemøller and the follow-up to the highly successful The Last Resort (PFR 018CD/LP). Into The Great Wide Yonder is a truly remarkable album, offering as much depth and soul as its predecessor, yet sounding ultimately fresh and different. Above all, the ten tracks show an artist that’s willing to take risks, find inspiration in new places and move beyond the sound of his previous album. Compared to the intimate electronic mood pieces of The Last Resort, these tracks indeed have a more strange, mystic and dramatic vibe, with a lot of dynamics, distorted, driving twang, guitars, and real and electronic drums mixed with haunting synths. With Into The Great Wide Yonder, Trentemøller is not only exploring new, moody and atmospheric universes, but also combines his sense for glorious soundscapes with a firm melodic and tonal touch. The original chord progressions and feel for melodies is fundamental to him, and that’s also the reason why most of the instruments are played by Trentemøller himself on this album. The Danish multi-instrumentalist and producer shows an unexpected talent for finding vocalists that fit the mood of his songs. The first single of the album, the beautifully tender “Sycamore Feeling,” featuring Marie Fisker, is a typical highlight. In fact, all the vocal tracks are stunning. Trentemøller chose to collaborate with the English artist Fyfe Dangerfield from UK-based Guillemots and Danish singers Solveig Sandnes and Josephine Philip from the debuting Danish indie girl duo, Darkness Falls. They all manage to add their own sound and flavor to the album, while their voices blend perfectly with Trentemøller’s atmospheric songs. This is an album that keeps growing for a long time, as every track works its way stealthily under your skin. The sound of this album might be one step ahead of his previous work, but we still easily recognize the hand of Trentemøller, in this inspired collection of songs and atmospheres. The sonic richness, sharp contrasts and daring musical colors are vintage Trentemøller. Into The Great Wide Yonder is the work of an artist and producer who seems to be completely at ease in the studio. No wonder, as Trentemøller prefers the silence of the night and the solitude of his own apartment in his hometown Copenhagen to create his music. So even though the album sounds like a big production job in an expensive studio, all of the tracks were in fact recorded in his home. Eerie sounds from everything including a Theremin to an old music box is used to create a warm, analog sound with a lot of attitude. Trentemøller: “I recorded most of the album in my computer, but in the final stages I transferred all the parts to analog tape through a lot of vintage EQ’s and pre amps. The tape saturation and the analog outboard really helped getting the warm sound that I was after.” Into The Great Wide Yonder might demand more from the listener than The Last Resort, but getting to know the tracks is definitely a rewarding experience, as the album will keep growing and growing for a long time to come. This deluxe special edition comes with a poster and bonus PAL/Region 0 DVD featuring two high definition videos: “Sycamore Feeling” and “Silver Surfer, Ghost Rider Go!!! (Live at Roskilde).”
JPR 82804LP WIPERS: Out Takes LP (JPR 82804LP) 19.00
“Featuring 13 rare and unreleased cuts, Out Takes collects unheard songs, demo recordings, and alternate mixes. Handpicked by Greg Sage, the songs date from 1979-1983, the same years as their landmark first three LPs. Side one focuses on the era of their debut LP, Is This Real?, a desperate, energetic masterpiece, considered by Kurt Cobain as the blueprint for grunge. Included are raw, sparsely arranged 4-track demos, two unreleased songs from 1979, and the forceful, youthful track ‘Rebel With A Cause’ which was cut from the LP. The second half of the LP presents a live recording of ‘Mistaken Identity’, originally intended for the Wipers’ third LP, Over the Edge, a rare B-side, and alternate mixes of songs from Youth of America. Out Takes is an incredible new window into the career of one of the greatest American punk bands.”
LEFSE 006LP DELTA MIRROR, THE: Machines That Listen LP (LEFSE 006LP) 15.00
“The Delta Mirror is a cocktail of all your past loves. They were made from the sprained fingers and broken records of mid ’90s hip hop. They were made from the bent circuits of electronica, dead IDM lap tops and broken shoegaze strings. Craig Gordon and David Bolt started out as a hip hop two piece in the late ’90s and have been writing music in some form ever since. With the addition of Karrie K on bass, their sound has progressed to an ambient mix of shoegazy guitar and gothic vocals, but their production has held onto the same boom bap button pushing they started with. Machines That Listen is The Delta Mirror’s debut long player. Each song on this 9 track collection is a story that takes place in a different room of a hospital.”
LITA 053CD SZABO, GABOR: Jazz Raga CD (LITA 053CD) 15.00
“The world famous Impulse jazz catalogue is so cavernous you truly need a music-minded flashlight to uncover its deepest and darkest secrets. Thankfully Light In The Attic has recently acquired such luminescent technology and the first discovery is Hungarian guitarist Gabor Szabo’s 1967 Indo-fusion landmark, Jazz Raga. Combining Szabo’s distinctive 6-string touch and open-minded ideas, it brings together jazz, pop-rock, and his native European influence, along with hypnotic sitar, stoned bass vibrations, occasional psychedelic vocals, and the laidback, yet totally in the pocket, Latin/R&B infused backbeat of #1 session drummer, Bernard Purdie (Lialeh OST, LITA 003). Szabo and his Jazz Raga have not only provided the soundtrack to many low light seductions, exotica dinner parties, and super swinging scenes, but formative influence on no less than Beck’s monumental Odelay album (1996) and Santana’s classic ‘Black Magic Woman’ (1970). Images of Szabo, hunched over his guitar in trance, fingers weaving a magical spell over the fret board, are iconic in the world of jazz. Light In The Attic is honored to spread the musical maverick’s message, presenting Jazz Raga’s CD debut. The audio has been lovingly re-mastered from the original tapes, and only enhances jazz pioneer Rudy Van Gelder’s original pristine recording. Liner notes come courtesy of Ugly Things’ Doug Sheppard and also include a vintage 1967 DownBeat interview with Szabo himself. While the guitarist is no longer with us (Szabo passed away in 1982 from liver and kidney disease while visiting his homeland), his original, inventive, and mysterious sound will never die. Whether it’s ‘Walking On Nails” soft psych bliss or a sprightly cover of The Rolling Stones’ ‘Paint It Black’, put Jazz Raga on your stereo and let it transport you to a place you’ve never been (a ‘Search For Nirvana’ if you will)… But please be warned, you’ll want to return time and time again.”
