|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 06/21/2010
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| || SHAKEDOWN: At Night 12″ (200WHITE 001EP) 11.00|
“‘At Night’ was originally released by Shakedown in 2002. Later on, acts like Alan Braxe and Mousse T. produced remixes. The ‘Chab Deep Mix’ was a digital-only release via Panorama Records in 2008. A friend of 200 heard the song at a Hawaiian sail rave and posted it on Facebook. 200 Records fell in love with the track and decided to release a vinyl version. This release also contains the epic ‘Martin Buttrich Dub Mix’ which was originally also released in 2008 as an MP3 file.” On white vinyl.
| || ILLUM SPHERE: Titan 12″ (3024 008EP) 11.50|
“Sometimes titles are just perfect, aren’t they? It’s a huge, sprawling beast that seems to inhale every mutant strain of bass music it can and exhales it in one exhilarating 4:20 blast. It opens with ominous rumbling and 8-bit bleeps (and crickets?) before ambient chords ascend out of the depths, dragging a twisting electro synth with them. That pulsating, spiraling synth slinks its way through the gossamer membranes of the track, contracting and expanding as needed, its bulbous, serrated ends emanating industrial howls like ghosts of rave sirens. Clinking percussion desperately tries to keep the track in line, but it bursts from its foundations for split seconds, causing little blips and beeps, interruptions, skitters, grasping feverishly at its surroundings; eventually the percussion splinters into fragments and things open out for a few moments, but a synthline this big can’t stay dormant for long, returning with hymnal chords in behind it, hovering, until the percussion comes back in, lockstep in with the riff as if resigned to the fact that it can never overcome something this massive. On previous releases, Illum Sphere’s fallen more into the post-Dilla FlyLo camp (what are we calling this stuff these days anyway?). His two EPs on Fat City have been impressive, but this new three track release on Martyn’s 3024 label sees him moving into slightly more dance-oriented waters, appropriating techno into his repertoire of subtly stomping tunes. ‘Go Killum’ acts as a brief interlude, two minutes of mangled synth strewn about a deserted battlefield, canned, distorted gunshots taking the place of drums. The track takes neon brightness and submerges it in murky waters, the distorted beat only letting up for a few seconds of melodic prettiness before it stomps back in and chokes the life out of it all over again, until the blue turns to grey. It feels a little bit like a palate cleanser, a little morsel of whirling synths to clear out your tastebuds for the next psychedelic main dish. ‘Technopolis’ is just that, its tumbling piano keys hoisted aloft on a pulsing techno beat and misty-eyed chords. He even finds time to set bass notes off like depth charges, overbalancing the track and scattering silvered notes onto the breeze. It wafts along like a classic techno track, gentle drums and glossy synths, as gentle strings pluck a nearly inaudible melody deep beneath the surface, in the sewers and slums of the technopolis, the unheard masses keeping the tune afloat. It’s an evocative track, dipping its toes into the past but never falling deep into the whirlpool of nostalgia, and even if it did, the indefatigable energy of ‘Titan’ would pull it out right away, like a crazed dog on a leash.”
|4 MEN WITH BEARDS|
| || HAWKWIND: Hawkwind LP (4M 185LP) 17.00|
180 gram gatefold LP. “Their 1970 debut album (originally released on Liberty Records and produced with former Pretty Things guitarist Dick Taylor) perfectly introduces what was going to be a long and peculiar journey. A galactic blues-rock sound rightfully compared to Pink Floyd’s early work. Hippie rock grooves and interplanetary guitar rides, echoed vocals and nonstop instrumental voyages. This is where it all began: (as original ads for the album proclaimed) ‘Hawkwind Is Space Rock.'”
|ANN AIMEE (NETHERLANDS)|
| || SYRINX: B.D.O. EP 12″ (ANN XYY) 12.50|
300 copies limited vinyl-only release. After two releases on the Dutch label Rush Hour, Syrinx presents his first limited release on Ann Aimee. Side A brings a deep, fine, dubbed-out spacey, funky techno track; on the flip, he delivers a raw industrial techno track, and one smooth interlude/ambient track.
|AQUATIC LAB (AUSTRALIA)|
| || TRUTH: Burglar/Dead Silence 12″ (LAB 010EP) 11.00|
“Wetting the appetite for the Puppets album, Aquatic Lab dish up two varied future bass experiments from Truth. First up ‘Burglar,’ a tech-stepping original production bedded with sharp snapping drums & snares that bite straight through the rave atmospherics. Bass wise this piece of kit is extreme to say the least, signature bulbous sub action. ‘Dead Silence’ comes from a charged half step angle with complex percussion. The track features a glossy synth line. At its core it evolves to unleash deadly licks of bass at opportune moments. Both cuts are a prime pick for the steppers. Getting huge support from Mala, Skream, N-type, Hatcha and Joe Nice.”
| || VON D FEAT. ZHAKEE: Bon Remixes 12″ (ARG 030EP) 11.00|
“Hailing from the suburbs of Paris, Von D’s soul-soaked sound is an expression of his multi-cultural roots. ‘Bon’ is a breezy cocktail of soothing pads, crunchy garage rhythms and the angelic tones of French soul sensation Zhakee. For Argon 30, Blasta and Distinction deliver two impeccable remixes.”
|ATOM RIVER (UK)|
| || ITAL TEK: Spectrum Falls/Giga 12″ (ATM 002EP) 11.50|
“Gearing up for the release of his highly-anticipated, second full-length Midnight Colour on Planet Mu, Ital Tek drops two multi-coloured cuts for the second single on his own Atom River label. The A-side ‘Spectrum Falls’ is a cascade of arpeggios, steel drum-like melodies and cutting saw-tooth bass. The track is already featuring in DJ sets from the likes of Surgeon and Starkey and is set to appear on the Fabric53 album. ‘Giga’ on the flip is a longtime staple and favorite of Ital Tek’s DJ sets. A tough, swung 2-step beat, underpinned with bouncing sub-bass and washes of reverberated fuzzed-out chords and dub stacks. The first taste of what will be a very busy year for this producer.”
|BIG DADA (UK)|
| || INFESTICONS, THE: Bedford Park LP (BD 163LP) 26.50|
“The third and final part of Mike Ladd’s epic Infesticons trilogy, Bedford Park sees the remnants of the Infesticons’ marching band emerge from a bunker to find out that not only is the war with the Majesticons over, but no one can even remember who either side are. With various guests including Saul Williams, Ladd fashions a ragged punk-blues sound for this strange, beautiful and funny coda, a sound which he describes as ‘Dinosaur Jr. by Black people.'” Limited vinyl edition of 1000 copies, numbered and signed by the artist.
| || KUBUS/AARDVARCK: Bloom 5 12″ (BLOOM 005EP) 12.50|
Heavyweight pairing of Dutch hip-hop main man Kubus and the infamous Aardvarck. Limited white label — gone when they gone-style.
| || LORN: Nothing Else CD (BF 007CD) 15.50|
“The second artist album from Flying Lotus’ Brainfeeder imprint is a deep, deep, dark and uncompromising suite of music, produced by Clark (Warp Records). Lorn has already developed an international following for his music. Now, with Nothing Else the musician and artist reveals his debut full length. Epic, melancholic and brutal, it’s a record which listeners have to be prepared to immerse themselves in.”
|BREAK THE HABIT (UK)|
| || CONQUEST & HARRY CRAZE: Real Love 12″ (BTH 002EP) 13.00|
“Break The Habit returns with 3 tracks from Antisocial members Quest and Harry Craze. On the A-side, ‘Real Love’ is a late night cruise along the west coast, with pimped out synths, shuffling drums, neon chords and a menacing bassline. On the flip is Quest’s mellow and uplifting roller ‘Mahogany’. With a boogalicous drum beat, tropical atmospheres and a soulful bass, this one has been played by Mary Anne Hobbs, G double and the rest of Antisocial camp. Also on the flip is hypnotic head-nodder ‘West Kebab’ by Harry Craze. Gritty drums, dreamy rhodes and rolling bass line.”
|BUREAU B (GERMANY)|
| || ROEDELIUS: Lustwandel CD (BB 055CD) 17.00|
The third studio album by Hans-Joachim Roedelius, originally released by Sky Records in 1981, fulfilled a dream he had long cherished. A series of chamber music pieces, with grand piano solos taking center stage in some places, archaised percussion patterns in others. Lustwandel represents a logical progression, following on from Jardin Au Fou (re-released on Bureau B in 2009). Both albums were recorded at Paragon Studios in 1979 and produced by Peter Baumann (Tangerine Dream). Electronica in the sense of synthetic sound sources or rhythm are absent from Lustwandel, in keeping with so many Roedelius solo works. This led to lively action amongst Cluster fans 30 years ago, as they divided into different camps. Roedelius’ unique musical style and irrepressible enthusiasm take his listeners down more of a sidetrack to the aural landscape of European harmonic and rhythmic tradition. There are obvious parallels to so-called serious chamber music, if not all the way along the route. His music has never been bound by contemporary aesthetic debate nor susceptible to emerging theory. As an autodidact, his techniques of composition and piano-playing are so well developed, that Roedelius has never wanted, nor needed to bother himself with any of that. It is a carefree Roedelius who saunters through both the 19th and late-20th centuries. Boundaries dissolve in his music. Here the glow of a magic lantern, there the glare of a neon light. Herein lay the originality of Lustwandel: he availed himself of traditional forms yet expressed them in contemporaneous fashion. Roedelius and Lustwandel could easily have been assimilated into the postmodern era which arrived in the 1970s. But, as usual, he was many miles away from the hub of cultural activity, without the slightest inclination to pay any attention to new phenomena. This child of the sun walks some very different paths indeed.
| || REBOOT: Shunyata CD (CADENZA 006CD) 17.00|
This is the debut album from Frankfurt’s Reboot aka Frank Heinrich. The term shunyata comes from Buddhism and translates loosely as “emptiness.” But not just in the negative sense: it speaks also to impermanence, a state of constant flux. It’s a great description of Reboot’s music, where everything is in constant and kaleidoscopic motion. From the sound designs to the grooves to the way the tracks evolve, they all interconnect; intricate polyrhythms wind through the music like ivy, binding the album together. It’s those rhythms you’re likely to notice first: dazzling arrays of congas, bells, cymbals, shakers, woodblocks; sounds like tuned water-drops or aluminum barrels; steely drum machines slicing the air like knives. But behind the layers of percussion there are stranger, shadowier elements at work: chimes, pings, electronic gurgles, scraps of faraway voices, field recordings, and beneath it all, a spongy, squishy bed of bass, comforting and all-encompassing. Heinrich’s modular synthesizer system plays a key role in fashioning the music’s unusual contours. It’s an open-ended collection of devices — oscillators, filters, sequencers and esoteric functions — wired together and able to be re-routed in infinite ways. There are no presets. Shunyata’s long, undulating lines and morphological structures reward deep, repeated listening. There’s the headlong tumble of the Detroit-inspired “Hermano” for joyous peaktime moments, the liquid spiral of “Down Pantha” for the hours where time stands still. “Rambon,” with its easy skip and glimmering melody, is like springtime on wax. Tracks like “We Only Just,” “Me Show” and “Save Me” offer darker vibes, heads-down and hypnotic. “Dreilach” goes even deeper, with a rippling bass melody that gets deep inside your chest, your brain, your veins. The title track seems to spin at two velocities at once, balancing a driving, linear groove with half-speed voices to create a sense of suspended animation — the perfect encapsulation of the album’s central theme. And “Uruana” and “Sanchez Says” bracket the album with percussive forays into far-out terrain, with trace elements of global folk sounds. It’s tribal music, no doubt, influenced by, and made for, a worldwide family of listeners and fellow creators.
| || DISTANCE: No Warning/Jungle Fears 12″ (CHST 009EP) 11.00|
“Hot on the tails of the last double A-sider Menace/Beyond, Chestplate returns with some fresh-cut flavors, once again from head honcho Distance. ‘No Warning’ is a floor-filling anthem of a tune, with DJ support coming from a range of top names including Skream, Hatcha, Joker, N-Type, Youngsta, Pinch, and many more. In true Distance style, ‘No Warning’ starts with a cold, eerie backdrop, setting the scene for the devastating drop that follows. The hard-hitting bassline teases you in the drop before crashing in full weight, combining a filthy thrash guitar sound with intricate future-tech synth programming — everything you need to ignite an instant mosh pit. Flip then for ‘Jungle Fears,’ a carefully constructed deeper and more eerie sonic experience in comparison to the more dancefloor sound of ‘No Warning.’ Distance takes you through the paranoid soundscapes of a nondescript cyber jungle, with glitched-out edits tearing you from one section to the next, haunting pads and tortured synths lighting the pathway through. Don’t listen to this on your own late at night.”
| || LEMON DROPS, THE: Sunshower Flower Power LP (CIC 984LP) 20.00|
“The Lemon Drops’ Sunshower Flower Power is now available in a limited edition vinyl pressing of 600 copies. Includes six songs in versions previously unavailable on vinyl and two unreleased versions available for the first time: ‘Flowers On The Hillside’ and ‘Dream.'” 180 gram vinyl.
| || HARRISON CRUMP: Deep Down Inside Remixes 12″ (COR 076EP) 12.50|
Reboot and Michel Cleis remix the 1994 classic Sex Trax Chicago house classic “Deep Down Inside” by Harrison Crump. Reboot’s almost 10-minute-long interpretation is strongly focused on percussive tribal sounds, while Michel Cleis’ mix celebrates a form of soul-soaked techno that shows a perfection and versatility that could have been expected from a producer such as Carl Craig.
| || TIETJEN, CHRIS: Fünf CD (CORMIX 029CD) 17.00|
Chris Tietjen releases his fifth mix of the best of recent 12″ vinyl output from the Cocoon Recordings label. After Chris Tietjen, still a youngster in 2006, had compiled the label’s best tracks of 2006 on the CD Eins (CORMIX 014CD) and thus offered a review of 22 12″s, Tietjen now presents Fünf, on the occasion of Cocoon’s 10th anniversary. Every year, Chris compiles his personal Cocoon highlights in a musical cross-section and each time he produces a very unique mix of the best Cocoon dancefloor bombs of the past 12 months. Chris, who is now resident of his own night “Loaded” at Sven Väth’s homebase Cocoonclub Frankfurt, has now put together the best tracks of 2009 and assembles artists from the likes of Egbert, Tiefschwarz, Electric Rescue, Alex Flatner & Lopazz, Tim Green, Nick Curly, Stefan Goldmann, Julian Jeweil, Extrawelt, Len Faki or Yousef in this mix, including a remix by Ed Davenport.
|CURLE RECORDINGS (BELGIUM)|
| || KUMO, JAMES: The Rex EP 12″ (CURLE 028EP) 12.00|
James Kumo grew up in Kent but moved to London and later Manchester. In February of 2008, his first EP was released on Amsterdam’s Ann Aimee Records, a Delsin sub-label. 2009 saw one more release on Ann Aimee and a record for Dan Curtin’s Metamorphic label. Curle proudly announces James Kumo’s The Rex EP, featuring two original tracks and a remix by Peter Van Hoesen.
