|FORCED EXPOSURE MAILORDER UPDATE|
NEW RELEASES FOR THE WEEK OF 05/10/2010
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| || KINKS, THE: You Really Got Me: The Story Of The Kinks DVD (ABCVP 130DVD) 18.00|
“Of all the ‘British Invasion’ bands that broke through commercially in America, The Kinks stood head and shoulders above all others as being quintessentially English. This DVD contains some of the Kinks finest moments and is full of rarely seen performances from the sixties through the nineties with comments from band members including Ray Davies, Dave Davies and Mick Avory. Some of the performances featured here include ‘You really Got Me,’ ”Til The End Of The Day,’ ‘Waterloo Sunset,’ ‘Days,’ ‘Celluloid Heroes’ and many more including the Dave Davies hit single ‘Death Of A Clown.’ Footage comes from live concerts and television performances and will merely reinforce what many people already know…the Kinks were one of the most important and most loved bands of the last forty plus years.” NTSC all-region format; 4:3 aspect ratio; run time: 89 minutes.
|BANG GANG 12 INCHES (AUSTRALIA)|
| || FLIGHT FACILITIES: Crave You Feat. Giselle 12″ (BANG 032EP) 12.00|
“Here it is. You’ve seen it on Aeroplane’s chart mix, heard it on the dancefloor, eaten pizza to it at Hugo’s Lounge, listened to your mum humming the lyrics and now finally, Flight Facilities’ debut release, Crave You is out. Following on from remixes for the likes of Bag Raiders (with guest vocals by lounge legend Louis Austen), The Lowbrows, Sneaky Sound System and Toecutter, the Sydney-based duo finally locked themselves down in the studio, enlisted the superamazing vocal talents of Giselle and pumped out this end of summer anthem. The release features the guys’ own 2 versions — the original, a more chilled affair and a club retake and remixes Cassian, Graz, James Curd, C90s, An-2 and Ted & Francis.”
|BE AS ONE (ISRAEL)|
| || NYRA: Feeling Rhythm EP 12″ (BAO 023EP) 12.00|
Debuting on Be As One is a talent hailing from the UK, Nyra, landing 2 slices of phat-sounding house music. “Lindan’s Groove” is a tune built around a basic rhythm and chopped vox, but with a phat bass line that blasts the floor. On the B-side, Nyra has a different approach, with a driving, tech-house groove, topped with another vocal snippet and a funky rhythm — a great tool for any DJ set.
|BEDROOM COMMUNITY (ICELAND)|
| || MUHLY, NICO: Speaks Volumes CD (HVALUR 001CD) 12.50|
2007 release; new midline pricing. The first release on the Bedroom Community label features seven exquisite works of chamber music for small ensembles with electronics. This debut album by composer Nico Muhly was created with producer Valgeir Sigurðsson (Björk, Bonnie “Prince” Billy) in Reykjavik, Iceland and in New York, Muhly’s hometown. Since having graduated from the Juilliard School for composition in 2004, 25 year-old Muhly has been causing significant ripples in modern music circles with a variety of projects. He has collaborated closely with artists as diverse as Antony (from Antony and the Johnsons who guests on Speaks Volumes) and Philip Glass, with whom he’s had a long-standing relationship working on numerous stage works & film scores. Muhly played on Björk’s album Medúlla where he met Sigurðsson and the idea of working together on an album was soon discussed. He then worked with Björk on the score for conceptual artist Matthew Barney’s Drawing Restraint 9 film. In 2004, his small ensemble work “By All Means” was played at the Royal Academy of Music, London and his evensong canticles were sung at Clare and Girton colleges, Cambridge which were broadcast live on BBC Radio 3 in 2005. Speaks Volumes doesn’t sound like most classical records. It is not an idealized version of live musical performance or a substitute for the authentic live experience. It is not intended to conform to the nineteenth-century experience of classical music. Speaks Volumes was approached from a different direction. Sigurðsson’s recording and production doesn’t sit back and let the music sweep the listener away emotionally; it leans forward in exacting scrutiny and urges the listener to pay attention. Several of the track titles on the album such as “It Goes Without Saying,” “Keep in Touch,” “Honest Music” and “Clear Music” describe an attempt to communicate. For instance, “Clear Music” could describe the transparency of the piece’s musical texture, but it could also refer to the insistency with which its musical ideas are put forward. It attempts to “make itself clear.” The flattest surface, the merest gesture, even the deepest silence Speaks Volumes.