LCD 3303 ASHLEY, ROBERT: Atalanta (Acts Of God) Volume II 2CD (LCD 3303) 26.00
Robert Ashley and Jacqueline Humbert (voices) with Tom Hamilton (mixing and electronics). “Three of the satellite songs from Ashley’s opera Atalanta (Acts of God) — each inspired or revolving around one of the main characters of the opera, Max, Willard and Bud. Atalanta (Acts of God) was written in the 1980s and began while Ashley was still in production for the television opera, Perfect Lives. The many hours of material were performed throughout the world in many different configurations, but this is the first time these songs have been available on CD.”
MOK 324LP WILKINS, ROBERT: That’s No Way To Get Along LP (MOK 324LP) 24.00
“Seminal American blues guitarist and vocalist Robert Wilkins (1896-1987) played on the Memphis blues scene at the same time as Furry Lewis, Son House, Charley Patton and Memphis Minnie, and was versatile in a range of styles, including ragtime, blues, minstrel and gospel. These recordings cover his early years as a recording artist, from his debut recording session for Victor in 1928, which yielded the famous ‘Rolling Stone’, plus three more tracks, followed by 8 more tracks recorded for Vocalion in 1929-30, which included the legendary ‘That’s No Way To Get Along’ aka ‘Prodigal Son’ (famously covered by the Rolling Stones). The final 5 tracks were recorded in Jackson, Miss. in 1935 and feature a second guitar player and a spoons player, resulting in the production of another classic, ‘Old Jim Canan’s’. In 1935 Wilkins left secular music altogether, becoming an ordained minister and herbalist. He was, however, rediscovered in the 1960s during the blues revival and played various festivals during this time, including Newport.”
NW 80702CD MAHLER, DAVID: Only Music Can Save Me Now CD (NW 80702CD) 15.00
“David Mahler (b. 1944) is an original and prolific composer, but also an active pianist, singer, arranger, choir and vocal workshop director, church musician, writer, and educator. His musical tastes reflect a deeply American sensibility. He is fascinated by the sentimental ballads of Stephen Foster, the syncopated rags of Joseph Lamb, the sonic experiments of Charles Ives and his father George, and the pioneering tape music of Richard Maxfield. He is an important figure in the recent history of American experimental music and his music is noted for its humor, eclecticism, and deep beauty. It is probably safe to say that the seven pieces on this CD, which span a period of thirty-five years, primarily reveal the more serious and lyrical side of the David Mahler musical coin. And though three of the pieces include voice, this collection also focuses on Mahler’s ongoing exploration of his own instrument: the piano. The closing work, Only Music Can Save Me Now, is one of the most hauntingly beautiful pieces of classical minimalism.”
NOSMOKE 007CD VA: Zulu Stomp!! South Africa Garage Beats!! CD (NOSMOKE 007CD) 23.00
“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.”
OMM 067CD GLASS, PHILIP: The Philip Glass Ensemble — A Retrospective 2CD (OMM 067CD) 26.00
“Orange Mountain Music presents The Philip Glass Ensemble — A Retrospective, a two disc set of repertoire from the group’s forty-year career. Previously released as an iTunes only download, this live recording from a concert in Monterey Mexico in 2006 features music from Music in 12 Parts, In the Upper Room, Koyaanisqatsi, Einstein on the Beach, The Photographer, Glassworks, Powaqqatsi, and much more, with a total time of over 100 minutes of music. The Philip Glass Ensemble was formed in the late 1960s as a vehicle for Philip Glass’ new music. The ensemble has consistently toured the world performing Glass’ compositions, including complete performances of the seminal Music in 12 Parts, and as the ‘orchestra’ for the most groundbreaking opera of the 20th Century, Einstein on the Beach.”
OUTRE 1002LP VA: The Secret Museum Of Mankind, Vol. II 2LP (OUTRE 1002LP) 28.50
…Ethnic Music Classics: 1925-48. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country’s finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Bulgaria, Puerto Rico, India, Mozambique, Ukraine, Trinidad, Kazakhstan, Ceylon, Tibet and elsewhere, compiled by archivist Pat Conte.
PHTH 056EP DNTEL: Early Works, Later Versions 12″ (PHTH 056EP) 9.00
“In the spirit of exploring the influence of this material over the past decade of electronic and indie music production, Phthalo has asked several artists who’ve said they were inspired by Dntel’s Early Works for Me… record to re-approach those songs with their own modern and varied takes on the source material. The result is Early Works, Later Versions, a limited 12″ record of new, updated remixes and variations on 2009’s Early Works for Me… album by several of Jimmy’s current peers and modern contemporaries. Running through some of the artists on hand for this task, To Rococo Rot’s Robert Lippok (Mute Records, Monika, Raster-Noton) has clearly done this sort of thing before, and starts off by updating ‘Serious’ into a twinkling and blippy rendering of the original, in many ways reminiscent of his ‘Falling Into Komeit’ remix album several years ago. A new version by Chessie (Plug Research, Drop Beat) drops in indie guitar progressions to recall a lightweight take on electro, and Somatic Responses (Leaf Label, Hymen Records) drenches ‘Tybalt 60’ with gritty and thunderous stabs of broken percussion. Finally, newcomer Thaddeus Valk uses an arpeggiated synth intro to rework ‘Casuals’ into some other kind of tune from the 1990s — almost an IDM-meets-rave-meets-jungle hybrid. (In other words, it gets pretty Metalheadz-by-way-of-Oakenfold-y.)”