|CYCLICAL TRACKS (SPAIN)|
| || TADEO: Series 03 12″ (CYCLICAL 015EP) 12.00|
Tadeo continues his space-out journey by giving us a particular and intrinsic view of his cosmic experiences. There’s not much left to explore, and the trip is about to return to its initial point, full of energy. Three essential tracks for the darkest and deepest dancefloor, this is techno from another side. A must!
|DEEP MEDI MUSIK (UK)|
| || CALIBRE: Tenopause/Discreet Dub 12″ (MEDI 027EP) 11.50|
“Calibre flexes his dubstep muscles, here making his second outing on Mala’s Deep Medi imprint — the first was a subtle rolling garage-like affair that had all the hallmarks of Calibre’s drum & bass sound as well as Deep Medi’s deepness. The highlight here has to be ‘Tenopause,’ where Calibre’s knack for subtle rolling percussive bliss is in full effect. The hi-hats draw you in with their fluid forward motion and when they play off the kicks, and that addictive bass line pulses with hypnotic energy before flailing off into open space, like it’s ricocheted off a passing space cruiser, you’re deep into eyes-down zoned-out, head-nod, arm-shake territory. ‘Discreet Dub’ is a more spaced out affair, slowing things down to a half-step and upping the atmosphere as the bass seduces you into a state of bliss as it shifts amongst the eerie Middle Eastern melodies.”
| || DJ YOAV B: Love Dubs EP 12″ (DSR 081EP) 12.50|
Tel Aviv’s DJ Yoav B is back with the Love Dubs EP — a welcome return for this maverick producer on the Delsin label.
| || GAMAT 3000: All Seasons CD (DES 004CD) 14.50|
2001 release. 9 tracks, plus the legendary singles “Couch Campaign” and “Sunglasses & Soda” deliver the modern house-soundtrack that escorts you through all seasons full of highlights. Daniel Scholz and Matthias Tanzmann are standing for complexly accented grooves from which you can’t withdraw, no matter if it´s summer or winter. Not only moods are provoked here — All Seasons doesn’t deliver functional genre music. Gamat 3000 tracks are outstanding. They consequently build their ambience from the first sounds of “Whispering” till “Structures,” the last track on the CD. With their viscid rotating sound loops, pitched deep, crisp funk, smooth vocals and velvety instrumental tracks forms a harmonic, tight texture that grabs the listener and imprisons him immediately in a realm of ultimate dancing and listening pleasure. With All Seasons, Gamat 3000 show that something like this truly mustn’t be a rarity in Germany or anywhere else.
| || VINCENZO: Strip Joint Grooves Vol. 2 CD (DES 005CD) 14.50|
2002 release. Following up Vincenzo’s first mix compilation, Strip Joint Grooves Vol. 1, on which he designed a dazzling picture of Germany’s deep house producer scene, Dessous is proud to present Strip Joint Grooves Vol. 2 as a warm and emotional selection of modern house, strictly for the connoisseurs and lovers of high quality, vital, funky, deep and international up-to-date club sound, compiled and mixed live by Vincenzo. Paying authentic homage to all things deep and delectable, Vincenzo’s interest in and love of music has let him develop into one of German house music’s main aficionados. This second volume of Strip Joint Grooves features artists Hanna, Hill & Funèz, Derrick White, Bacuzzi, Gamat 3000, Swag, DJ Linus, Schmoov!, Satin Souls, Needs, Thump, Matthew Boone, Lebooca Project, Jovonn, Ian Pooley, Steve Bug, Robin Masters Orchestra, Rivera Rotation, Freestyle Man and Atjazz .
| || VINCENZO: Welcome To Zanarkand CD (DES 006CD) 14.50|
2002 release. After recording the internationally-acclaimed 1-800-Vincenzo in 1998, this second album shows Hamburg’s Vincenzo on the peak of his current career. Refined, complete and versatile as never before, these 13 tracks melt together to unveil a clearly-expressed statement on the status of modern house music. A string of sounds in his trademark style — hypnotic, deep, kickass, endlessly grooving and sexy — mixed and blended together with lush sultry interludes. This album will be a steady contender for your home entertainment as well as for stone cold dancing and prancing.
| || PHONIQUE: Kissing Strangers CD (DES 015CD) 17.00|
This is the third full-length release by Berlin-based producer Phonique for Dessous. Phonique released his debut album Identification (DES 009CD) on Dessous followed by Good Idea (DES 012CD) as well as countless acclaimed 12″s on labels such as Poker Flat, Dessous (including the hits The Red Dress and For The Time Being), Crosstown Rebels, Brique Rouge, Global Underground, Renaissance, Fine, Mood Music, Simple, Systematic and Tiefschwarz’s label Souvenir. He’s also a highly in-demand remixer and has worked for Thugfucker, Erlend Øye, Detroit Grand Pubahs, Manuel Tur & Dplay, Zoot Woman, Kevin Yost, Will Saul, and many more. His DJ skills have helped him become one of the leading tastemakers for the open-minded house-heads and he has already delivered high-profile mix albums such as Erlend Øye’s DJ Kicks and Erotic Moments In House for Dessous. More focused and mature than the forerunners, Kissing Strangers is brimming with modern, soulful, deep house music that spreads an airy, summer vibe. Phonique has also been elected “Best Deep House Act” by Beatport and “Best Deep House DJ” by the Ibiza DJ Awards. Kissing Strangers was co-produced with Alex Krüger aka Tigerskin and features a host of guest collaborators and co-producers including Kiloo, Ian Whitelaw, Ruben, Louie Austen, Pupkulies & Rebecca, Georg Levin & Kikiorix, Nadeshda, Abyss, H.O.S.H., and Gui Boratto.
| || OSSINING: I Will Be Missed LP (DIGI 021LP) 15.00|
“I Will Be Missed collects three synth-driven underwater vision quests. Crystal sequences are force-fed through strings of filters resulting in flourescent, smoldering towers of muddy ambience. The idea is to make something inherently beautiful that sucks the air from your lungs resulting in a wobbly, unclear treatise. With the cracks smoothed over, each sharp jolt takes on a life of its own turning up the temperature and morphing into a pure white heaven. It’s all hands-on-deck if you don’t want to get dropped into the boiling seas below. The flipside brings the lightshow to its peak, taking things positively solar. Backed by walls of bloop-infested waters and arpeggiated madness, the duo let the vocals fly. Each run through exudes an underlying tension searching for any hole to escape. As melodies loop and feedback on top of each other, the beginnings are consumed by the ends. Nothing is left to chance and nobody is hoping for perfection. In the end, Ossining deliver two sides of silver-soaked dreams blasted in a holographic glow. Mad men, the lot of them. Vinyl-only edition of 111 copies. Silkscreened covers.”
| || NATION OF ULYSSES: 13-Point Program To Destroy America LP (DIS 157LP) 13.00|
“The Nation of Ulysses was a violent separatist political party and terrorist group operating out of Washington, D.C. in the early 1990s. Though they’ve disappeared into obscurity, they’ve spawned countless milquetoast imitators who’ve tried to appropriate their looks, language, sound and presentation for the sake of career advancement. These cheap imitators can’t comprehend that the Nation of Ulysses derived their awesome power from their unswerving commitment to secession and havoc wreaking, and not to the banal and unimportant pursuit of fame and wealth. The N.O.U. is probably the most important development to beset music since electrification, as they were the first to articulate intent through written manifestos and stage histrionics, refuting rock’n’roll’s traditional policy of posturing rebelliously while aping parent culture values. Features members of Chaing & the Gang, Weird War, Scene Creamers, and The Make-Up. Originally released in August of 1991.” On transparent vinyl with printed innersleeve.
| || EVENS, THE: Get Evens LP (DIS 160LP) 13.00|
“The Evens are a band from Washington, D.C. Ian MacKaye plays baritone guitar and Amy Farina plays drums. They both sing. Their debut album was recorded at Inner Ear Studios in the summer of 2004 and released in March 2005. Get Evens, the band’s second full-length release, was entirely self-recorded in the basement of the Dischord House in the summer of 2006. The album was then mixed at Inner Ear Studios by The Evens and Don Zientara.”
| || OST & KJEX: Remix:Session 06 12″ (DIYNAMIC 038EP) 12.00|
Ost & Kjex presents the first single from Cajun Lunch (DIYNAMIC 004CD/LP). “Continental Lover” perfectly demonstrates the duo’s fresh, dancefloor focus. Soulful, harmonized vocals flow deliciously over powerful synth chords. An a cappella break becomes inspired and driven by a throaty piano riff. Pawas creates a soundscape of softly-throbbing bass lines, atmospheric synths and spooky keys. UNER delivers his own brand of funk by stabbing the synths and lacing the keys. Stimming’s version is stripped and elegant — deepness at its best.
|DUBSTAR RECORDS (UK)|
| || F-ONE: Mutation Theory CD (DUBSTAR 003CD) 19.00|
“As the sounds of dubstep evolve and mutate, F?One steps to the forefront. F?One’s debut album Mutation Theory on his future-thinking Dubstar records imprint exhales a breath of fresh air. F?One’s signature Dubstar boogie sees his fourteen track album immediately gaining support by the scene’s leading artists, including NType, Hatcha, Benga, Kromestar, Walsh, Suk Knight, Jay 5ive ,Chefal and many more. First and foremost, if you want to see the crowd moving, look no further then Mutation Theory; with the majority of tracks suited to the dancefloor, you’ll be getting called for rewinds before you know it with the aptly named ‘Distruction’ and ‘Just Cool Down Man’, mutated mid range croaks complimented with subtle rave lines; the massive collaboration ‘Spacerace9’ with the mighty Kromestar, ‘Nill By Mouth’, ‘Greedy Pigs’ destroying dance floors and the huge collaboration with new comers Soul Sinners in ‘Murder Most Foul’ crowd-hyping, skank-inducing party music. With the flow of the album mutating, taking it darker; there’s a tune for every mood with tracks like ‘Timewarp 44’, ‘Twisted Fate’ and bass heavy collaborations ‘Synphonic Dreams’ and ‘Twisted Fate’ with Kontrol, making big impacts where ever they’re dropped. Mutating to its final form, F?One gets musical and deeper with tracks like ‘Still Rain’ & ‘Peoples sound’ making a standout and securing this as a must have album for every dubstep enthusiast! Mutation Theory delivers a diverse and highly enjoyable soundtrack for any location, be it skanking on the dance floor or rolling laps round town, the Theory is sounds, the Dubstar Sound.”
| || DREADZONE: Gangster Remixes 12″ (DUB 002EP) 13.00|
“‘Gangster’ is a single taken from Dreadzone’s fifth album Eye On The Horizon. This 12 includes three remixes from Trolley Snatcha, Pyramid and She Is Danger. First up is Trolley Snatcha, who takes the vibe of the original and mashes it up in his own inimitable way to create a no-holds-barred, tear-out dubstep remix. Earl 16’s vocal hook, ‘So you wanna be a gangster/I don’t think that is the answer,’ sets the scene before Trolley Snatcha drops a big squelchy, morphing bassline complete with sirens and gunshots — what’s not to like? Next up is She Is Danger’s deep, dub electronica mix which takes things a lot easier and provides a nice antidote to the chaos. Pyramid round things off with a decent breaks mix to complete the package. Something for everyone here but it’s the Trolley Snatcha remix that really stands apart.”
|DUG OUT (UK)|
| || DADAWAH: Peace And Love CD (DO XYZ004CD) 15.50|
Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road.
| || CAULFIELD & EXERCISE ONE, JEREMY P.: 10 Year Tango EP 12″ (DU 057EP) 12.00|
To cap off their 10 year anniversary celebrations, Dumb-Unit has created special, limited edition clear vinyl with a smorgasbord of good music deep down in the grooves. Enjoy Jeremy P. Caulfield returning to an early Dumb-Unit sound with Exercise One and Elon adding their touches for some modern magic. On transparent vinyl.
|EDITIONS MEGO (AUSTRIA)|
| || ONEOHTRIX POINT NEVER: Returnal CD (EMEGO 104CD) 15.50|
Returnal is the fourth album from Daniel Lopatin’s Oneohtrix Point Never project, after Betrayed In The Octagon (Deception Island, 2007), Zones Without People (Arbor, 2009) and Russian Mind (No Fun, 2009). All 3 albums being superbly compiled on the Rifts double CD set (No Fun, 2009). It sees Lopatin fine-tune his craft for the creation of deep atmospheres and textures even further. Starting off with the mind-blowing triptych of “Nil Admiari”/”Describing Bodies”/”Stress Waves,” which fires off into a noise/rhythm excess before entering a zone of relative calm, building to the melancholy of the final part. This sets the tone perfectly for the album’s title track, a stunning, out-of-this-world ballad featuring Lopatin’s near-desperate vocal delivery, ending what could be seen as one of his most chilling and thought-provoking sides to-date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on “Pelham Island Road” and “Where Does Time Go,” with the album closing with edgy broken beats and the fourth-world possible landscapes of “Preyouandi,” which fades into the distance with echoes of the “Returnal” chorus closing the loop. What’s burnt into memory here is Lopatin’s love affair with the long, slow path back home… the cycle… the hypnotic sector… the ghost in the machine… and whether people are making dance music or hip-hop or space head-music or metal, the ouroboros is present in every sector — as it was in Bach’s study, and in the elephant songs of the Ituri forests. CD digipack packaging. Instrumentation: Akai AX-60, Roland Juno-60, Roland MSQ-700, Korg Electribe ES-1, Voice. Recorded using a personal computer. Mastered by James Plotkin. Tape-op & additional engineering by Al Carlson. Design by Stephen O’Malley.
| || BLOCK & KYLE BRUCKMANN, OLIVIA: Teem CD (EITHER 004CD) 12.00|
“Bruckmann and Block’s creative relationship dates back to the recording of Block’s 1999 release Pure Gaze, shortly after both artists entered into Chicago’s vibrant experimental music community. Their decision to create a collaborative duo ensued, but remained in the realm of good intentions until shortly before Bruckmann’s relocation to the San Francisco Bay Area. They then began playfully stockpiling sounds from a myriad of sources, collecting field material, and recording duo improvisations in various spaces using hallway intercom systems and unorthodox microphone placements, among other processes and techniques. This initial activity was followed by five years of collaborative editing, processing and mixing, resulting in the emergent expanse that is Teem.”
|ELEVATOR PEOPLE (NETHERLANDS)|
| || RED FULKA: Crazy Meera 10″ (EP 002EP) 12.50|
The original “Crazy Meera” by Red Fulka is an Afro-Balearic floorfiller that sounds a bit like Metro Area gone tropical, while the Pete Herbert remix is more of an Italo-styled booty-shaker ready to bring down the house!