| || FROST, BEN: Theory Of Machines CD (HVALUR 002CD) 12.50|
2007 release; new midline pricing. This is Reykjavik-based composer/producer Ben Frost’s first release for the Icelandic Bedroom Community label. From the ominous darkness and intensity of its opening moments, one might expect a death metal album to break out in an instant, but Theory Of Machines is an album whose design is as symphonic as it is confrontational — the tempo doesn’t pick up, no hooks or vocals arrive, and when the drums finally kick in, they’re as fragmented and corroded as they could possibly be and still resemble a groove. On Theory Of Machines, Ben Frost exploits every extreme of pitch, volume and timbre, the changes in this music sometimes seem as gradual as changes in the weather — and sometimes as violent. As the music changes it changes only in texture, color and intensity so that the sense is not of something being created, altered or even developed, but of something already present being slowly illuminated. At 26, he has already released such critically-lauded works as 2003’s guitar exploration LP, Steel Wound on the Room40 Label, which Pitchfork Media marked as “…an exemplary ambient experience,” and the harrowing, self-titled 2005 opus School of Emotional Engineering, which Db Magazine called “…an atmospheric masterpiece.”
| || SIGURDSSON, VALGEIR: Ekvílibríum CD (HVALUR 003CD) 12.50|
2007 release; new midline pricing. Valgeir Sigurðsson is a renowned Icelandic producer and engineer as well as the head of the Bedroom Community label, and this is his first solo record. Sigurðsson’s sound, his distinctive artistic voice, has been filtering through the cracks of “mainstream” music for years: he has had a significant hand in Björk’s seminal Vespertine and Medulla albums, the hushed confessions of Bonnie “Prince” Billy’s The Letting Go and the cacophonous nursery rhymes of Cocorosie’s Adventures of Ghosthorse and Stillborn. The sense of craft, intensity of focus and attention to details in Sigurðsson’s work behind the controls is evident on this debut and in the works of those artists Sigurðsson represents on his label. Ekvílibríum includes vocal performances from Bonnie “Prince” Billy, who helps craft one of the highlights of the album, “Kin,” where rivers of strings flow around playful music boxes and prepared piano, as well as contributions from Faun Fables’ Dawn McCarthy and J. Walker aka Machine Translations. It’s an album that blends genres so effortlessly and gracefully that the word “genre” itself becomes obsolete, mixing all the vital elements like a bricklayer mixes concrete. Despite the solidity of Sigurðsson’s ideas, there is also a fluidity between the tracks, and even within them. The theme of water trickles through the album, with direct references in titles such as “Evolution of Waters” to the general aesthetic feel of the album; from the dripping percussion of “Equilibrium Is Restored” to the tidal waves of strings engulfing the listener on the effervescent “Before Nine.” With Ekvílibríum, Valgeir Sigurðsson has shown that he is equally as talented as a crafter of songs and instigator of a cascade of emotions. Fans of everything from Björk to Brian Eno to Telefon Tel Aviv will find themselves falling in love with the album’s lucidity, its beauty and its emotional impact. Having worked on many era-defining releases of the past, Sigurðsson has now created one of his own.