2010 repress; genre-defining album from Villalobos, circa 2003. “Welcome to the New Profundity. Ricardo Villalobos is one of the foremost producers in that Zone That Has No Name — minimalism that’s too rosy-cheeked to be minimal, techno too slinky (and dare we say: feminine) to be techno, house too adamantly anti-anthemic to be called house. On singles for Playhouse, Perlon, Frisbee Tracks and more, Villalobos — both under his own name and as half of Ric Y Martin, alongside Martin Schopf (aka Dandy Jack) — has broken open techno’s crank-case and reconfigured its motor to run on nothing but pebbles and honey, silicon and grass. Less minimalist than profoundly, proudly, regally restrained, his music is full of pauses, patience and white space; he overlaps genres until only their outlines remain, like a kind of subtractive synthesis used to blot out all but the essence of a given combination of tones. Which brings us to Alcachofa, an album that, like its namesake — the humble artichoke — peels away in layers, stripping back rubbery leaves to reveal a sweet, pulpy interior crowned by a halo of thorns. ‘Easy Lee,’ the album’s opener, is perversely delicious, pure dancefloor introversion. Graced by plangent, computer-modified vocals, the tune — a staple in Richie Hawtin’s afterhours sets — is at once stark and darkly romantic, surface-bound and curiously hollowed, hyper-sexed and dead to the touch. It expands upon Villalobos’ interest in processed vocals, introduced with ‘What You Say Is More Than I Can Say’ on an earlier 12″ Play 62 — here in an edited version, which offsets rubberized techno stomp with delusional robot groans to produce a uniquely sensual disorientation. Not all of Alcachofa is so introverted, but most of it is marked by the same kind of restraint, not hesitation. ‘Theogenese’ juggles South American syncopations, minimalist click-tracking, and ’80s synth-drums, all suffused in a delicate sunrise aura, until every beat glows golden. ‘Bahaha Hahi,’ traveling under a name suggesting some tropical imbalance, dresses up subconscious vocals in clicks and gurgles — the sound of snorkeling while stoned. A simpler rhythmic experiment is ‘I Try To Live (Can I Live),’ an excursion into flattened-out funk and artificial mouth harp. But the record’s crowning glory must be ‘Dexter,’ which steadily cycles through a series of improbable chord changes like a cat prowling one of M.C. Escher’s surreal staircases. Pensive, poignant, moving like water under ice, the track sucks you in and holds you deep in the heart of things — and in the heart of Alcachofa. This isn’t techno as we knew it; it’s a biological experiment, a Petri dish of private elation and muttered damnations, a morphology of voices and tones and exhalations rubbed raw with salt and gravel. Alcachofa presents metamorphosis in play: restless, irrevocable. Wrapped in rubber, green and meaty, the world sounds different now.”
PURPLE 004CD VA: Electric Psychedelic Sitar Headswirlers Vol. 4 CD (PURPLE 004CD) 16.00
Highlights from the fourth volume in this series include ’60s Swedish hippies Mecki Mark Men, North Carolina acid fuzz from Stunt’s Blue Leg Expedition, ’60s Canadian garage-punk psych from The Ugly Ducklings, UK folk singer/songwriter Wizz Jones, Indian headswirl master Ananda Shankar, and obscure sitar favourites Nick Carter and Mehropoojah. If you listen to one song on this CD, make it track 13: Kuni Kawachi & The Flower Travelling Band’s “Graveyard Of Love.” Other ’60s and ’70s psych obscurities from Johnny Thompson Quintet, Moonkyte, Dantalion’s Chariot, The Twilights, The Folkswingers, The New Tweedy Brothers, Wizz Jones, Full Moon Band, Chim Kothari, A Little Bit Of Sound, The Lemon Pipers, C.O.B. and Popera Cosmic.
DK 4610EP ROLLING STONES, THE: Sympathy For The Devil/You Can’t Always Get What You Want 12″ (DK 4610EP) 10.00
“Sympathy For The Devil” from Beggars Banquet and “You Can’t Always Get What You Want” from Let It Bleed.
RS 066LP PITRE, DUANE: Origin LP (RS 066LP) 16.00
“The entirety of Origin’s musical material is comprised of the vibrating strings of Pitre’s ensemble of bowed ‘harmonic-guitars,’ which are unconventionally strung electric guitars (utilizing multi-unisons) tuned to intervals corresponding with the Harmonic Series, a.k.a. Just Intonation. No effects processing (pre or post) was used in this recording. All effect-like qualities result from the multi-unison strings (phasing), sympathetic vibrations, combination/difference tones (of the chosen just tuning), and natural acoustic phenomena as such. Edition of 300 LPs.”
SBR 024CD MOON DUO: Killing Time EP CD (SBR 024CD) 11.00
“Moon Duo is the solo alter-ego of Wooden Shjips guitarist and singer Ripley Johnson. Under the Moon Duo moniker Johnson creates expansive Krautrock influenced tapestries of warm cascading fuzz and controlled feedback, organ, and accenting keyboard. This four-song CD/EP is the second release and incorporates a much more concise, composed and driving sound than before. Johnson expands on ideas only hinted at on the Sick Thirst 12-inch (which is already long gone) adding a driving drum machine beat behind the thick walls of layered sound.”
SBR 029LP PINK NOISE, THE: Birdland LP (SBR 029LP) 15.00
“This is the deluxe remastered LP edition of the previously cassette only release on Beniffer Editions. It is their third official full length, described as ‘a totally peaced out collection of destructo boombox symphonies.’ Sounds about right to us. This French Canadian duo, who’s output has been prolific already–two full lengths, two cassettes, a single and an appearance on the World’s Lousy Vol. 2 comp–is mining territory similar to Chrome and Suicide channeled through warm layers of fuzz and broken Casio beats.”