|ENDLESS FLIGHT (JAPAN)|
| || SEVEN, MARK: Swept Away/Pillow Talk 12″ (EF 025EP) 12.00|
Mark Seven is the secret weapon of the nu disco and Balearic house scene. “Swept Away” is an old school piano house track. It’s simple but effective, timeless stuff and “Pillow Talk” is ’80s-style electric boogie.
|FALKPLATZ LIMITIERT (GERMANY)|
| || DAVENPORT, ED: Verdantin/Siebzehn 12″ (FALKPLATZ 002EP) 11.00|
“After the first release from Oliver Deutschmann’s Falkplatz label flew off the shelves, we continue with a special vinyl release from Berlin-based Ed Davenport, featuring a beautiful vocal performance from Ostgut Ton’s Elif Biçer. ‘Verdantin’ is an epic 13 minute long burner. Moody synths, haunting vocals, and a sub-sonic kick drive the slowly evolving structure forward. Patience is rewarded by a stripped drum tool gracing the final part of the recording. On the flip the airy ‘Siebzehn’ feat. Elif Biçer soars through dubbed out chord stabs and a jubilant chorus line that swells over 9 minutes. Elif’s vocal shines through with real heart adding a classy edge to this full and honest house track!”
| || MARBERT ROCEL: A Parrots Yellin’ 10″ (FENOU 011EP) 12.00|
Marbert Rocel is a band and you can hear it. Their live performances are more than your regular electronic act. On Compost, where the first Marbert Rocel album was released, they already revealed their feeling for emotional house ballads and jazzy sounds; on Fenou, they follow this path with a more experimental kind of art. Marbert Rocel’s cozy sound is perfect for sunny hours or those hours before. Includes a remix of Hundreds’ “Fighter.”
| || A.C. ACOUSTICS: Understanding Music CD (SFIRE 042CD) 14.50|
Fire Records reissues as part of its Embers series A.C. Acoustics’ Understanding Music, originally released in 2000. Coming together in Glasgow in 1990, Caz, Paul and Roger Ward (guitar) dabbled in noisy experimentalism with a line-up that included saxophone and violin. They played their first gig supporting Fire’s drone-rock heroes Spacemen 3. The band soon gravitated to a series of supports with various indie hopefuls of the day, releasing extremely limited edition, exquisitely-packaged bootlegs. Then they split up — until Paul decided to give it a second go, bringing back Caz and Roger and drafting in Dave from fellow Glasgow band Thrum, and they recorded the 5 track Wrist Eye demo in the summer of 1992. The new songs were more focused, fusing blistering guitar pyrotechnics with Paul’s vulnerable, hypnotic vocals. A second demo enticed Elemental to sign the band and, with a support slot with PJ Harvey under their belts, the “Sweatlodge”/”MV” blue vinyl 7″ was released in December 1993. The single prompted Melody Maker to hail the “two helpings of genius on one platter,” while NME thought it “absolutely beezer.” The single also caught the ear of John Peel, who was moved to play their debut session three times, commenting, “Am I hallucinating, or are this band truly brilliant?” The band’s first full tour followed, as did a debut Evening Session. Recorded in early 1994, the 7 track mini-album Able Treasury garnered ecstatic reviews. NME praised the “mixture of the instantly recognizable and the frankly lunatic that makes A.C. Acoustics such a vital prospect.” Later that year, the Hand Passes Plenty EP was released to similarly rave reviews. The EP’s four tracks were further evidence of the steady evolution of the Acoustics’ sound, with bruised melodies and insistent hooks brought to the fore. Roger was replaced by Mark, who had been spotted in local band Big Burd, and was asked to join the cause. The new line-up set about writing and recording the new album, with a break for a storming Reading appearance. Summer 1996 saw the band reward their patient fans with the album Victory Parts, which received critical acclaim across the board, with MOJO stating, “this is rock as art, and Victory Parts is a near masterpiece.” After the critical acclaim of the killer single “Stunt Girl” and album, A.C. Acoustics and Elemental Records went their separate, amicable ways and the band signed to YOYO Records. In 1999, two EPs, Like Ribbons and She’s With Stars were released and the band was also one of the first to use the internet as a means for releasing a free downloadable track through their web site. The band returned to the studio to begin work on the “not difficult” third album. At the beginning of 2000, A.C. Acoustics recorded a new full-length album, Understanding Music. Again, the critics were won over by the album, with Uncut calling it “an addictively strong album,” and MOJO made it their album of the month.
| || DUCK SAUCE: Greatest Hits 12″ (FGR 025EP) 10.00|
“Duck Sauce is the brand-new musical collaboration between deejay heroes A-Trak and Armand Van Helden, melding the spirit of classic disco house with updated production thump and clever new twists, think modern-day versions of DJ classics from labels like Roule, or Armand’s own beloved mid-90s catalog. The duo teamed up for the express purpose of making instantly addictive club anthems, tunes they would want to play out themselves. And it’s worked! DJs around the world, from Soulwax to Sinden to Guetta, have been playing and charting their smash ‘aNYway’ since the summer and salivating for the next batch of web footed tunes from the duo… Which are finally here on the vinyl-only Duck Sauce Greatest Hits EP, featuring ‘aNYway’ alongside equally-undeniable ‘You’re Nasty’ and previously unreleased ‘The Motion’ and ‘Grand Steppin.’ A must buy!”
|FREAK N’ CHIC (FRANCE)|
| || GHENACIA, DAN: Who Stole The Freaks? EP 12″ (FNC 049EP) 12.50|
Who Stole The Freaks? puts together three tracks from Dan Ghenacia, a fundamental player in the development of the French underground house and techno scene through his pioneering label (Freak n’Chic). The title track is a light-fingered affair with bouncing beats and vibrant samples. “Discolour” is pure house music made to make you dance. “Round 4” closes the package with more power and drive in a hefty dancefloor production that builds the energy levels to the max.
| || BIG MAYBELLE: I’ve Got A Feelin’/Ocean Of Tears 7″ (FRY 009EP) 8.00|
A well-placed RnB reissue which cheekily pairs two of the gems from Big Maybelle’s ’50s recordings for the Okeh label. “I’ve Got A Feelin'” has proven rather difficult to track down, especially on its 45rpm format. With congas, swinging horn patterns and Maybelle’s dread-drenched vocals, this is one of those tracks that cuts through genres. “Ocean Of Tears” is a true rhythm and blues masterpiece. A deep gospel feel is offset by a swinging rhythm, while Maybelle’s gut-wrenching vocal is the blues encapsulated.
|GALAKTIKA RECORDS (SPAIN)|
| || BOLIVAR, PABLO: Dynamo EP 12″ (GLK 029EP) 12.00|
Galaktika prints a limited edition vinyl. Pablo Bolivar is a respected artist of the Spanish scene. On “Dynamo,” a smooth organ touches your soul. On “Wood City,” Bolivar takes his rhythm on a journey with a lot of feeling and with an elegant essence defined by smooth vocals and heavy bass lines. Kiki goes for a classic remix that keeps the groove and the flow, and Iron Curtis converts it into a passionate deep house tune.
|GET PHYSICAL MUSIC (GERMANY)|
| || VA: Full Body Workout Vol. 6 12″ (GPM 127EP) 12.50|
Full Body Workout’s sixth installment starts with Spain’s wonder-hit crew Uner, Coyu & Edu Imbernon. Next, Gavin Herlihy & James Barnsley deliver “Right Here.” Unflappable percussion and a smooth synth workout make this suitable for peak-time. Mendo & Danny Serrano’s “Atalaya” is a joyous roller with a solid groove, and Shonky crafts a sinewy, epic house construction based on a sample from the Derrick Carter and Chris Nazuka track, “Somewhere Between Distance And The Impossible.”
| || EDGAR, JIMMY: Hush EP 12″ (GT 001EP) 12.50|
The Glasstable imprint launches with Hush from Jimmy Edgar, backed with a remix from Kyle Hall. The brainchild of a collective responsible for the Hypercolour label, video production company Stamp Films and London club night Pete’s 50th, Glasstable is to be an outlet for electronic music of all forms. “Hush” distills electro, broken beat and house into something fresh. Kyle Hall’s remix injects some jack, grunt and soul into it all. Comes as a picture disc housed in a full noble cover sleeve. Limited to 500 copies.
|HAND OF GOD (NETHERLANDS)|
| || YOUNG MARCO: Moving Fast (Very Slowly) 12″ (HOG 002EP) 12.50|
Young Marco now comes out with his debut solo release, featuring two aquatic-themed disco jams. Side A is a fast-paced underwater race sounding like an orca chasing a school of fish. The B-side keeps it smooth with a beachy, Mediterranean love song. Another special release from Hand Of God. Limited edition of 300 copies.
| || MENSAH: Untitled Future Funk EP 12″ (HENCH 017EP) 11.00|
“Visit Bristol and mention the name Mensah; chances are that someone’s going to know the man we’re talking about. Having become involved in the Bristol music scene at an early age, there’s no surprise that his productions epitomize the things associated with the city’s music — positivity and progressiveness. Having already lent the bouncy number, ‘Pulse 80’s,’ to the Hench Mixtape Vol. 1, and getting voted in the as one of the ‘Top 10 Producers to watch’ in the Dubstep Forum Awards, Mensah provides us with yet more reason to mark him down as one to keep an eye on in the future. The Untitled Future Funk EP is a 3-track release that provides a true insight into the depth of studio-skills this young artist has developed, touching on both the atmospheric and downright funky sides of dubstep. Already having had a track placed on the CSI TV series (‘Stapleton Rd’) and with all tracks receiving regular play from the scene’s big hitters, we’re excited to present this stunning effort from Mensah. A. ‘1986 Was The Future’ – The synth-led chords from the outset of this tune frame it as a future classic of dubstep. Not holding back when the bassline drops, Mensah has crafted a sound that delivers a punch. A truly gripping production that keeps you locked, seeming to introduce new sounds and phrases whilst maintaining its esoteric feel. ‘1986 Was The Future’ is going to be one of those tunes that’ll have the dancefloor screaming for rewind after rewind — and we’re sorry, but you’re going to be obliged to give it to them! Currently being rinsed by the likes of Plastician, Starkey and L-Vis.”
| || LOST: Disgustin Justin/Metalfoot 12″ (HENCH 018EP) 11.00|
“Having already graced Hench with his debut release, Ironhide/Slaughtered, Justin Cantor, aka Lost, brings his latest batch of weaponry. Since that first release, Lost has been a regular feature in Get Darker TV’s live shows and this new offering will not disappoint fans. His debut releases on Hench deemed strong enough to appear next to some of the scene’s biggest producers, such as Jakes, Komonazmuk and Chasing Shadows. Cutting straight to the chase, Lost captures the sub-bass perspective of ’90s dance culture perfectly with ‘Disgustin Justin.’ With the swinging bassline creating a raw and dubby atmosphere, you can immediately tell that this was built to be played on a big sound system. Scattered hi-hats and glitches keep the momentum rolling forward solidly. The estranged vocal in the background and percussive drums add to the tripped-out mood of this production. From the evidence shown here, there is no doubt that Lost’s sound is maturing. An eerie soundscape guides us into ‘Metalfoot,’ leading you into a false sense of security whilst building to the drop. And when this fat, chrome-guilded bassline drops in, you gather an understanding of where the inspiration for this track’s name came from. Slow-drawing snare, pulsating sub-bass and ticking hi-hats provide the ingredients for this dread-inducing track. This one’s a real grower and is going to be turning heads when it gets dropped on the dancefloor.”
|HESSLE AUDIO (UK)|
| || BLAWAN: Fram/Iddy 12″ (HES 013EP) 11.00|
“Hessle Audio’s thirteenth excursion comes from Blawan, a 22-year-old producer from Barnsley, Yorkshire. This is Blawan’s debut release. Hessle Audio was formed in Leeds in early 2007 by David Kennedy, Ben Thomson and Kevin McAuley. The label has released tunes by TRG, Martyn, James Blake, Pangaea, Ramadanman / Pearson Sound, Joe and Untold. In addition, Hessle Audio tunes have appeared on compilations by Tempa, Soul Jazz and Global Underground. Hessle Audio hold a residency at London club Fabric.”
| || JOE: Claptrap/Level Crossing 12″ (HES 014EP) 11.00|
“Hessle Audio presents a 2-track 12? from Joe, who previously appeared on HES 007.”
| || BODINE, TODD: Dark Matter 12″ (HIGH 077EP) 12.00|
The tracks on Todd Bodine’s new EP develop a hypnotic character, stolen away into a dark, pulsating sound-field which exactly matches the title “Dark Matter.” The increasingly dense electric field mixes with sparse siren sounds that create their own unique attraction. The same qualities infuse “Space And Stop,” with equally unexpected musical power surges. These are tracks that will drag the dancefloor abruptly from its spell in the first few seconds, while simultaneously adding a very special drive and intensity.
|HOT SHORE (UK)|
| || SCUBA/DISSIDENT: Tense (DBridge Remix)/Society Of Silver Skeletons Remix 12″ (HOTSHORE 003EP) 11.00|
“Two of the world’s best underground labels — DJ Clever’s Offshore & Scuba’s Hotflush — join forces for Hot Shore. Release number 3 features dBridge’s remix of ‘Tense’ (that featured on the Autonomic Fabric mix CD). On the flip Headhunter proves again why he’s one of the leading lights in electronic music production.” On transparent aquatic oil spill-colored vinyl.
| || MOUNT KIMBIE: Mount Kimbie Remixes Pt. 2 12″ (HFRMX 007EP) 11.00|
“The second EP of Mount Kimbie remixes features Panorama Bar’s Tama Sumo & Prosumer reworking ‘William’ into a shuffling deep house groove, and Scuba under his SCB guise delivering a murky, cerebral techno remix of ‘Vertical’.”
| || SIGHA: Shake 12″ (HFT 011EP) 11.00|
“Brand new EP on Hotflush Recordings from Sigha, a producer who has made quite a name for himself since becoming affiliated with the Hotflush family. Deep, intricate and atmospheric techno is Sigha’s style and this has to be a collection of his strongest music to date. Absolutely awesome EP, don’t sleep on this.”
| || HUNTEMANN, OLIVER: Play! 03 (Live) Cielo/New York 2CD (IDEAL 013CD) 23.00|
After D-Edge in São Paulo and Rex in Paris, German producer Oliver Huntemann selected the Cielo Club in New York to record his third compilation in the Play! series. Cielo is like no other. Tucked cozily in the ultra-hip Meat Packing District, and having won numerous awards for Best Club in New York, it seemed the perfect pick for this special project. Unlike the previous two Play! compilations, Oliver offers his fans a longer journey through the bounty of electronic music. The two CDs allow the listener to grasp the full mastery of Oliver behind the decks. The mix begins with a touch of deep techno, strong bass and trippy melodies. The hypnotic opening prepares you for what follows next. “NYC (Keep On Playin’),” a track specially produced for the compilation, summarizes perfectly the mood that Mr. Huntemann is looking for. He closes the first CD with a co-production between himself and Dubfire. The duo, with their proven ear for great techno, leave you with the most perfect of cliff hangers. CD2 sees Oliver building the second half of his set with progressive tunes that are beautifully woven into the strong bass line of Andreas Henneberg’s “Aquaree” and André Winter’s “Magma.” A perfectly balanced mix that holds your attention from the very first second and proves once again, just why Huntemann is one of the world’s most sought-after DJs. All in all, a masterpiece compilation with a pristine tracklisting. Other artists include: Extrawelt, Martin Landsky, Josh Wink, Matthias Tanzmann, Axel Bartsch, Jake The Rapper, T. Schumacher, The Glitz, Dimitri Andreas, Mutant Clan, Maetrik, Rodriguez Jr., Sycophant Slags, Wighnomy Brothers, Mike Mind, Hobo, ADJD, Roberto Bosco, Pascal Mollin, Pan-Pot, Abe Duque, Virginia, Octave, Hatzler, Shlomi Aber, Pattrix, Cari Lekebusch, and Clement Meyer.
| || HUNTEMANN, OLIVER: Play! 03 (Live) EP 12″ (IDEAL 013EP) 12.50|
Oliver Huntemann selected the Cielo Club in New York to record his 3rd compilation from the Play! series. The EP, introducing the compilation, consists of two tracks, which Oliver Huntemann produced specially for the Big Apple. “NYC (Keep On Playin’)” summarizes perfectly the mood of the city that never sleeps: groovy, somewhat melancholic but always ready for more. “Decks And The City” contaminates you with its sexy feeling and overwhelms you with its positive touch.
| || SCOTT, SIMON: Traba LP (IMMUNE 009LP) 16.00|
“Traba is a brand new mini-LP from the UK’s Simon Scott. 2009 saw the release of Scott’s debut solo album Navigare released on Miasmah Recordings (run by Erik Skodvin of Svarte Greiner/Deaf Center). Traba contains four tracks that were written at the end of the sessions for Navigare. When the deadline for completion of the album came and went these compositions were unfinished, but over the course of the summer and autumn of 2009 they were completed in Scott’s o3o3o Studio in Cambridge. Traba continues and expands on the themes of submergence, being lost at sea, and intoxication. Opening track ‘She Came From The Sea’, with its distant swirling brush stroke drumming, haunting vocals and deep processed textures, captures the almost overwhelming physicality of being at sea, miles from home, yearning for loved ones and a physical embrace. Though this is the first track on the record it was the last one to be written and completed after the Navigare sessions. ‘The Water Loop’ tackles themes of addiction, obsession and urban decay via a Max/MSP manipulated loop that initially feels warmly narcoleptic but grows into something anxious and intimidating. The music evokes warmth and adventure but slowly unfolds into a dark tone of emotional weakness and paranoia. An influence of Stanley Kubrick shines out here as this is a musical landscape occupied by Droogs on Molotov cocktails threatening to impose themselves on you.”
|IN MY ROOM (GERMANY)|
| || TRENTEMØLLER: Into The Great Wide Yonder CD (IMR 002CD) 17.00|
In My Room presents 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.
|INTERNATIONAL DEEJAY GIGOLO (GERMANY)|
| || VA: International Deejay Gigolos CD Twelve Part Two 12″ (GIGOLO 271EP) 12.00|
This is the 12th installment in DJ Hell’s annual selection of material from Gigolo artists, new and old. Part two of the vinyl 12″s kicks off with Nick Coleman’s “This City I Love,” a firm favorite with DJs such as Luke Solomon, Sian, and Timo Maas. The classic house sound of DJ Linus’ “Are You Ready?” has garnered fans from Brodinski to Matthew Dear, and Herman Schwartz presents a track firmly inspired by Farley Funkin Keith’s “I Need A Friend.”
|INTERNATIONAL FEEL (URUGUAY)|
| || COYOTE: Moving/Second (Coyote Remix) 12″ (IFEEL 006EP) 12.00|
Coyote are Timm Sure & Ampo, producers and owners of the Is It Balearic? label. With “Moving” they’ve delivered a classic piece of future-retro house music, inspired by Graeme Park’s late-’80s DJ sets and those wild, culture-defining times, when jazz dancing first met the Chicago and Detroit magicians in a darkened, smoke-filled room. Complete with vocals from Nesreen Shah and a monstrous remix from Still Going. The B-side is Coyote’s remix of International Peoples Gang’s “Second” — a stunning Balearic moment.
|INTERNATIONAL FREAKSHOW (GERMANY)|
| || AFFKT & ALBERTO SOLA VS LOS UPDATES: Pobla 12″ (IF 020EP) 12.00|
AFFKT and Alberto Sola present a hybrid of pop and house with tuba from Alberto Cuartero, orchestra director of Hoya Gonzalo in Albacete. Added to the paella is a bit of percussion and keyboards. The main course may represent a typical Valencian plate, but by adding a little Chilean salt, it becomes international. Danny Fiddo and Felipe Venegas present an elegant and deep remix, while Darlyn Vlys’ remix features a lot of groove and percussion. Finally, AFFKT gives his funkier version of events.
|JAZZMAN RECORDS (UK)|
| || BENITEZ, MARGA: Geechie Goomie/Wino’s On Parade 7″ (JBJ 1007EP) 11.00|
Here is a limited-run 45 rpm reissue of two super hard-to-find singles accredited to the mysterious Marga Benitez, a calypso-singing “exotic dancer” originally from the Caribbean who first made her way to a studio in 1954 with vocal group the Mello Tones. “Geechie Goomie” features slinky vocals alongside an almost clunky, exotic, piano-led accompaniment and some oddly sinister backing vocals from the Mello Tones. “Wino’s On Parade” is a curious one-off oddity with calypso vocals, quirky lyrics and doo-wop backing vox.
| || JUNE: June 01 12″ (JUNE 001EP) 12.00|
The mysterious producer who goes by the name of June, composes a three-track EP ranging from trippy acid house to Chicago. The tracks were composed solely on hardware machines between 2007 and 2009, each one in the month of June. The A-side sticker bears the image of the Flaming June (Lord Frederic Leighton, 1885) painting while the B-side is individually hand-stamped. Limited to 400 copies only.
| || TAPE TUM: The Night We Called It A Day CD (KRCD 017CD) 15.50|
This is the debut album by Tape Tum. The Night We Called It A Day is a collection of nine graceful, hypnotic-textured compositions with ample experimental tendencies. Balancing masterfully between the analog and digital domain, the Belgian brothers of Benjamin and Lieven Dousselaere demonstrate an impressive song-crafting aptitude, enhanced with continental ethics and an evident love for Grizzly Bear, The Beach Boys and Sparklehorse. Soothing soundscapes and acoustic sensitivities injected with smart beats, airy jazz touches and elegant bleeps are the elements that make up the eclectic mixture of Tape Tum’s vintage art-pop. Starting out in the rural town of Beernem as an attic project, Tape Tum are now a fully-fledged outfit with a support slot for the legendary post-rock experimentalists Tortoise and a contribution to the Domino compilation of prominent UK magazine Wire in their arsenal. Their cutting-edge live appearances combine sound with film, installation art and contemporary dance and include collaborations with Icelandic performer Erna Ómarsdóttir, visual artist Gabriella Fridriksdóttir and French-Belgian choreographer Damien Jalet.
| || DELETE: 1986 12″ (KD 031EP) 12.00|
Delete aka Sergio Muñoz presents his debut three-track EP for Kindisch. “1986” does not boast any sci-fi effects or otherworldly sounds; it does, however, have one of the catchiest bass lines out there. “Our Generation” pours a real telltale Chicago house vibe, complete with Derrick Carter-style vocals and an infectious four-note pad melody. “Lunchbox” runs a bit deeper than the first two tracks, as it is rolled along by little percussion edits and snippets that evoke a more subtle, laid-back vibe.
|KRAKEN RECORDINGS (DENMARK)|
| || JSL: Yellow Bird 12″ (KRKN 011EP) 11.50|
“Absolutely massive. Do not sleep on this 12″ as Kraken records always sell out fast! JSL (aka Wolf Man aka RUF aka Fresh aka Jürgen Flemming) Producer, remixer, DJ, graphic designer, based in Copenhagen, Denmark. One fourth, and graphics headmaster of one of the most successful and best established event/sound system crews in Copenhagen – OHOI!. OHOI! is also the force behind Kraken Recordings.”
| || GTRONIC: Cameltoe 12″ (LL 031EP) 12.00|
Gtronic is a brand new acquisition for the Lektroluv roster. His Iron Man release was supported by all the usual suspects and used by The Bloody Beetroots on their mix CD. His debut for Lektroluv features remixes by Mustard Pimp and Blatta & Inesha.
|LIME DUBS (UK)|
| || DJ MADD: Not Afraid 12″ (LIME 003EP) 11.50|
“After the devastating Taz Buckfaster & SPL release, Lime pushes the sound back a bit with a grade-A release from none other then DJ Madd. After releasing so many tunes on labels like Boka, Blackbox and Subway he switches over to Lime for a release beyond proportions. ‘Not Afraid’ is a daring track that will wipe the floor with any PA system. Hear this sub-line rattles and rocks the systems. This is a more tech-y angle than you are used to from Mr. Madd. Flip it over for two tracks that are just too good to leave alone — ‘Heavyweight’ and ‘Funktion 1.’ Both are equally fierce tracks that shouldn’t be messed with. ‘Heavyweight’ is for the wobblers out there and ‘Funktion 1’ is for the people who like to rattle dem chests! Another perfect release that Lime has delivered to show they are not all about tear-out.”
| || FREAK SCENE: Psychedelic Psoul CD (LION 642CD) 15.00|
“Fresh from his studio experiences with The Deep and the Third Bardo, Rusty Evans decided to create a psychedelic ‘happening’ which would also function as a recording group. He gathered together a few New York musicians, including three members of The Deep (David Bromberg among them), dubbed them the Freak Scene, and began work on the Psychedelic Psoul album, which was released in 1967. The intention was to pursue the Indian-Eastern influence in rock — and this raga rock idea is used to great effect on songs like ‘Grok’ and ‘Rose of Smiling Faces’ (sounds like it could have been the sole inspiration for Damon’s Song of a Gypsy album). As the only true psychedelic band on Columbia at the time, the Freak Scene got decent exposure. No doubt this number would have been much greater had the band been a touring ensemble, instead of a one-time psychedelic event. The album is gritty, tense, subversive, brittle, and yes, psychedelic. Perfect in its own way. Included as bonus tracks are nine demos from the summer of 1966, some of which would end up in quite a different musical context on The Deep’s Psychedelic Moods and Freak Scene albums. These songs, with their P. F. Sloan/Dylan (or even Sixto Rodriguez) vibe deepen the legacy of edgy, insightful songs from Rusty Evans/Marcus Uzilevsky. Comes with a 16-page booklet which includes a biographical portrait of Marcus, printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.”
| || METZGER, PAUL: The Uses Of Infinity CD (LOCUST 123CD) 14.00|
“The lonesome banjo picker returns! Recorded in one take in a de-sanctified century old cathedral in Northern Minnesota, The Uses of Infinity is a 6 part cosmic hobo’s dream suite for 23 string banjo. Cast in the drifting nebula of the whole tone scale, Paul Metzger plucks, picks, bows and spins his way through a 40 minute odyssey making for his most ambitious and adventurous musical trip to date.”
| || METZGER, PAUL: The Uses Of Infinity LP (LOCUST 123LP) 17.00|
| || HOOD, ROBERT: Omega 3LP+CD (MPM 008LP) 31.00|
3LP version. Includes CD of the entire album. Detroit’s legendary Robert Hood returns after 2009’s Minimal Nation (MPM 001CD/LP) re-issue with his new artist album Omega. The album is based on the 1971 classic science fiction film, The Omega Man, starring Charlton Heston and derived from Richard Matheson’s 1954 novel I Am Legend (which was re-adapted to the big screen). The album is not intended as an exact soundtrack to run alongside the original film, but Hood was heavily influenced by the movie and he has used it as his inspiration. This album’s concept is a long-held vision of Hood’s and the film’s stimulus has presented itself both musically here, and even spiritually for him, since he watched it as a child. Its themes appear even more relevant today and continue to haunt: “It’s definitely metaphoric,” he says, “and if we don’t heed the signs, this is where we’ll end up. We live in a society where we just consume. We just take. We don’t operate on the concept of giving.” The film resonated with him throughout the years, and there are many parallels between the post-apocalyptic world portrayed in the film and parts of Detroit where he grew up. “You can look at downtown Detroit at night after the nine to five have migrated home and it turns into a ghost town,” he muses. “You had abandoned buildings during the crack epidemic and this progressive city had these ‘zombies’ walking the street. Detroit is a prophetic vision of the sign of things to come.” While the brooding “Towns That Disappeared Completely” and laser-strafed “War In The Streets” certainly brings these comparisons together, the album still remains a work of science fiction, albeit one rooted in decaying urban realism as opposed to otherworldly fantasy. Tracks such as “Are You God?” delve into the “messiah complex” of Charlton Heston’s last-man-on-earth battle to save humankind from the infected inhabitants of earth, while the album’s preceding single “Alpha” is dancefloor minimalism at its finest — yet another lesson in stripped-down machine funk. Floating between the cinematic experimentalism of “The Plague (Cleansing Maneuvers),” the low-key minimal grooves of “The Workers Of Iniquity,” and the pure dancefloor adrenalin rush of “Omega (End Times),” Robert Hood gives us another minimal masterpiece. As Hood himself concludes. “This movie is an exercise in faith. Everybody is dead. Through all this adversity, there is still hope, but man has to repent. This is a message of hope and through the adversity, people will begin to look at a higher force.” Housed in an epic die-cut cover with printed innersleeves.
|MACRO RECORDINGS (GERMANY)|
| || ELEKTRO GUZZI: Elektro Guzzi CD (MACROM 018CD) 17.00|
Vienna’s Elektro Guzzi challenge the meaning of “live” in electronic music. Bored of laptop sets? With a “classic” set-up of guitar, bass and drums, Elektro Guzzi align themselves with an unheard level of discipline, tightness and danceability. No computers, no pre-recorded loops, no solos. Probably the first time techno is really played live. As sequential as they may sound, they couldn’t be more analog. The quest for the ultimate live presentation of techno has come to an end. Produced by Patrick Pulsinger (Hercules & Love Affair, M-Plant, Cheap), the album is a masterstroke resulting in great dancefloor movers, state-of-the-art analog recordings and a prime showcase of Elektro Guzzi’s incredible creative capabilities. Played live with no overdubs, this record breaks down the demarcation line separating man and machine. Everything in techno has been done? You ain’t heard nothing yet. Elektro Guzzi are not interested in exploring their minimal and dubbed-out soundscapes in long, epic jams, where coincidental ideas born out of improvisation are the unofficial band member. Elektro Guzzi are interested in structure. They produce and perform like any modern electronic producer and performer wanting that every element of a track is exactly where it is intended to be. There is no computer backup material they prepared earlier, no loops and things, no overdubs. However hard it is to believe, what you hear is 100% live. There, they connect the hypnotizing force of their analog techno with the visual treat of a band doing it all right in front of your eyes. You hear it, you witness it, and you dance.