SBR 030CD NICE FACE: Immer Etwas CD (SBR 030CD) 12.00
“Immer Etwas is the first full-length release from this one man bedroom recording project turned full on 5-piece live band. Nice Face have been turning out singles, comp tracks, and cassettes at a steady clip over the past two years and change. This release is a solid thirteen tracks of drum-machine driven blown out hook-laden punk rock that one reviewer prone to curmudgeonly ranting proclaimed ‘locks Blank Dogs in the pound, erases ‘Psychedelic’ from Psychedelic Horseshit, makes purses and boots out of Crocodiles, and, oh I don’t know? makes a puddle out of Wavves?’ We think that is the cheesiest sentence ever written, even though it was intended as a compliment. Live the band now counts members of Livefastdie and Imaginary Icons among its ranks. The CD version includes the two Sacred Bones singles, the HoZac single, and the song from Killer Diller Records’ Wild About Jenkem comp.”
SBR 030LP NICE FACE: Immer Etwas LP (SBR 030LP) 15.00
LP version.
JD 1222EP MASEKELA, HUGH: Stimela – Coal Train (Live)/Don’t Go Lose It Baby 12″ (JD 1222EP) 13.00
“Astonishing & gorgeous music from South Africa’s best known jazz pioneer, the legendary Hugh Masekela, reissued on high quality 12″ vinyl pressing from NYC’s slow to speak. Regarded as a master of the trumpet and cherished as a cross-sectional musical pioneer throughout greater Africa, his music has traveled to the eager appetites of Europe’s jazz audiences and all the way across oceans to America’s diasporic musical cultivations, leaving an indelible impression of eternal genius & indisputable talent across the map. ‘Stimela-Coal Train’ is one of his most popular compositions, a reinterpretation of a popular migrant worker’s song of lament and fury, but it is this flooring live performance that really sets Masekela in the realm of eternal creative force. Beginning with a series of stunning solos spanning the full jazz palate, the record opens into an ascending vocal crescendo, exploding in the last 2 minutes with an act of tremendous cathartic communion. On the b-side, Hugh’s legendary dance classic ‘Don’t Go Lose It Baby’ receives a justly LOUD and full pressing worthy of Richard Long’s greatest systems. A timeless classic in the underground dance communities of the United States, most notably the Paradise Garage, ‘Don’t Go Lose It Baby’ is a massively funky & undeniable example of the post-disco, proto-house era of classic innovation, reflecting Masekela’s interest in early electronic synthesizers & production and a reaffirmation of his propensity for experimentation, cross-pollination & boundary expansion. Two breathtaking pieces of universal music from a devotee of musical consciousness throughout South Africa and well beyond, Masekela has earned his place among the exceptional few, an innovator & an institution upon himself that has pushed the limits of jazz, disco, & African musics with determined integrity & endless creativity.”
XLT 580EP WHITE STRIPES, THE: 7 Nation Army/Carolina Drama 12″ (XLT 580EP) 13.00
“One of the last great rock bands of our generation, The White Stripes have proven—finally, decisively, impressively—that the masses can still sign on to an act of exceptional musical integrity without needing to dumb themselves down to the level of common idiocy. Indeed, much of the group’s massive success comes as a surprise to those versed in the legacy of quality rock music, uncertain how to explain their rise to fame under the banner of raw, garage-infused, punk-aligned D.I.Y. ingenuity. Conceptually sound, sonically ferocious & totally committed to their craft, Jack & Meg White have recorded, preformed & toured tirelessly since their founding in 1997, proselytizers of minimal, raw lo-fi rock & blues music without the tiresome retro gimmicks or superfluously ironic self-positioning of some of their lesser peers. Taking the independent garage rock aesthetic out of its archaic cryonics and infusing it with a savvy, post-modern wittiness & boyish excitement for the craft & art of playing music, The White Stripes have formulated their very own take on these well-established subgenres, determined to weight their catchy & irresistibly gritty guitar/drum one-two punch with a creative knack for the art of the lyric. Heartfelt, funky rock-gospel at it’s very best, The White Stripes have subsumed so many seemingly disparate crafts of American guitar music and assembled a creature of monstrously creative, beautifully sincere proportions, a miracle of Western traditions delivered with the undeniable talent of band-leader Jack White. A unifying force of independent musical consensus, The White Stripes might just be the last pop group to claim inarguable talent, a bridge between the increasingly dispersed underground rock subcultures of late & the highly visible, increasingly scarce integral rock megagroup.”
EMC 5165CD MULDROW, GEORGIA ANNE: Ocotea CD (EMC 5165CD) 15.00
“Drawing from an ocean of influences such as Hendrix’s Band of Gypsys, Swamini Truiyasangitanada’s Monastic Trio, Charlie Mingus, Eric Dolphy, Herbie Hancock, Chick Corea, Henry Threadgill, Sun Ra, and Stevie Wonder( to name a few), Ocotea is a new frontier for Georgia Anne Muldrow’s sonic discoveries. She is appearing as Jyoti (meaning light in Sanskrit) in all of her ‘jazz’ recordings to come, paying homage to the great and masterful ancestor Alice Coltrane who gifted her with this name shortly before she ascended into an even higher consciousness. Infused with experimental synthesizers that possess a pan-tonal sensibility, and melodies that soar about with raw musicianship, Ocotea is not one to miss!”
Proudly display your patriotic love for the Jazeera sound with this Omar Souleyman t-shirt, specially designed to coincide with Souleyman’s 2010 European and North American tour dates. Available in both men’s (S/M/L/XL) and women’s (S/M/L) sizes. Printed on 100% combed ring-spun fine knit jersey, hipster-shaped, side-seamed, double-needle hemmed sleeves and bottom. Reactive-dyed and made in Pakistan.
Men’s medium sized t-shirt.
Men’s small sized t-shirt.
Women’s large sized t-shirt.
Women’s medium sized t-shirt.
Women’s small sized t-shirt.
Men’s extra-large sized t-shirt.