| || WE LIKE CATS: Proper Eats LP (MAR 063LP) 12.00|
“Experimental heavyweights Adam Forkner (White Rainbow, Rob Walmart, Atlas Sound), Honey Owens (Valet, Miracles Club, Atlas Sound), and Eva Salens (Inca Ore) collaborate to exploit their highly vibed-out dubby post-yoga practice chilling with the cats killer band that has made a great debut record called Proper Eats. Vinyl version comes with bonus download remixes.”
| || CAGE, JOHN: A Cage Of Saxophones 3 & 4 2CD (MODE 222CD) 25.00|
“Ulrich Krieger completes his A Cage Of Saxophones survey of Cage’s works composed for saxophone, or which can be played on any instrument or instruments. For this volume, Krieger combines works specifically composed for saxophone with works of no specified instrumentation that are suited for saxophones and winds. Most of these are ‘indeterminate’ works, which require the performer to create the realization based on materials supplied by Cage. In some situations, Krieger used Cage’s compositional ‘tools’ to create his own parallel works. The set includes the only available recording of ‘Party Pieces,’ composed in collaboration with Henry Cowell, Lou Harrison and Virgil Thomson. One composer would write a bar of music plus two notes, folded the paper at the bar, passing it to the next composer, who would use the two notes as a base for continuing the composition. Composed for any melody or keyboard instruments, Krieger has made a realization for saxophone quartet. Acclaimed German saxophonist Ulrich Krieger studied classical/contemporary saxophone, composition, and electronic music at the Hochscule der Kunste (Berline) and the Manhattan School of Music (New York). He currently tours with Lou Reed in the Metal Machine Trio and is a professor at CalArts University. He worked with leading artists such as La Monte Young, Phill Niblock, David First, Lee Ranaldo, Elliott Sharp, Mario Bertoncini, Merzbow, and many others.”
|MODERN LOVE (UK)|
| || DEEPCHORD PRESENTS: ECHOSPACE: Vibrational Studies (In Echospace)/Symbolism In Transition 12″ (LOVE 063EP) 12.00|
“Vibrational Studies (In Echospace)” is an alternate version of Liumin (LOVE 064CD) album opener “In Echospace” and revolves around washed-out analog loops layered around submerged field recordings and electric currents that propel the track while immersing it in one of the headiest mixes Hitchell and Modell have ever recorded. “Symbolism In Transition” finds Modell deploying a deep, padded configuration with a late-night shuffle so beloved of Move D, all squashed house vibes, sparkling melodic currents and bursts of barely-there white noise.
| || DEEPCHORD PRESENTS: ECHOSPACE: Liumin 2CD (LOVE 064CD) 14.50|
DeepChord Presents: Echospace is the collaborative project of Rod Modell and Steve Hitchell, two veteran producers based in Chicago and Detroit, now returning for a second full album for the Modern Love label. In the years that have passed, both artists have been busy with numerous projects, developing their own Echospace imprint and recording under a number of different guises. Modell in particular has developed his longstanding fascination with location recordings, and some made in Tokyo over the last couple of years provided the source material for what would eventually become this new album. Indeed, a bonus CD that comes with the first pressing of the CD features 80 minutes of these original field recordings. Although the vapor trails of dub still color the essence of much of this new material, Liumin is an altogether more “destroyed” experience than its predecessor, opening with the washed-out, beatless sequence of “In Echospace,” a track that somehow manages to harness the disorienting experience of being a stranger in a strange land, with only the flickering glow of neon lights for company. The album unfurls with stretches of immersive techno and low-end treatments compressed with a growling, unstable focus that’s in turn oppressive and soothing, re-creating the uniquely ambiguous euphoria/narcosis that comes with extended sleep deprivation. It’s an effect that’s perhaps encapsulated best on “BCN Dub,” a heaving warehouse thump that’s entwined with shortwave radio transmissions bringing to life a disembodied horn-section from deep in the ether. There may well be some connection to dub lurking deep in the foggy mists of these recordings — but Liumin inhabits far more opaque and unsettling terrain to anything you may have heard from both this project, or any of its many imitators.
|MORR MUSIC (GERMANY)|
| || ISAN: Glow In The Dark Safari Set CD (MORR 099CD) 14.50|
Robin Saville and Antony Ryan, two English gentlemen who create music together under the nom de plume Isan, return with their sixth full-length album for their spiritual home of Morr Music. It’s been a few years since Isan’s previous outing, the delectable electronic esoterica of Plans Drawn In Pencil (MORR 068CD/LP), but the results, in time-honored Isan tradition, are certainly worth the wait. Opener, “Channel Ten,” with its Autobahn-assured poise, appropriately prefigures a body of work that is Isan’s finest to-date. Inspiration for this came from “emancipation” as Robin elaborates: “It was an attempt to jettison the weight of our back catalog and get back to the fun of making music. This entailed playing with ancient Casios, mangled tape loops and squidgy noises. Very hands-on. Most of the tracks on the album started life away from the laptop.” This giddy sense of enjoyment suffuses the album — from the glistening rush of “Merman Sound” which segues into the soft-focus sound-world of its own coda seamlessly to the cinematic, tech-y strut of “Grissette” or the calmly oscillating and cascading melodies of “Greencracked,” which evoke images of a retro-futurist utopia. Isan have always excelled at fashioning a quietly awe-inspiring music and Glow… is no exception. Even the title suggests a sense of wide-eyed-wonder “We were playing with lots of ideas around fire, embers, bioluminescence and the title popped into my head one day. It seemed to sum up a lot of the things we like — I like to imagine sitting in a darkened room looking at the gentle green glow of 1970s VU meters, then they all come to life and start crawling up the wall.” says Antony. Such is the album’s celestial, hot-wired circuit-board wizardry; Glow In The Dark Safari Set positively throbs, ebbs and flows with electronically refracted ideas and melodies — a digital tone poem sitting somewhere betwixt the cozy experimentation of the BBC Radiophonic Workshop and the exotic sonic emissions of a top-secret Düsseldorf studio circa 1975.
| || DEMAC, TOM: Crewcuts & Curls Remixes 12″ (MUR 017EP) 12.00|
“murmur reaches two years of releases with a special remix package from one of their biggest talents, Tom Demac, taking one of the label’s strongest releases for a rework from Jamie Jones, Wolf + Lamb and Luke Solomon. You would have to be trying hard to avoid the attention Wolf + Lamb have been receiving over the past year. Their original brand of house music has developed into a global cult and their rework of Demac’s ‘In Your Eyes’ is another example of their unique ability to create something unique and highly appealing across the board. Reverberating with the enticing sounds of the original it creates an almost psychedelic mood through soaring vocals, weightless beats and hypnotic loops. Jamie Jones continues his climb to the top of the underground ladder through a continued bombardment of popular material, both solo and as part of Hot Natured. He embosses his own brand of infectious funk into ‘Crewcuts & Curls’, led by the groove and snaking around energetically bouncing vocals. Luke Solomon seals the package with another inventive remix of ‘Crewcuts & Curls’, sparkling with a timeless spirit and using an imaginative range of skills in its production. Luke continues to deliver original material as part of the Freaks and putting output on his Classic label, founded together with house master, Derrick Carter. One of the most individual artists in the scene, Luke’s wealth of experience produces an insightful and memorable style.”
|OSTGUT TON (GERMANY)|
| || MARTYN/ROMAN LINDAU: Berghain 04 – Part I 12″ (OSTGUT 037EP) 12.00|
This is the first of three samplers (parts I & II on vinyl, part III digital-only), showcasing some of the exclusive new tracks chosen for Ben Klock’s Berghain 04 (OSTGUT 013CD) mix compilation. Martyn’s “Miniluv” steps around a more solid 4/4 framework, yet typically dubbed, warm elements breeze by as an ethereal theme emerges amongst the lovingly-placed dusty grooves. Roman Lindau’s “Keppra” is a solid, experimentally-edged slice of atmospheric club music, conjuring images of industrial works, iron foundries and sunken warehouses.
| || RUSKIN/KEVIN GORMAN, JAMES: Berghain 04 – Part II 12″ (OSTGUT 038EP) 12.00|
This is the second of three samplers (parts I&II on vinyl, part III digital-only), showcasing some of the exclusive new tracks chosen for Ben Klock’s Berghain 04 (OSTGUT 013CD) mix compilation. Part II features a couple of vertebrae from the backbone of UK techno today; James Ruskin and Kevin Gorman. James Ruskin’s contribution is a fizzing, reduced exercise in tension, subtraction and hypnosis. Rousing stabs arrive, depart, and then return, while a thunderous bottom end holds us all in suspense.
|OSTWIND RECORDS (GERMANY)|
| || SCHORIES/DOUGLAS GREED, OLIVER: Tweeuntwintig 12″ (OW LTD022EP) 11.00|
“We say hello to two new sailors on our Ostwind steamboat. Oliver Schories and Douglas Greed take the ropes and hoist the sails. On the A-side, Oliver Schories shows with his track ‘Innenrotation’ that he has grown up in the far north and is well-versed with the sea. With melodious keys, chords and slightly melancholic strings he’s on the right course. The B-side belongs to Douglas Greed who, with ‘Origami Deathmask’ and his foldboat, battles the highest waves towards the harbor and illuminates the promenade in brilliance. Whether a dreamlike sunset or sundown, contemplative bays or even waves crashing at the bow, our two young sailors make for an unforgettable steamboat trip towards the summer.”
| || DJ KOZE: Rue Burnout 12″ (PAMPA 003EP) 14.00|
On DJ Koze’s debut Rue Burnout EP from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. “Blume Der Nacht” starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violin bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive, sharp rhythms. It’s very rare that you find house music this excitingly light-footed.
| || SUBDIVISION, THE: Interpretazioni EP 12″ (PL 009EP) 11.50|
“The SubDivision round up some of dubstep’s heaviest and dirtiest mercenaries for the latest Paradise Lost offering of four remixes on the Interpretazioni EP. Roguestar starts things off with what can only be considered an epic remix of an already epic track, ‘Devil’s Kiss.’ Full-throttle from the start and straddling the line between dubstep and breakstep, this track will appeal to anyone needing to destroy the floor at 3 a.m. Lonewolf goes dirt for his remix of ‘The Messenger,’ bringing the heat with his notorious filthy style, incorporating heavy synths with nasty breaks. On the flip, Djunya takes things to the dark side of dub, with his re-take on the bizarrely spacey ‘Elephant Walk.’ Currently a favorite of DJs pushing the deeper sounds, Djunya brings in heavy reverbs, 8-bit stabs, and his trademark bassline business to produce a brilliant and complex sound. Vesicle round off the release with what might be their heaviest production yet on the remix of ‘The Rose.’ Junglist vibes and bass terrorism combine to produce devastating material showing off the impressive skills of these up-and-comers from Finland. With something for everyone on this release, Paradise Lost is going from strength to strength.”
|PERMANENT VACATION (GERMANY)|
| || SPECTACLE: Prism/The Mask Of Sanity 12″ (PERMVAC 051EP) 12.00|
Spectacle is the new collaboration from Muallem and Benjamin Roeder. Both had the vision to incorporate their favorite ideas in order to come up with something fresh: Spectacle is not house, not disco, not techno. It’s straightforward: two dudes, two sides, two tracks for club use. Includes a limited edition poster.
| || POLLYESTER: German Love Letter 12″ (PERMVAC 052EP) 12.00|
Split release with the Love In C Minor label, presenting number 8 in Pollyester’s countdown series. German Love Letter is here to wake the old babes at the slots with a mantra-like lullaby which goes something like: “ACH DU ACH DU ACH DU ACH DU ACH DU!” Featuring remixes by Permanent Vacation, Optimo Espacio and Hal Tabac. In the middle of snowy Munich’s nowhere, a black-hearted army of penguin lovers is doing the heartbreak dance.
| || TERJE, TODD: Remaster Of The Universe 12″ (PERMVAC 054EP) 12.00|
Here comes the vinyl sampler from Todd Terje’s 2CD album Remaster Of The Universe (PERMVAC 055CD). First we have his fabulous acid-ish remix of the classic “Pop Muzik” track by M, and two exclusive remakes that he did under one of his million aliases. So it came that Chuck Norris gives the Ace Of Base hit “All That She Wants” the Sly & Robbie treatment and Cajmere’s “Perculator” gets polka-rized by Kacic Kullmann’s Five.
| || TERJE, TODD: Remaster Of The Universe 7″ (PERMVAC 056EP) 10.00|
The second vinyl teaser from Todd Terje’s 2CD album Remaster Of The Universe (PERMVAC 055CD) is a special 7″ with two extraordinary cuts, which goes way beyond the usual disco dancefloor business. Terje covers his own uberhit “Eurodans” in crooner style, complete with an a cappella intro. For the flipside track, “Surat Surfin,” Terje teams up with his local Indian buddies to form the Duliatten Disco Dandia and gets all Bollywood on your asses.
| || LAUER: Delta Kid 12″ (PERMVAC 057EP) 12.00|
Phillip Lauer is a Frankfurt-based producer, musician and DJ and a name to be remembered. Now, Permanent Vacation releases an out-of-stock pearl from his Brontosaurus label catalog. “Delta NRG” is a unique piano house/disco hybrid and, ever since its release, is considered to be a secret weapon for DJs. “Delta NRG” is beautifully remixed by Mock & Toof, and also included is an exclusive new track from Phillip in a high-NRG machine gun stylee. So you better run for cover, motherf$$er!
| || GERD: In The Morning (At The Club) 12″ (PHP 046EP) 14.00|
Gert-Jan Bijl from Rotterdam, better known as Gerd, is a true constant in the electronic scene. The head of a whole bunch of labels like 4 Lux, Fortek and Amplified as well as different monikers like Delgui and Amplified Orchestra, he delivers a timeless blueprint of funked-up house music. On the flip, DJ Koze gives this track a fantastic remix treatment and twists it another notch into the obscure.
| || DOC DANEEKA: Deadly Rhythm 12″ (PTN 001EP) 13.00|
“As if the kind people at Ramp don’t give you an ample amount of music, they are now gracious enough to present new label PTN. PTN will be covering a more stripped down basement sound, coming from UK funky and house music. First off is the long awaited debut release from Doc Daneeka with his Deadly Rhythm EP, featuring all the tracks which have been doing the rounds with DJ’s such as Gilles Peterson, Marcus Nasty, Sinden, Kode 9, Brackles, Oneman and Martyn over the past few months. Briskly traveling from Swansea to Leeds, PTN follows Doc Daneeka’s release with an equally hyped EP of fresh material from Hackman, who along with Doc D, featured in FACT Magazine’s top 10 producers to watch for the year. Look out for future releases from Iceland’s Hypno, dropping Deep House on yo ass like volcanic ash — featuring a remix from Julio Bashmore, and the ultra massive ‘Fatherless’ from Breach.”
| || HACKMAN: More Than Ever 12″ (PTN 002EP) 13.00|
“Briskly traveling from Swansea to Leeds, PTN follows Doc Daneeka’s release with an equally hyped EP of fresh material from Hackman, who along with Doc D, featured in FACT Magazine’s top 10 producers to watch for the year. Hackman is one of the exploding funky movement’s best and brightest producers, rising fast and unleashing unstoppable rhythm after unstoppable rhythm. Profiled by the venerable and influential Blackdown in 2009, Hackman is no stranger to hype even so early in his career. But it’s not all just hype, and if anything, the hyperbole is warranted. Hackman makes music in line with other prominent funky producers, but his productions have a certain sheen and a peculiarly humid quality that make them unmistakable. His impressive grasp of bass betrays his initial foray into dubstep, and it lends his music a power both more nuanced and more visceral than many of his contemporaries.”
|PUNCH DRUNK (UK)|
| || GUIDO: Anidea CD (DRUNK 003CD) 13.00|
“Anidea is the debut album from young Bristol-based producer Guido, who alongside Joker and Gemmy, has trail-blazed his way to the forefront of UK dance music. His two 12″ releases, Orchestral Lab and Beautiful Complication on Peverelist’s Punch Drunk label in 2009, and remixes for Island Records and Tectonic Records, have garnered Guido extensive press coverage from specialist underground blogs to The Guardian’s broadsheet. This album is the first to emerge from the trio, which has already made an indelible mark on UK underground music. Guido cut his teeth in the embryonic mid-decade Bristol grime scene, producing instrumentals for MCs and vocalists culminating in his Unleashed mixtape in 2006. His production style shares the ultra-vivid color, melody and rugged texture of golden-era Davinche, Skepta and Ruff Squad’s Rapid but also the playfulness and pop sensibility of Timbaland or Neptunes without losing underground edge or appeal.”
| || GUIDO: Anidea 2×12″ (DRUNK 016EP) 22.00|
|RANDOM TRIO PRODUCTIONS (UK)|
| || CYRUS: Beatwise/Scanner 12″ (RTP 006EP) 11.00|
“Born and raised in the home of dubstep, Croydon (UK), Cyrus’s brutally hypnotic and cavernous sound is beautifully captured on this 12″. Uncompromising, with so much space and atmosphere, ‘Beatwise”s extra weighty sub madness drop will make your lungs almost implode. ‘Scanner’ is dubstep stripped down to its most fundamental elements. A pressure cooker of pulsing frequencies.”
| || ANBB: ALVA NOTO & BLIXA BARGELD: Ret Marut Handshake 12″ (R-N 120EP) 14.00|
Electronic music composer/visual artist Alva Noto (Carsten Nicolai) and composer/voice artist Blixa Bargeld (also known as singer of Einstürzende Neubauten and guitarist of Nick Cave And The Bad Seeds) decided to join forces to initiate a collaborative project in 2007. Together they developed a musical concept based on the combination of improvisation and abstraction. The impulsive live performance of Blixa Bargeld and the elaborated beat structures and sound landscapes of Alva Noto merge to a surprising and unexpected result.
|REEL RECORDINGS (CANADA)|
| || RADAR FAVOURITES: Radar Favourites CD (REELR 017CD) 17.00|
Radar Favourites was formed in the summer of 1974 by saxophonist/flautist Geoff Leigh, after making Henry Cow’s Legend album the undisputed classic it is. Geoff and his lady, keyboardist/singer Cathy Williams, teamed up with electric guitarist Gerry Fitz-Gerald (Mouseproof), bass guitarist Jack Monck (Delivery And Stars), and drummer Charles Hayward (Quiet Sun, pre-This Heat, Camberwell Now). This quintet drew upon their disparate playing experiences to inject fresh oxygen into the then increasingly bloated body of British rock. Theirs was not a regular music, but one that repositioned the markers on the rarified field of experimental rock. By year’s end, Radar Favourites had completed two studio tracks and gave just four concerts, before shifting personnel and eventually disbanding under industry indifference. This historical CD release presents the original Radar Favourites, carefully remastered from the reels extant. At last we can experience the band’s sublime studio recordings, an untethered private session and a forceful concert excerpt recorded at London’s College of Printing, all packaged in a cover designed by Hawkwind’s graphic artist, the legendary Barney Bubbles. Seldom has an ostensible rock group scoped such prescient musical terrain; free collective improvisations, dynamic tension and release within interweaving layers, and dramatic trans-dimensional song structure. Without reservation, Reel Recordings recommends the music of Radar Favourites as a never less than exhilarating revelation. File under essential! Members include: Geoff Leigh (alto & soprano saxophones, flutes, oboe); Cathy Williams (piano, keyboard, glockenspiel, vocal); G.F. Fitz-Gerald (electric guitar, Baby Binson Echorec); Jack Monck (bass guitar); Charles Hayward (drums), and special guest Colin McClure (cello on tracks 1,2).
|RIVERMAN MUSIC (KOREA)|
| || NEWS: Hot Off The Press CD (BTR 053CD) 17.00|
Riverman Music reissues a unique ’70s pop obscurity. The lead instrument is a pedal steel guitar, played with more imagination than anywhere other than the Misunderstood’s studio recordings, often with some nice, fuzzy distortion. It rarely sounds “country.” The songs are strong pop/rock, with Beach Boys-style harmony vocals on the softer songs, and tougher (but still melodic) singing on the rockers. Other than the opening “song” (three minutes of a guy fiddling with a radio dial), everything here is memorable, and no two songs sound alike. Highlights include the powerful “Loser,” with a stunning steel guitar solo, and the long album-closer “New York City,” but this is consistent enough that any given listener could feel equally strong about any two others. This is exactly the kind of band a daring major label executive would have struck gold with in the ’60s, but nobody would dare to touch in the ’70s. The endless streams of slide on these songs makes you almost woozy, but in that pleasant, A.M. radio, hot car/hot summer day, off-kilter ’70s way. Surprisingly groovy. Includes two previously unreleased bonus tracks.
|ROSKA KICKS & SNARES (UK)|
| || DJ NAUGHTY: Firepower EP 12″ (MR 008EP) 11.50|
“Since the slew of 2008 EPs that had us raving more about the UK funky producer, Roska has gone from strength to strength, touring America, and releasing his debut album, Roska, on Rinse FM’s label. Now he releases an EP by fellow upstart DJ Naughty on his Roska Kicks & Snares label. DJ Naughty is the fresh young sensation hailing from North London, England. He is very popular within the UK music industry and it is said that he is responsible for introducing funky house to a much wider and younger audience. In 2007, DJ Naughty became one of the must-have DJs for any big event and was regularly featured at Garage Nation, Climax and Garage Fever. He is also a resident for Female Skanker and spent the summer of 2007 in Ayia Napa ‘tearing down the island’ as a raver.”
|ROTARY COCKTAIL (GERMANY)|
| || FURSTENBERG, MARKO: Remix Royal 12″ (RC 024EP) 12.00|
This is the remastered 2010 version of the Marko Fürstenberg tracks “Juni KK” and “Without You.” Inclusive remixes by Kollektiv Turmstrasse and Sven Weisemann.
| || BUTANE (FEAT. MIDNIGHT): Damned Lecherous Old Men 12″ (RRY 038EP) 12.00|
Butane is back on Rrygular and he’s not alone this time. He gets support from Midnight, who sweetens the deep Butane sound with her vocals. Minimal icon Bruno Pronsato takes the track to a level of timelessness that has no peer. And last but not least, Dapayk forms a techno tool par excellence from Midnight’s silky voice and Butane’s premium elements.
|RUSH HOUR (NETHERLANDS)|
| || WILHITE PRESENTS, RICK: Vibes New&Rare Music Part C 12″ (RH 111C-EP) 12.50|
This is the third release in Rick Wilhite’s Vibes New& Rare Music compilation, a get-together between Rick and Kyle Hall. Kyle hits it hard with “After Fall.” Have you ever tried head-banging to disco music? If not, now is the time. “The Godson” eases down a little and lifts the classic “Love & Happiness” a cappella to work it into a hypnotic groove. The third track sees Kyle and Rick teaming up, delivering a futuristic piece of jazz techno, 22nd-century shit.
| || MANDRE: 4 CD (RH RSSCD) 17.00|
After three albums on Motown, “the mystery man from outer space” Mandré released his fourth record in the Bay Area on his privately-run Future Groove label in 1980. The story goes that just after the album was shipped, most of the stock was accidentally destroyed in the warehouse. Only a few copies made it to the local stores, thus making this one of the most rare ’80s fusion/funk albums, ever. Most fans don’t even know that this album exists, and copies on eBay go for hundreds of dollars. This album contains some of Mandré’s finest work ever, like the playful “Isle De Joie” and the captivating “Magic Woman.” Far-out space-funk far freakier than Parliament and kinkier than Rick James.
| || SRC: Goin Out EP 12″ (RWINA 007EP) 11.50|
“Fresh from Birmingham comes young talent SRC delivering the Goin Out EP for the Rwina imprint. Stuffing old school 8-bit sensibilities and new school grime attitude into a blender and hitting puree, SRC slings sizzling synths and punchy basslines with devastating effect. From the casual g-funk of ‘Goin Out’ and ‘Sort of a Start’ to the skank-u-like shuffle of ‘Facepalm’ and the Danjah-esque ‘Where’s the Remote?’, this EP contains grime riddims that will fill every dancefloor with hypercolors, power-ups and neon-lights, like Pacman dueling with Mario in the dark. With all this in mind, SRC makes the case that he’s one to watch for the future, and with a work rate to match the hype, you can expect a lot more where this came from! DJ support comes from the distinguished likes of Starkey, Swindle, Elijah & Skilliam, Taz Buckfaster, Baobinga, Terror Danjah and many more.”
| || KANJI KINETIC: Zombiezz 12″ (SENSE 012EP) 11.00|
“Senseless have always believed that the spirit of rave never died, it’s everywhere, but now in 2010 we’ve discovered that spirit distilled into its purest form, let’s call it essence of rave. Kanji Kinetic makes it, a monstrous hybrid of electro, bassline, jungle and, yes, rave. It doesn’t just deny classification, it smashes it to pieces. These tracks look backwards but sound like the future, they’re cheeky but deadly serious, they’re rough and smooth, sharp and blunt, sweet and sour, bouncy, wonky, hyper and just a little bit insane. In short, the ultimate party music. The EP is a game of two halves, easing you in at 140 BPM with a wonky mixture of future-bassline and pitch bent synths (ToyGuns) then rolling into the monstrous Scientist. Reach-for-the-lazers rave stabs and scorching bass collide to make something seriously dangerous. We then take a quick diversion for a remix from Kaiser, a newcomer with releases coming on Starkey’s Slit Jockey, who twists ‘Toy Guns’ into a devastating mix of grime, 8bit bleeps and UK Funky syncopation, this is what it sounds like to be one of those ghosts being eaten by Pacman. Next up we turn up the pace for ‘New Era’, weighing in at 175 BPM, it’s the fastest thing we’ve ever released but its half time weight makes it feel like jungle chopped and screwed in the fifth dimension. Quite simply it has the biggest drop you will hear this year, possibly ever. Its jungle tempo but drop this in a dubstep set and watch the floor ignite. The title track, ‘Zombiezz’, also rocks 175 BPM on the half time but does it 4×4, cheeky cartoon samples and strings building to another seismic sub frequency workout. Finally ‘Zombiezz’ gets two remixes, Cracks turn in something pretty special, taking things back down to 140 and turn in a mix they’re calling ‘Horror House’, a visceral mixture of techno, grime and lots of bass. Then just for fun we asked legendary hardtek producer 9MM to see if he could make ‘Zombiezz’ a little harder, and he did.”
| || VA: Palenque Palenque: Champeta Criolla & Afro Roots in Colombia 3LP (SNDW 022LP) 23.50|
… 1975-91. Deluxe gatefold triple LP version featuring 2 bonus tracks not available on the CD. 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. Package includes extensive liner notes plus rare photos and cover art.
|SOUVENIR MUSIC (GERMANY)|
| || ONNO: Bombay Palace/Chants 12″ (SOUVENIR 027EP) 12.00|
Please welcome one of the most promising Dutch artists on Souvenir, ONNO. A one-way ticket to India awaits you with “Bombay Palace,” a must-have crowd-pleaser for the early sunshine of the day. Daniel Sanchez flies the original direct to Chicago — encompassing space-y and vocoded vocal sounds. “Chants” is driven by cosmic waves and stomping drums — a singular piece of electronically-modified funk, remixed by Santé.
| || VA: Various Artists Vol. 01 12″ (SWS 006EP) 12.00|
The 6th release on Soweso brings you 4 unique tracks. William Kouam Djoko shows us the future of tech-house. Markus Homm & Markus Schatz present “NYPD,” a subtle and smooth deep house trip that is ideal for an after-hour burner. Santos Resiak brings out an epic house track that will bring many dancefloors to the next level. Negru’s ode to old school funk is in a typical and dirty house style that is in familiar, Negru-style.
| || KLANGWART: Sommer CD (STAUB 099CD) 17.00|
Sommer assembles new as well as rarely-heard tracks from German electronic duo Markus Detmer and Timo Reuber (aka Reuber). The duo has recently become aware of two facts: a) that they have known each other for the past 18 years and b) that during 14 of those, they have been making music under the name of Klangwart. Looking back at all those years, they reckoned it was time to put together a retrospective from their extensive archive, including rarely-heard compilation tracks and remixes for other artists as well as hitherto unreleased studio recordings which were recorded at the Inkiek studio in Cologne in 2008 and 2009. They quickly decided that the motto of this compilation was to be “summer” — light, warmth and recreation, but also heat, sweat and adventure. Includes guest contributions from Philippe Petit, Christof Kugel, and Nufa.
|STHLMAUDIO RECORDINGS (SWITZERLAND)|
| || QUENUM: Nude B Runner EP 12″ (SA 025EP) 12.50|
Quenum, you guys! He’s back and back for good! “Nude B Runner,” the title track, comes in full effects, a stunning yet simple bass line-driven monster tune. Eternal groove and raw elements make this track a party monster, for sure. On the flip, the godfather of electronics, Ripperton, cooks his very own version of “Nude B Runner.” Once again proving, as if it was a necessity, his monstrously great talent at the remixing controls. 119 carats per minute.
|STIL VOR TALENT (GERMANY)|
| || CHANNEL X: X Files Part 1 12″ (SVT 046EP) 12.00|
This is the first of two vinyl releases of Channel X’s debut album X Files (SVT 045CD). This 12″ kicks off with the circus-infused, polka-minimal-tech track, “Freak Show.” “Strange Girl” showcases the tool-y, soulful vocal tech-house that Channel X have become renowned for. Lastly, they show how deep their house approach can go on the super-sweet male vocal track “Snug Descent.”