SF OS-TOUR-L SOULEYMAN, OMAR: Souleyman Syrian Stars Tour Shirt MENS LARGE T-SHIRT (SF OS-TOUR-L) 19.50
Sport the stunning visage of acclaimed Syrian vocalist Omar Souleyman on a t-shirt specially designed to coincide with Souleyman’s 2010 European and North American tour dates. Available in both men’s (S/M/L/XL) and women’s (S/M/L) sizes. Printed on 100% combed ring-spun fine knit jersey, hipster-shaped, side-seamed, double-needle hemmed sleeves and bottom. Reactive-dyed and made in Pakistan.
SF OS-TOUR-M SOULEYMAN, OMAR: Souleyman Syrian Stars Tour Shirt MENS MED T-SHIRT (SF OS-TOUR-M) 19.50
Men’s medium sized t-shirt.
SF OS-TOUR-S SOULEYMAN, OMAR: Souleyman Syrian Stars Tour Shirt MENS SMALL T-SHIRT (SF OS-TOUR-S) 19.50
Men’s small sized t-shirt.
Women’s large sized t-shirt.
Women’s medium sized t-shirt.
Women’s small sized t-shirt.
SF OS-TOUR-XL SOULEYMAN, OMAR: Souleyman Syrian Stars Tour Shirt MENS XL T-SHIRT (SF OS-TOUR-XL) 19.50
Men’s extra-large sized t-shirt.
SUBL 073LP PARSON SOUND: Pärson Sound 3LP BOX (SUBL 073LP) 50.00
Finally out on vinyl! Deluxe triple LP box set in a limited edition of 1,000 copies worldwide. A spectacular archival package of primitive drone and minimalist rock/trance/psych from the Swedish underground — believe the hype as follows; one of the most memorable audio documents ever. After years of research, Subliminal Sounds is proud to present the nucleus of the Swedish 1960s-’70s underground psych rock scene: the legendary Pärson Sound. This deluxe 3LP box set presents the most remarkable Swedish underground band, known in a later incarnation and continuation as International Harvester and Träd, Gräs och Stenar (trans. “Trees, Grass and Stones”), and features both intricate studio recordings and orgiastic live performances. Pärson Sound never released any records in their time and that is why very few have heard about them at all. The recordings date from 1967-1968 while the band explored unknown musical territory as well as inner- and outer space. In 1968, they were invited by Andy Warhol to play at the opening of his exhibition: “Screens, Films, Boxes, Clouds and a Book” at the Museum of Modern Art in Stockholm and they also opened for The Doors. Influenced by the musical concepts of Terry Riley, Pärson Sound worked at discovering and perfecting their own unique approach towards the mixing of rock and minimalism, creating some of the most remarkable psych- trance-drone-pre-noise music-rock sounds ever recorded. Pärson Sound’s music described contexts, interplay and organic growth and shaped a conception of the world in opposition to fragmentation, individual achievements and intellectual construction. This world was to be perceived as one body, a whole of inviolable parts. Their minimalist repetition with slight changes renders associations with slow growth, cyclic process, breathing, pulse, life, movement and machines. This persistent repetition also gives the listener an opportunity to discover the sounds, to meditate, to go into the music and join the same journey. Many times, one can discover a relationship with music of other cultures, and in comparison, the music of the Western world can feel cursory, unreliable — as a fear of entering deep into feeling. Pärson Sound’s compositions often consist of harsh structures — rhythm patterns with ostinato bass, a melodic figure which forms a base for improvisation. Other songs have a more thoroughly-elaborated structure that still leaves room for variation. The moment, the audience, the location formed their music. Their key phrase was “We, Here and Now!” and with time, the music came to have an increasingly religious or shamanistic streak, with more intensity, presence and warmth, striving for euphoria and ecstasy. The band’s psychedelic approach is so fresh and vital that it transcends time. Listen to it now! A 3LP with informative, revised liner notes in English and lots of photos.
SUBL 074LP VA: Thai Beat A Go-Go Volume 3 LP (SUBL 074LP) 25.50
Finally on vinyl, volume three of the legendary Thai Beat compilation including 5 (!) awesome extra tracks that were not previously available on the CD! Incredible and ultra-rare recordings from Thailand in the 1960s. The amazing Thai Beat A Go-Go Vol 3 concentrates on Shadow music string bands, cosmic surf instros, mad garage/beat, mystic go-go organs, wild guitar rave-ups and psychedelic mind-benders, exotic female singers, wild Moog funk, disco madness, funky and soulful with extreme sensuality and emotions, surreal and groovy, all with a totally otherworldly Thai flavor. Experience the blossoming Bangkok night club scene with the exotic bar and lounge go-go bands! These recordings have a sound that’s completely inexplicable, despite the use of standard rock instrumentation and song structures combining a fascinating and primal version of rock n roll, surf, r ‘n’ b — sometimes all in one song. Don’t miss this ultimate Thai ’60s compilation. Limited edition of 1,000 copies worldwide. Housed in a beautiful full-color gatefold sleeve.
“Sweet Dandelion presents you the milestone album of British R&B. Alexis Korner, interested in the new blues and jazz sounds coming from America, started playing at The Blues Sessions that Chris Barber set up at The Marquee. It was there that Korner formed, together with Ciryl Davies, the Blues Incorporated, who shortly after obtained their own weekly residence that, as the original liner notes to the album read, would gather every Thursday a crowd of more than seven hundred people. The band would offer a number of emerging musicians of the early 1960s the chance to join them on stage. The list of artists who participated is immense, and includes essential artists in British rock history, such as Mick Jagger, Graham Bond, Eric Burdon, Long John Baldry, Brian Jones, Art Wood, Ginger Baker and many, many more. The band, and this seminal debut album, proved to be the starting point for the whole British R&B scene and for most of the early and mid ’60s English rock/beat bands, turning this album into an undeniable slice of rock’n’roll history. Strictly limited to 500 copies.”
TK 2011EP GUILLAUME FEAT. MONDAY MICHIRU, JEPHTE: Dancing On The Stars 12″ (TK 2011EP) 10.00
“Jephte Guillaume’s anthemic vocal receives its full 12″ release on the Tet Kale imprint, featuring the four-to-the-floor take of Jephte & frequent collaborator Monday Michiru, and available solely on this release!! ‘Dancing On The Stars’ is part of the heralding of a new era for deep house music, where the low standards of production encouraged by the digital ‘revolution’ will be replaced by a reinvigorated determination to push forward the art of underground dance while never losing sight of the raw sincerity of house’s essence. Jephte’s full dance mix of Monday Michiru’s dangerously catchy vocal brings us back to the heydays of the original Body & Soul, infusing this classic jubilance with the new perspectives, techniques & lessons learned over Guillaume’s two-decade long-career—the final product of literally countless moons of devoted labor to his music & art. ‘Dancing On The Stars,’ one of his finest works to date, rides swiftly forward on the momentum of Michiru’s undeniable performance, addressing the basic necessity of self-liberation & unblocked human vigor — this is music borne from the sturdiest depths of the soul for the collective communion of revelry & revelation, never losing its focus on the meticulous quality of its production, instrumentation and overall execution. For those ready to let go of their self-restraint and fully accept soulful dance music, ‘Dancing On the Stars’ is a lesson of many more to come, a firm reminder that contrived subtlety is often the major impediment of a powerful and sincere house music.”
TTW 019CS MENCHE, DANIEL: Raw Fall Cassette (TTW 019CS) 7.00
Cassette release. Edition of 250 copies. A raw waterfall recording of Tunnel Falls at the Eagle Creek trail in the Columbia River Gorge in Oregon, USA, coupled with a raw waterfall recording of the South Falls in Silver Falls State Park located in the Oregon Cascade Mountains, USA. “There is a reason for this madness and that is the waterfall.” –Roger Steen; “DRAMA is the goal.” –Daniel Menche
TTW 020CS CHUGGA: Memphistophelis Cassette (TTW 020CS) 7.00
Cassette release. Edition of 250 copies. Masterminded by Terre Thaemlitz and “fresh… for ’96!” — Memphistophelis by Chugga (aka Lester Fuero and Jeff Hanes) is a deliciously dated blend of trip-hop, ’70s disco, funk, Jeep-dub and lounge, mixed well and served chilled. Each track on Memphistophelis picks up on a different ’70s sound while tying in that unique Memphis combination of sparsity and orchestration. The album was mastered by an unlikely culprit — and friend — transgendered electro-acoustic/ambient/house Jack-of-all-genres Terre Thaemlitz (aka DJ Sprinkles). Although it was shopped around and two or three cuts trickled out over the years on obscure vinyl and compilation releases, Memphistophelis never found a home — until The Tapeworm.
THR 012.42CD ROSE WITH D. CHARLES SPEER & THE HELIX, JACK: Ragged And Right CD (THR 012.42CD) 11.00
“This slab of gripping sound was brought about by Jack Rose’s exuberant love of lowdown music. Inspired by the Mordicai Jones/Link Wray 3 Track Shack sessions, the idea for this collaboration was germinated while Rose was traveling through the heartland on a tour with D. Charles Speer & the Helix in spring 2008. Musicians used to the road are familiar with the phenomenon wherein a certain tape or recording becomes the thematic soundtrack to the tour at hand. In this case, daily doses of ‘Scorpio Woman’ and ‘In the Pines’ as performed by Link Wray became the touchstones for their travels together. Jack got so excited by the vibes emanating from these songs that he thought to break with his usual acoustic approach and get some electricity in his life again. So he enlisted the Speer band to join in some unhinged and unrepentant fun in the studio. Recorded using an all live, no overdub approach, the resultant session was deemed an all time favorite experience by everyone lucky enough to partake in it. A gleaming bottle of Buffalo Trace helped shepherd us through the dark hours of the night, and in turn that spirit animal adorns the front cover of the record. As producer, Jason Meagher was able to capture the visceral rough and tumble feel that invigorated his Black Dirt Studio in the dog days of August 2008. Featuring the original lineup of D. Charles Speer & the Helix in peak form and rare lap steel and Telecaster stylings from Rose, Ragged And Right displays a vibrancy and depth of feeling that is striking and unforgettable.”
THR 012.42EP ROSE WITH D. CHARLES SPEER & THE HELIX, JACK: Ragged And Right 12″ (THR 012.42EP) 14.00
12″ version.
THR 012.44EP OVAL: Oh 12″ (THR 012.44EP) 12.00
“Markus Popp’s first Oval release after almost a decade of silence is a spectacular departure from the deconstructivist electronica that made him a laptop legend. Instead, and totally out of nowhere, this 15-track EP establishes Popp as an accomplished musician, who is delivering a glimpse of his very own exciting flavor of ‘free’ music in the best sense of the word. Mind you, we’re not talking about just another laptop producer who is hiring a bunch of musicians for occasional live shows, but Popp delivering a true tour-de-force of improvised music beyond boundaries which still always ensures to deliver (and expand) that very special, haunting Oval atmosphere. This meticulously crafted EP is indeed a wild ride – and it is in fact so fundamentally different in almost every imaginable way (Guitars? Are those actual drums?!?) that we will instead conveniently list what remains unchanged: Popp’s latest tracks still have this almost unsettling, organic, soothing atmosphere that has made Oval tracks and remixes such timeless classics. What makes this new release especially exciting, is that Popp effortlessly merges totally unexpected musicianship with his sensibility for abstract, angular electronics and blends them into a vibrantly colorful music that truly feels alive. The new Oval sound is so arresting, emotional and dynamic that all distinctions like ‘programmed vs. played’, ‘laptop vs. improvisation’ or ‘acoustic vs. electronic’ are rendered meaningless.”
TS 009EP ENGLISH, LAWRENCE: Incongruous Harmonies 7″ (TS 009EP) 7.00
7″ vinyl-only, not available for digital download. Sound artist Lawrence English composed these pieces for Circa’s Regarding The Joy Of Others performance installation, recorded and produced at 158, Brisbane, 09/09-01/10. Cut by Jason at Transition. Artwork and photography by Jon Wozencroft.