| || CHANNEL X: X Files Part 2 12″ (SVT 047EP) 12.00|
This is the second four-track vinyl release of Channel X’s debut album X Files. Producers André and Mirko start out with “Behind The Mirror,” a track that perfectly encapsulates the funkiness that they manage to inject into minimal techno. “Monday” is the ultimate Berlin minimal tech track, featuring Meggy. On the flip, you’ll find circus-infused polka tech-house: “Circus Bizarre” is full of strange effects, short vocal snippets and percussions while “Marvel” is a straight piece of grooving minimal house music.
|SUB ROSA (BELGIUM)|
| || MACLISE, ANGUS: The Cloud Doctrine 2CD (SR 182CD) 18.00|
2010 repress, originally released in 2003. Sub Rosa presents a real sensation: 159 minutes of minimal electronic music, readings, and soundtracks from the archives of composer, poet, occultist, calligrapher, and original Velvet Underground drummer Angus Maclise from 1963-1976, featuring Tony Conrad, John Cale, Piero Heliczer, Beverly Grant Conrad and Hetty Maclise. This deluxe 2CD set features rare music, performances, soundtracks, and spoken word by this seminal poet and musician who was active in the New York avant-garde of the ’60s. Included is a historical text by poet/photographer Gerard Malanga and many unpublished photographs.
| || KOES PLUS: Dheg Dheg Plas & Volume 2 CD (SF 058CD) 16.00|
Often referred to as “the Beatles of Indonesia,” Koes Plus are the most beloved pop group in the history of Indonesian music, yet they’ve been basically unknown to the rest of the world. Born in 1969 from the previously established roots of Koes Bersaudara, the group blazed a trail across the Indonesian popular music landscape of the 1970s, with a scope that reached from the archipelago out to Singapore and Malaysia. The band began as a psychedelic-era beat group and eventually streamlined their sound into a successful formula of hit-making success. Recording relentlessly during the 1970s (40 full-length albums plus countless compilations), the band delivered a solid and familiar pop style and simultaneously branched out with an astonishing onslaught of LPs catering to specific genres which set a precedent for other popular groups to follow in the ensuing years. More than three decades removed from the peak of their popularity in the late ’70s, most major Indonesian cities have their own Koes Plus fan clubs, local weekly radio shows dedicated to their music, and frequent tribute band shows. There are currently more than 60 Koes Plus tribute bands on the island of Java alone ranging in age from kids under 10 to those in their 60s. Koes Plus has become a national symbol of pride, an Indonesian legend larger than life; their music seamlessly crossing over from generation to generation. Reissued here for the first time, this CD contains the first two incredibly rare Koes Plus albums in their entirety: Dheg Dheg Plas (commonly referred to as Volume 1) from 1969 and Volume 2 from 1970. Dheg Dheg Plas features spectacular beat rockers such as “Kelelewar” (“The Bat”), “Awan Hitam” (“The Black Cloud”), “Hilang Tak Berkesan” (“Gone Without An Impression”) and the title track. It also includes the original versions of two of Koes Plus’ most brilliant and beloved ballads: “Manis Dan Sayang” (“Sweet And Dear”) and “Tjintamu Telah Berlalu” (“Your Love Has Passed”). Volume 2 has spectacular late-’60s moments: brilliant and highly resourceful use of electric organ, amazing vocals and the acoustic guitar as a primary rhythmic component in an otherwise electric psychedelic and pop environment. It also includes their heaviest freak-out track, “Pent Juri Hati” (“Heart Stealer”). Both records have been coveted by serious “in-the-know” collectors worldwide for decades and will surely appeal to all fans of the beat and psychedelic era of the late-1960s as a significant missing piece of the global pop music history puzzle. Tri-fold digipack CD with a 20-page booklet featuring rare & unseen photos provided by Koes Plus for this specific reissue project and extensive liner notes of the band’s amazing history by Alan Bishop.
| || VA: My Friend Rain DVD/CD (SF 059CD) 18.50|
My Friend Rain — A film by Robert Millis (color/38 minutes). Filmed throughout Southeast Asia by Robert Millis between 2002-2004, My Friend Rain is an abstract homage to the endless monsoon cycles of rebirth and destruction. Dreamy musical segments, fleeting glimpses, odd sounds, temple shrines, tropical backdrops, decay, death, languid afternoon rains, and mysterious celebratory events take the viewer from soaked mornings in the lowlands of the Irrawaddy Delta to humid nights on the streets of Isan province. Two tracks originally released on Millis’ Leaf Music, Drunks, Distant Drums CD from 2002 can now be witnessed for the first time in this film: an amazing elephant mahout playing a song on a leaf with his mouth and a Burmese marionette orchestra musician performing expertly on tuned drums. The overall experience is an impressionistic collage of sight and sound captured live and in the moment on location in Laos, Thailand, Cambodia and Myanmar. Along with the DVD which features 12 minutes of extra footage and deleted scenes, the package includes a bonus CD with the film’s soundtrack of traditional and popular music culled from live performance, cassette and LP archives. Some of the soundtrack highlights: a gorgeous Thai Luk Thung track by Waiphot Phetsuphan, a classic Khmer performance by Pan Ron, one of the Queens of Cambodian music, and an epic Burmese pop rendition of the Bee Gee’s “How Do You Mend A Broken Heart,” alongside folk performers, street musicians and a traditional Burmese orchestra. Robert Millis, original co-founder of both Climax Golden Twins and AFCGT, also co-produced the Victrola Favorites: Artifacts From Bygone Days (DTD 011CD) book/CD project on Dust-to-Digital and is a frequent contributor to the Sublime Frequencies label. DVD/CD comes in a 2-disc jewel box with a full-color insert. DVD is NTSC format, region free.
|SUNBEAM RECORDS (UK)|
| || OPEN MIND, THE: The Open Mind CD (SBRCW 5501CD) 18.00|
Sunbeam Masters is a new series of deluxe CDs celebrating some of the most enduring underground albums of the 1960s and 1970s. Manufactured to the highest standards, each is presented in a mini-LP gatefold sleeve, complete with a full-color booklet (including rare pictures and detailed background information) and archive bonus material. Each release is strictly limited to 1,000 individually-numbered copies. One of the best-loved British psychedelic albums of all time, The Open Mind is a hard-rocking collection that sold in minute numbers upon its original release on Philips in 1969. The four musicians from Putney, South London would later disband in 1973 to explore more jazz-influenced sounds, but their legacy is held with their now highly-anthologized, thundering drug-anthem “Magic Potion,” which did not originally appear on this record, but is now included as a bonus track. This self-titled LP has since become a highly sought-after collectible. Produced with the band’s full co-operation, this package features both sides of their two ultra-rare non-album 45s, making it the most comprehensive collection of their work ever assembled.
| || SECOND HAND: Reality CD (SBRCW 5502CD) 18.00|
Deluxe Sunbeam Masters edition, presented in a mini-LP gatefold sleeve, limited to 1,000 individually-numbered copies. An acknowledged landmark of progressive acid rock, this 1968 classic combines top-notch songwriting with vicious guitar, swathes of mellotron and dense arrangements, to unique and unsettling effect. Late-period UK psychedelia with weird strings, flute melodies, and other synthie orchestral moments. This official reissue includes comprehensive liner notes, rare photographs and two bonus tracks, making it a must-have for lovers of true British psychedelia.
| || PERHACS, LINDA: Parallelograms CD (SBRCW 5503CD) 18.00|
Deluxe Sunbeam Masters edition, presented in a mini-LP gatefold sleeve, limited to 1,000 individually-numbered copies. Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as “visual music.” First released in 1970, Parallelograms by California’s Linda Perhacs has gone on to become one of the most legendary and well-loved recordings of its time, assuredly sitting alongside Vashti Bunyan’s Just Another Diamond Day as a lost folk gem that should never have been cast aside. Summoning the shimmering sunlight of Topanga Canyon, and resonating with the same strength-in-fragility as Joni Mitchell, it’s presented here with the full collaboration of its enigmatic creator, and features her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take), making it the most definitive edition of this timeless classic ever released. Supersedes the now-deleted version on the Wild Places label.
|SUPPLEMENT FACTS (ISRAEL)|
| || GERBER, GUY: Hate/Love 12″ (SFR 021EP) 12.00|
Supplement Facts label boss Guy Gerber returns with his Hate/Love EP, featuring three tracks of equal beauty and brooding menace. “Hate/Love” (featuring Dawn) sounds like midnight in some deep jungle; the tropical percussion, laid-back melody and vocals sparsely punctuated by stabs of Ruggero Deodato-style horror synths. “Lost In You Like A Chinese Cookie” contains underlying tribal beats and a sweet melody. “The Stockholm Syndrome” features classic 909 drums mixing with a marauding bass, growing to a fantastic crescendo that satisfies.
|SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)|
| || VA: African Pearls 4: Senegal: The Teranga Spirit 2CD (SYLLART 6131572) 20.00|
2006 release. Syllart Productions releases the fourth volume in their African Pearls series of compilations — a stunning 2CD collection of music from Senegal circa 1960-1979. Highly inspired by the genius of poet, politician, and the first president of Senegal Léopol Sédar Senghor (1906-2001), who was also one of the main figures of the Négritude Movement, a literary and artistic expression of the Black Experience. In the ’60s, Senegalese music took the form of rumba and African-style salsa as played by bands such as Ibra Kassé’s Star Band, Papa Seck’s Negro Star, Orchestra Baobab, etc. In the mid-’70s, Senegalese musicians became aware that it was necessary to give credence to the traditional rhythmical structures and instruments of their homeland, thanks to groups like Star Band, Super Diameno, and Ouza Diallo, and in the ’80s, Senegalese music gained worldwide exposure thanks to artists such as Ismael Lo, Youssou N’dour, Omar Pene, and Toure Kunda — but that is a different story. This collection features music spanning nearly 2 decades, including Mandinka Afro-jazz Ifang Bondi, modern mbalaxers Ouza, and jazz-spiritual singer Aminata Fall. Includes a 24-page booklet with full-color photos and liner notes in English and French.
| || VA: African Pearls: Congo 70: Rumba Rock 2CD (SYLLART 6139342) 20.00|
2008 release. Syllart Productions releases another Congo edition of their African Pearls series of compilations — a stunning 2CD collection of ’70s Congolese rumba rock. In the late 1940s, the influences of jazz, European and Cuban music met on opposite banks of the Congo River to form a new style of music — rumba. In Leopoldville (later to become Kinshasa) and Brazzaville, rumba was to rule until the late 1950s. In terms of pure dance, no one could beat the Congolese orchestras and their audiences. Backed by a budding record industry, the first of its kind to emerge on the continent outside of South Africa, and loyal audiences, a whole new music scene was created. The birth of modern Congolese music was aided by several factors, including the introduction of electricity, better recording facilities, and the importation of records. These influences coalesced with independence in 1960 to trigger a whole new era, with people dancing to the tune of “Independence Cha Cha Cha,” African Jazz’s ode to the new era. Heard in the streets, bars and clubs of Leopoldville and Brazzaville, this new style of music embodied a genuine Congolese cultural identity, be it of Brazzaville Congo or the ex-Belgian Congo. In the 1970s, Congolese musicians, bandleaders and singers began to break free from the influence of Cuban music. The Congolese sound became pure rumba rock, and its powerful rhythm and ringing guitars influenced many other orchestras on the African continent. This was an era of epic competition between the pioneering orchestras of African Jazz, OK Jazz, Rochereau, Verckys and Dr. Nico. It led to a surge of creativity, aided by the frequent interactions between the musicians of the different groups. Produced by Ibrahima Sylla. Includes a 24-page booklet with full-color photos and liner notes in English and French by Florent Mazzoleni.
| || VA: African Pearls: Guinée 70: The Discotheque Years 2CD (SYLLART 6140252) 20.00|
2008 release. Syllart presents a 2CD collection in their mighty African Pearls series dedicated to the funky sounds of ’70s Guinea, when ’70s groove turned electric and took West African coast clubs by storm. By the late 1960s to the mid-1970s, Guinea’s music came to the forefront of a global Pan-African culture, even being called “The lighthouse of African culture.” Genuine mandingo musical explosion, the sound of 1970s Guinea, with its stunning horns, spellbinding vocals, mesmerizing guitars and formidable rhythms has yet to be duplicated in Africa or anywhere else in the world. Includes a full color 20-page booklet in French and English by Florent Mazzoleni. Artists include: 22 Band Kankan, Horoya Band National, Kaloum Star, Pivi et Les Balladins, Super Boiro Band, Bembeya Jazz National, Keletigui et ses Tambourinis, Camayenne Sofa, Tele Jazz de Teleme, Sory Kandia Kouyate, Sorsornet Rythme, Babaniko, “22 Novembre” Band, Syli Authentic, and Bafing Jazz Manou.
| || TECHNASIA: Central 2×12″ (TA 015LP) 20.00|
2×12″ version. Central is the first new Technasia album in five years, and sure to be one of the musical highlights of 2010. Central is the locus where Charles 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. This limited edition double-vinyl pack also contains a free download voucher for the full album tracklisting.
| || CRISSY CRISS: Blow Your Head Off/Humans 12″ (TERR 006EP) 11.00|
“Terrorythm Recordings is owned and run by Plastician, one of the grime scene’s most influential artists. It’s been very quiet on their front lately, but their back with a bang with a brand new release from Crissy Criss. Hard hitting and grimey dubstep is the order of the day, suffice to say this is gunna fly out!”
| || MANIAC: Thug/Wreckage 12″ (TERR 007EP) 11.00|
“One of the Plastician’s killer dubplates for over a year and now finally released. Maniac has the potential to appeal to the dubstep and grime heads as his productions are dancefloor friendly. Fans of Joker need to check this! Terrorhythm Recordings is owned and run by Plastician, one of the grime scene’s most influential artists.”
|THE WIRE (UK)|
| || WIRE, THE: #317 July 2010 MAG (WIRE 317) 8.50|
“On the cover of this month’s magazine: The Bug (The six degrees of Kevin Martin). Features: DJ Nate (Chicago’s fancy footwork king explains the Juke House philosophy to Andrew Nosnitsky); Michael Pisaro (Philip Clark enjoys the silence and talks Motown with the Californian composer and field recordist); Global Ear: Valledupar (Gabriel Stargardter uncovers a hybrid folk culture in Colombia’s secret valleys); Cross Platform: Konx-Om-Pax (Joe Muggs turns his imagination up to maximum with Glaswegian digital artist, sleeve designer and filmmaker Tom Scholefield); Invisible Jukebox: Oneohtrix Point Never (Boston’s cosmic synth explorer is locked into the escape pod with The Wire’s mystery record selection); Brotherhood of the Bomb (On the eve of a new exhibition, David Toop traces the link connecting a host of London’s swinging ’60s radicals, from John Latham to Syd Barrett); Chrome Hoof (The UK prog arkestra fuses prog, metal, electro, disco and glammed-up theatrics in a bonecrushing multimedia melée); Poland’s hidden reverse (Biba Kopf touches down in Warsaw to begin a tour of Poland’s thriving experimental music underground, from sonorists to trans-idiomatic improv); Epiphanies (Alex Neilson on Frank Sinatra’s Only The Lonely).”