TS 010EP JECK & MARCUS DAVIDSON, PHILIP: Spliced 7″ (TS 010EP) 7.00
Live at The Museum of Garden History, London, May 8, 2010. Keyboards: Marcus Davidson. Record players, editing & overdubbed bass: Philip Jeck. “Trains of blossom, trains of music.”
TYPE 070LP KONER, THOMAS: Teimo LP (TYPE 070LP) 18.00
The Type label releases a very special 2010 issue of this seminal album, the second in a series of three from Thomas Köner. Originally released in 1992 and never previously available on vinyl, Teimo is probably the most “tuneful” of Köner’s legendary triptych (Nunatak, Teimo and Permafrost). The submerged drones that became his signature are tempered slightly on this album, to give a hallowed, mournful edge which has been echoed on so much of today’s darker ambient music. Indeed, at times throughout this cavernous album, there are hints at something orchestral in the layers of reverb and dense clouds of harrowing sound. It is hard to believe that Köner pieced this record together using recordings of gongs — close mic’ed to reveal their subtle overtones and resonance. At times, the resulting sound is so gloriously alien and so synthetic, that you would be forgiven for thinking it is a trick of synthesis, but the textures are always organic. Teimo is music which, like its companion pieces, inspires a rich, visual world; and if Nunatak suggested human ice exploration, then this record is set somewhere deep, deep underwater. The low-end resonance, which was later co-opted by so many drone and dark ambient practitioners, places us on the sea bed, muffled and disoriented, as sounds bubble and wash overhead. The distant sounds are almost dream-like, yet through the water, cracks of light and solace appear in the powerful harmonic elements.
VL 901004LP RILEY, TERRY: Lisbon Concert 2LP (VL 901004LP) 37.00
“Recorded live in Lisbon, Portugal at the Festival Dos Capuchos, 16th July 1995.” “This gorgeous set of piano improvisations reflects minimalist composer Terry Riley’s lifelong study of Indian music. It is an outstanding recording which captures Terry Riley at an inspired peak. Performances of such spontaneous and beautiful music are scarce and even less-frequently performed by the composer himself at such a late stage in an extraordinary career. To sound so inspired and inventive some 40 years after defining minimalist music is quite a feat. Coming from such a consistently brilliant composer, who would expect less?” — Skip Jansen
VM 105LP TRIADE: 1998: La Storia Di Sabazio LP (VM 105LP) 37.00
“A trio formed in Florence in the early ’70s by keyboardist Vincenzo Coccimiglio along with bass player Agostino ‘Tino’ Nobile, who had previously played in Noi Tre, a legendary band that also included guitarists Franco Falsini of Sensations’ Fix and Paolo Tofani, who was in Area and later known as Electric Frankenstein. After trying various drummers, they found a suitable one in Giorgio Sorano and Triade was born. Signed to the Derby label, the group only released an album and a single in 1973, and had good live activity supporting the likes of Banco del Mutuo Soccorso and Premiata Forneria Marconi and even playing some dates on their own (like a couple of memorable concerts at Pierlombardo in Milan). 1998: La storia di Sabazio includes a totally instrumental first side with strong classical influences (much in the ELP direction) and a three-track second side with vocal parts. The result is a good album. The album reflects the different tastes of the two composers, the first side being almost completely composed by Coccimiglio, while the second side (that’s sometimes compared with Le Orme) was more song-oriented and composed by Nobile. Two tracks from this vocal second side, ‘Caro fratello’ and ‘1998,’ both with very good acoustic guitar playing, were also released on single. Very rare and expensive in its original issue, 1998: La storia di Sabazio was housed in a nice mirror golden foil gatefold cover, and is very hard to find in perfect condition due to the delicate design. First time vinyl reissue, the first 500 copies are identical to the original deluxe version with the golden mirror foil and also a special gold-colored vinyl.”
SANTORO 001LP SANTORO, VITTORIO: Man Leaving Harbour On A Ship (In A Room) LP (SANTORO 001LP) 65.00
“Man Leaving Harbour On A Ship (In A Room) is the title of a sound installation (for record player, vinyl record, speakers, found photograph, steel wires) by Vittorio Santoro to be presented in June 2010 at La BF15 Contemporary Art Space in Lyon. For the art installation of this sound piece, side A of the LP record (titled ‘Commencement’) is played over and over for a whole day. The organizers will take care that the side B (titled ‘Conclusion’) is played back only the next day. In ‘Commencement’ the French sound poet, artist and composer Franck Leibovici reads a fragment from the article Das Narrenschiff als Aufklaerer by Gerhard Stadelmaier, published on January 18th, 2009 on the German newspaper Frankfurter Allgemeine Zeitung. ‘Conclusion’ features a reading by the well-known French artist Pierre Leguillon. Recorded in Paris in March and April 2010, conceived and edited by Vittorio Santoro. The silences at the beginning and at the end of each side are integral parts of the sound work. The silence had been recorded in Paris in the night between April 8th and 9th, 2010. Edition limited to 125 numbered copies. The first 5 copies (numbered 1/125 to 5/125) are reserved for the 5 installation pieces, while the remaining 120 copies have been produced for the private use of the artists. Only a handful of copies available for private distribution through the alga marghen network.”
WAP 298EP AFRICA HITECH: Hitecherous EP 2×12″ (WAP 298EP) 15.50
“Africa Hitech is more than a name; it is an ideology – one that embodies its members’ passions for an eclectic diaspora of electronic styles, from dub and acid to UK garage, grime, techno, house and Jamaican dancehall. Mark Pritchard and Steve Spacek stand at the intersection of all these styles (and more) and the result is a bass-fuelled manifesto: the opening salvo being ‘Blen’. Africa Hitech forms part of Mark Pritchard’s collective of projects, MPP Productions. MPP is a banner under which all the wide-ranging productions from this prolific producer exist. This includes Africa Hitech, Harmonic 313, new Reload material, and more. Essentially twisting the sonic palette of Detroit techno to fit their vision of post-apocalyptic riddims, Hitecherous is all oxygen-sucking bass kicks and razor snares until Spacek comes in over choruses of insect synths. This is not the smooth Steve Spacek you may know from his eponymous band, this is Steve Spacek as a rudeboy from the future. Decrying haters trying to ‘take di piss’, his unique patois creates its own intriguing atmosphere.”
LP version. “If Born Ruffians’ 2008 debut album Red, Yellow and Blue was the result of a talented and precocious gang of freshmen, their 2010 follow-up, Say It, would be the project they left school to finish — a declaration that they’re smart and ambitious enough to make it on their own, and furthermore, that they’re in it for the long haul. Taking two weeks to record the album, the band finds itself teaming up again with producer Rusty Santos. The Ruffians and co. holed up at Mississauga’s Metalworks studio and loosened the reins on their ambitions, experimenting with Minimoogs and saxophones before eventually scaling much of it back in the mixing process. The result is a very mature album, further amplifying the band’s unique voice and sound, ready to take them as far as they want to go.”
WATER 152CD SHARROCK, SONNY: Black Woman CD (WATER 152CD) 15.00
2010 repress. “Black Woman, the seminal 1969 album by the one and only Sonny Sharrock, was picked by influential British magazine The Wire as one of the 100 records that set the world on fire. His influence has informed artists as varied as Boredoms, Marc Ribot, Wilco and Robert Quine and his music continues to wow listeners to this day. Originally released on Atlantic/Vortex Records and produced by the great Herbie Mann, Sharrock’s uncompromising avant garde jazz guitar stylings literally jump out of the grooves, but there are also soul, gospel, and pop elements that add a nice counterpoint. Recorded with a who’s who of New York free jazz players including Dave Burell, Norris Jones, Ted Daniels, and Milford Graves as well as his wife Linda who contributes her Yoko Ono-esque vocals. Detailed liner notes by Byron Coley and Ted Drozdowski.”
WATER 242CD DREAM SYNDICATE, THE: Medicine Show CD (WATER 242CD) 15.00
“1984’s Medicine Show is the second record from Steve Wynn and Co., the follow up to their classic debut The Days Of Wine And Roses. This album is a little less Velvet Underground and Television, and a little more Neil Young and CCR, but still features Wynn’s distinctive songwriting and plenty of guitar workouts. Water’s deluxe reissue will include the This Is Not The New Dream Syndicate Album…Live! EP, as well as bonus tracks and notes by David Fricke (Rolling Stone) and Steve Wynn along with vintage photos. A classic album finally on CD.”
“The precursor to The Minutemen. The initial idea by Craig Ibarra came to fruition in early November of 2008. The plan was to launch a record label (Water Under The Bridge) as a support base exclusively for the unpolished and unspoiled talent of the San Pedro punk community. For the label’s first release, what better band can you ask for than Pedro’s first punk band, the Reactionaries (with Mike Watt’s permission of course). Tracks 1-10 present a restored and remastered 10-song Reactionaries practice tape that was recorded in January of 1979, featuring some of Mike Watt’s first songs. Tracks 11-20 consist of the same 10 Reactionaries songs covered by 38 members of different San Pedro affiliated bands, both past and present. The CD packaging is a 6-panel digipak setup and includes a Jack Brewer (Saccharine Trust) ‘1979 Revisited’ extra bonus track parody that is not available on the LP version. The Reactionaries: Martin Tamburovich – singing, D. Boon – guitar, Mike Watt – bass and back-up, George Hurley – drums.”
WORLD 479031 LE TRIO JOUBRAN: Randana CD (WORLD 479031) 19.00
“With their skillful, heart-wrenching improvisations, Trio Joubran brings to bear a wealth of harmony and sweetness, full of depth and joy. Their music gives a special poetic voice to the plight of the Palestinian people. The trio has been recording since 1995, and these two releases are reissues of the group’s first two albums. Randana is a product of the three Joubran brothers melding their respective strengths: Samir’s compositions; Wissam’s hand-made instruments and skills in taqasim, or improvisation; and youngest brother Adnan’s prodigious raw talent. It was originally released on the artists’ own label of the same name — Palestine’s first recording label.”
WORLD 479032 LE TRIO JOUBRAN: Majâz CD (WORLD 479032) 19.00
“Majâz, which translates as ‘metaphor,’ further connects the virtual blend of poetry and music that is the group’s hallmark.”
Restocked; 180 gram vinyl. “This 1966 LP by Astatke (billed to Mulatu Astatke & His Ethiopian Quintet) isn’t shaded by nearly as much African/Ethiopian influence as his later work, which was recorded between the late ’60s and mid-’70s. As the title might lead you to believe, it is indeed more in the Latin soul-jazz bag than the later material, sometimes leaning toward the R&B-informed boogaloo sound of the mid-’60s. On his own compositions and arrangements (which comprise about half the LP), sometimes more exotic and African colors bubble closer to the surface, as on the eerie vibe parts he lays on ‘Mascaram Setaba.'” — Richie Unterberger, All Music Guide.
WORTHY 1020HLP MULATU OF ETHIOPIA: Mulatu of Ethiopia LP (WORTHY 1020HLP) 13.00
Restocked; 180 gram vinyl. “Mulatu Astatqé (also sometimes spelled Mulatu Astatke, as he is on the liner notes to this release) might be most known to international audiences through his tracks on the excellent Ethiopiques CD anthology series of Ethiopian music. Long before those tracks were compiled for that series, however, he had an American release with this 1972 instrumental album, on which he’s billed as ‘Mulatu of Ethiopia.’ Like much of the best of the circa-early-’70s contemporary Ethiopian music on Ethiopiques, it’s a fine, at times captivating blend of late-’60s American soul and jazz with Ethiopian music, resulting in something not quite comparable to anything else.” — Richie Unterberger, All Music Guide.
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