| || HENNING & DEN, MARK: La Galaxia Llorona 12″ (TRAPEZ LTD090) 12.00|
Mark Henning & Den’s 4-track EP features the tracks “La Galaxia Llorona” and “Close Encounters Of The Deep Kind” plus two remixes, one by Ed Davenport and another by Sebastian Russell. This EP is a hell of a techno EP — the revenge of Detroit techno. “La Galaxia Llorona” is a pulsating, emotional techno track, and Ed Davenport has made a bass line-driven DJ tool out of it. Sebastian Russell keeps his remix on the house-y side of things, with a velvety, deep kick.
| || MILLS, JEFF: Waveform Transmission Vol. 1 2LP (TRESOR 10011LP) 23.50|
2LP version. 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: The Extremist EP 12″ (TRESOR 10023EP) 12.00|
This 12″ contains the original and three remixes of “The Extremist” taken from Waveform Transmission Vol. 3 (TRESOR 10076CD/LP) by Jeff Mills. The “Retro Mix,” “DNA Mix” and “Fusion Mix” are only available in this format.
| || VOGEL, CRISTIAN: (Don’t) Take More 12″ (TRESOR 10065EP) 12.00|
Jamie Lidell turns Cristian Vogel’s vocals on “(Don’t) Take More” into an unforgettable dancefloor smash. Si Begg, one of the most wanted UK producers seems to stay close to Vogel’s original at the start, but only surprises with a friendly, dark and quirky mix in the end. This is Si Begg at his best.
| || MILLS, JEFF: Waveform Transmission Vol. 3 CD (TRESOR 10076CD) 12.50|
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.
| || BELTRAM, JOEY: Ball Park 12″ (TRESOR 10090EP) 12.00|
The release of Joey Beltram’s Places album in 1995 smashed the genre and outdated all subsequent attempts to top it, and it remains to this day the blueprint of a classic. The hang-tough street endurance of “Ball Park” first appeared on Tresor 05, but was reissued upon huge demand from fans who knew where Joey Beltram’s best work was appearing. Remixes by Steve Bicknell and DJ Rush.
| || BELTRAM, JOEY: Game Form/Instant 12″ (TRESOR 10108EP) 12.00|
Joey Beltram’s “Game Form” is remixed by Robert Armani and comes with Paul Johnson’s version of “Instant” and the two original versions. Both tracks were originally released in 1995, but they were only available for a limited time.
| || BELL, DANIEL: Globus Mix Vol. 4: The Button Down Mind Of Daniel Bell CD (TRESOR 10142CD) 12.50|
Tresor represses a classic mix by American minimal techno artist/DJ Daniel Bell, originally released in 2000. An excellent blend of the Daniel Bell and DBX flavors, capturing the deep textures of Bell’s own club sets. Voted #2 in the Resident Advisor Poll “Top 50 Mixes of the 00s,” Button Down is a study in how to build a set slowly and carefully to a gentle climax without sacrificing any of the personality of the mixer. Classic tracks from artists such as: Mr. James Barth & A.D., Farben, LoSoul, Daniel Bell, Paul Hester, Herbert, The Tellurians, Problem Kids, Steve Edwards, Hollway & Eastwick, Thomas Brinkmann, Die Sterne, Ultymate, Jacquee Bennett, Mono, Nick Holder, Ricardo Villalobos, Round Four, and Anthony “Shake” Shakir.
| || ATKINS, JUAN: 20 Years 1985-2005 2CD (TRESOR 10216CD) 15.50|
New 2010 edition, originally released in 2005. Tresor Records represses 23 tracks which celebrate 20 years of Juan Atkins’ historic label Metroplex. This collection also represents the most extensive retrospective yet of techno music’s most famous innovator. Mr. Atkins personally selected all the tracks on this 2CD pack. Although this collection contains a few pre-Metroplex tracks from his early Cybotron project, the bulk of his important works were crafted in the framework of the Metroplex label, which he founded in 1985. Juan Atkins recorded under several aliases on the Tresor label throughout its history, including his noteworthy Infiniti releases. Featured here are ground-breaking early works such as “Clear,” “No UFO’s,” (Model 500) “The Chase,” “The Passage” and “Off To Battle” — electronic compositions that will always be counted as foundation blocks for a music/culture style that endures to the present day and on. Somewhere between Kraftwerk, Funkadelic and Depeche Mode, Juan Atkins delivered a new sound that changed the face of electronic music forever. With this release, Tresor salutes the career of techno music’s most worthy benefactor. Also features 3MB, Channel One, and Visions.
| || OKAIN: Sleepwalking EP 12″ (TSUBA 042EP) 12.00|
“In four short years Tsuba has become one of the UK’s most respected underground house labels with releases from some of the world’s most desirable producers. One of the key artists in the Tsuba family is Samuel Thalmann aka Okain. Okain has had an impressive few years releasing for Tsuba, Quartz and Jetaime and whilst not in the studio has kept up an intense touring schedule taking in dates at some of the world’s leading clubs. His latest release kicks off with title track ‘Sleepwalking’, a superb slice of bumpin groove laden house with subtle vocal hooks and a spacey hypnotic vibe. Next up is ‘Scream’, a track which once again journey’s into the realms of rock solid house, featuring a rollin bassline, loose jackin percussion and refined melodic elements. Closing track ‘Grimmy’ rounds off an EP that is certain to keep dancefloors moving in the months to come and a perfect example of Okain’s production talents.”
| || NORTH SEA, THE: Bloodlines LP (TYPE 065LP) 18.00|
LP version. Brad Rose is an artist who is notoriously hard to pigeonhole. He might spend his days running the esteemed Digitalis imprint (sidelining the wonderful Foxy Digitalis webzine) but his nights are wiled away chiseling at the petrified corpse of experimental music. Donating sounds to Ajilvsga, Altar Eagle, Sea Zombies and Ossining (among many, many others), he has somehow found time to fashion a new solo work for Type, and it could hardly be further removed from his last outing. Bloodlines is an album rooted in synthesis — the kind of busted power electronics that emerged in the early 80s with Ramleh, Throbbing Gristle and Whitehouse. This is not, however, simply a noise album — Brad has anchored his sound in this explorative mode, but uses his expertise to take it far beyond murk, grit and fractured teeth. With the help of Zelienople drummer Mike Weis (who accompanies the entire record on percussion) the record is a gloriously spacious excursion, with the fizzing Radiophonic blips, drones and tones set against gongs, scrapes and clanks. The sounds are dark and often punishing — torturous and occasionally frightening, but Brad somehow manages to offset it with an occasional flourish of beauty or calm. The record is cut into two distinct acts (split lovingly for vinyl listening) and each “song” blends into the next, giving a true album experience. Bloodlines is not a simple collection of pieces, but a distinct narrative from beginning to end. As it tumbles from ’50s sci-fi synth tones into haunting off-world terror, there is a sense of purpose and most of all, place. Brad has created a record that might not be an easy listening experience, but is one which grows on every successive play. It is truly deep and intensely troubling music.
|UPSET THE RHYTHM (UK)|
| || BIRD NAMES: Bird Names Sings The Browns LP (UTR 029LP) 16.00|
“Alone to themselves, Bird Names has been singing a strange sweet song for four years. The song tells about the horror and wonder of truth in an acid-scrambled brogue pieced together from old pop and country music. In their singing they celebrate the honesty of the grotesque, the spirituality of ambiguity, the joy of singing. With Bird Names Sings the Browns, the group’s fifth album (following a 10″ EP and April 2008’s Open Relationship), Bird Names has made a statement of their artistic resolve and capacity. It is a moody pop album scribbled in loose, intuitive musicianship, kissed with love and friendship, built by the power of radical unconscious play. The band produced the album themselves (as they have most Bird Names albums), engaging their 1/2″ tape studio with the amateur’s imagination, inspiration and crudity. Sings the Browns is folk in its frankness, privacy, melancholy; psychedelic in its conjuring the displacement of drug experience; pop in its melody, stickiness, demand of obsessive listening.”
| || FOOT VILLAGE: Anti-Magic LP (UTR 032LP) 17.00|
“After a recent collection of singles, EP tracks and remixes on Gilgongo, Foot Village return with their new record proper called Anti-Magic. Describing Anti-Magic as a collection of drum essays embracing the physical and rejecting the imaginary, Foot Village rise to a concept. First album World Fantasy was concerned with songs about other countries, whilst follow-up Friendship Nation documented the founding of Foot Village as a nation in its own right. With this new album the story of the nation’s first war is discussed. A war in opposition to magic and spirituality. A record about resistance to the heathen hordes of sorcerers, prophets and pretenders. This is not a story that Foot Village are telling to make them look like saviors, though. It’s a warning to not believe everything you’re told. Contrary to a first listen to the band’s run riot sound, Foot Village are decidedly anti-jam. Very few parts of the record are improvised and their songs are heavily worked on and involved. This can be appreciated on this new album more than ever. ‘Crybaby’ starts apprehensively with a cowbell and cymbal rattle, until the rim shots and vocals pour in, making way for the military march gone carnival signature beat to stamp its presence on the song.” Gatefold sleeve, nudity.
| || TRASH KIT: Trash Kit CD (UTR 036CD) 16.00|
“Trash Kit are a gang of facepainted flag-bearers who have a wild feel for melody and a heartfelt kick inside each song. Mixing chaos, considered songcraft and overlapping harmonies in equal measure the female trio sound as joyful as they are focused. Rachel Aggs, Rachel Horwood and Ros Murray formed the band in early 2009, and since then have been lighting up London, energizing the UK underground with their raw performances and promise. Trash Kit have a sound of their very own, it’s both urbane and primal, drawing on the potential of punk and the naturalism of an internal folk music. With their self-titled debut album they have successfully captured their narrative enthusiasm without losing any charm.”
| || TRASH KIT: Trash Kit LP (UTR 036LP) 16.00|
LP version on lime green vinyl, housed in a heavyweight PVC sleeve.
| || MCGUIRE, MARK: Tidings/Amethyst Waves CD (WEIRD 051CD) 12.00|
“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.”
|WNCL RECORDINGS (UK)|
| || WEST NORWOOD CASSETTE LIBRARY: What It Is 10″ (WNCL 001EP) 13.00|
“West Norwood Cassette Libarary, aka Bob Bhamra, one half of Data 70, presents his debut release on WNCL Recordings. What It Is hangs techno stabs, sub-bass, old scool bleeps and a shuffling break around a dubstep tempo. Brackles on remix duties, stylishly takes essential elements of the original and shifts the tempo to provide another one of his genre-bending productions — a psychedelic space jam that’s broken enough for any dancefloor. Support from Ben UFO, Headhunter, Kid Kameleon, 2562, Martin Kemp, Pangea, Shortstuff, Untold, Boomnoise, and Mary Anne Hobbs.”
|YEAR ZERO (UK)|
| || SOUND IRATION: Sound Iration In Dub 2CD (YZDD 003CD) 18.00|
Released in 1989, Sound Iration In Dub spear-headed a new age in homegrown British reggae, continuing a mission started by Nick Manasseh and Scruff” which pioneered what became “UK steppers.” They were among the first producers to pioneer what’s now known as ’80s digi-dub, which has become so sought-after by today’s dubstep producers. Swapping drum machines and synths for real instruments, they created an awesome sound. This is exemplified on this important debut release. First in a series of reissues drawn from both WAU!’s roots reggae and house archives, the original album presents eight beautiful excursions into deepest roots in embroidered skeleton dub form, which has lost none of its magic. Tracks like “New Style” turned the London take on pure reggae rhythm into a different kind of art form with the new technology coming in, but the album is also a reminder of reggae before it lost much of its richness and spiritual current through digitalization. The second CD will be of particular interest, featuring seven tracks originally intended for the follow-up, plus demos and one-off dub plates including the much sought-after “7th Seal” and unreleased mixes. With reggae still progressing and often in danger of ignoring its spiritual heritage, new generations still continue to discover the unique, timeless quality of roots music. The reissue of this long-feted but much sought-after milestone is timely indeed. With the previously-unreleased material, it stands as a vital document of a crucial time in the music’s evolution. Extensive sleeve notes written by Kris Needs.
| || VA: Bustin’ Out 1982 – New Wave To New Beat Volume 2 CD (YZL 004CD) 15.50|
Bustin’ Out 1982: New Wave To New Beat Volume 2 is the second installment in veteran DJ Mike Maguire’s fascinating new mission aimed at charting the groundbreaking developments in electronic-based music through the ’80s. The set kicks off in Germany with Düsseldorf’s proto-industrial electronic body music exponents, Die Krupps and the 6-minute 12″ version of “Goldfinger,” their irreverent take on electronically-cultivated pop music. Klein & MBO’s unadulterated dancefloor classic “Dirty Talk” marked the blueprint for the oncoming house revolution. The importance of the trio of New York acts contained in this collection is inestimable. South Bronx sisters ESG, who opened Manchester’s Hacienda, remained above pigeonholing, influencing everything from hip-hop to house. The second monolithic Big Apple outing is “Hip Hop Be Bop” by Man Parrish, whose ingenious welding of Kraftwerk robo-sonics and European synth-pop sounds were a crossover club sensation. Thirdly is “Planet Rock” by Afrika Bambaataa and Soul Sonic Force, who crafted the first hip-hop record to use a drum machine, setting the electronic rhythm beast loose in hip-hop, paving the way for electro and bringing a unifying house music sensibility to the party. Gary Numan is represented by “Music For Chameleons,” displaying a more mature, haunted city style than earlier outings. Ex-Throbbing Gristle duo Chris & Cosey are present here, with the popping proto-electro of “Impulse,” as well as Belgium’s new-beat pioneers Front 242 whose “U-Men” is possibly the rarest item on display here. Meanwhile Mark Stewart, who by 1982 had left Bristol social agitators The Pop Group, released the Jerusalem EP which featured the bleak alien dub-funk of “Welcome To Liberty City,” a suitably unsettling backdrop for his wired urban reportage. This is neatly followed by Dub Syndicate’s “Pounding System.” A more avant-jazz flavored other-worldliness, even foreshadowing dubstep, continues with Benjamin Lew and Steve Brown, and Shriekback are represented here with their rousing funk chant of “My Spine Is My Bassline,” as well as Colourbox with their 4AD debut “Breakdown.” Another serious master-stroke is the inclusion of South London’s infamous Portion Control, whose fearsome brand of “electro punk” is represented by “Fiends.” The set ends with the hugely-influential but obscure Pylon, from Athens, Georgia. “Four Minutes” was the B-side of the 12″ version of their Beep single, heaving through a crashing, alien dronescape, making a suitably unorthodox finale for this rather fine summation of a year when blips on the musical radar often assumed depth charge proportions. Extensive sleeve notes written by Kris Needs in a full-color 24-page booklet. Artwork by Mike Coles (Malicious Damage). Housed in special (carbon neutral) 3-panel digi-packaging.
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