| || AMIDON, SAM: All Is Well CD (HVALUR 004CD) 12.50|
2008 release; new midline pricing. Valgeir Sigurðsson’s Bedroom Community label welcomes the second release from U.S. newcomer, Sam Amidon. At Sigurðsson’s state-of-the-art Greenhouse Studios, Sam was left to concentrate on his intuitive interpretations of age-old folk-songs, a skill on which he proves himself to be a unique talent, drawing simultaneously on his experiences growing up a child of folk musicians in Vermont, and his more recent work in New York with the experimental indie-rock bands Doveman and Stars Like Fleas. From the opening notes of the first track, “Sugar Baby,” it’s as clear that All Is Well is a different album from his previous offerings, and by the album centerpiece, the wistfully poignant “Saro,” it’s obvious that this album is very special, indeed. With horns erupting and dissipating around the listener, Amidon’s trademark delivery is perfectly offset by the tenderly plucked notes of his six-string. Nico Muhly’s orchestration is not the only addition to Amidon’s barrel of sounds. A dizzying amalgam of trombone, Eyvind Kang’s ghostly viola, and processed percussion convert a children’s singing game from the Georgia Sea Islands into the ominous ambiguity of “Little Johnny Brown.” The distinctive bass of Ben Frost is evident on the pensive “Fall on My Knees,” while subtle layers of electronics add an intrinsically modern aspect to the proceedings. Couple this with Sigurðsson’s production wizardry and you’ll realize that despite links to the Appalachian folk music of the past, All Is Well is an album that could only exist in the present. One of the unquestionable triumphs of All Is Well is its diversity. From introspective ballads of jealousy such as “Wild Bill Jones” to upbeat barn-dancing ditties such as “Little Satchel,” the structure of the album is paramount in making everything work so naturally. Sam leaves the listener with a feeling of resolution parallel to that of a keen reader thumbing the last page of a favorite novel. He sings of death’s spindly fingers finding him, a prospect he handles with no trepidation — for he has Muhly’s flourishing string arrangements to give him courage and form a stable bed for his tender lyricisms. In the length of an album, Amidon has struggled through gunfights, paternal tensions, religious guilt and the lonely life of a nomad, but he leaves us with the message that “all is well”; a defining statement that is bound to warm the hearts of even the coldest gun-slinger.
|BO WEAVIL RECORDINGS (UK)|
| || JOYNES & THE RESTLESS DEAD, CWK: 8 Selections And Premonitions From The Tower, Vol. I 7″ (BO 001EP) 9.50|
Joint release with Great Pop Supplement, in an on-going series of five 7″s by C Joynes, and collaborators. All limited to 350 copies, with die-cut sleeves and pressed on colored vinyl. The first in the series features Joynes’ solo guitar together with a series of contributors and collaborators, including the avant-garde harpist Rhodri Davies, sound artists Babygrand, who work to create intimate pieces using household objects and field recordings, and saxophonist/flautist Glen Hall, a composer, arranger and multi-instrumentalist.
| || REINES D’ANGLETERRE: Les Comores LP (SIDRA 003LP) 23.50|
LP release. Reines D’Angleterre (trans. “Queens Of England”) is a band made up of French avant-garde legend Ghédalia Tazartès and a couple of hyperactive young Parisian upstarts, Jo Tanz and él-g. Both of these characters are steeped in subversive operations covering psych-folk and “toon-psych” films (él-g), and the Tanzprocesz label (Jo Tanz). They also both perform under the moniker of Opéra Mort and have made work as Lö Jengi. Reines D’Angleterre are a damaged conglomeration of live concrète, sound poetry, faux ethnicity and sincere eccentricity. Les Comores (a reference to the island off the eastern coast of Africa which France still administers as an “overseas collectivity”) is comprised of inexplicable ethnic residue and feasts on duality: chaos and order, narrative and anti-narrative, construction and destruction, comedy and dread. The glottal panoply of vocals ride in tandem with electronics: cracked, beaten, weathered and bruised. This is a brain-meltingly dark, gloriously unstable affair, but not one devoid of emotion. Edition of 400 hand-numbered LPs, housed in a heavyweight matte black embossed sleeve with insert.
| || TALIBAM! WITH ALAN WILKINSON: Dem Ol’ Apple Pie Melodies LP (SIDRA 004LP) 23.50|
LP release. Determined to continue collaborating with revolutionary blitzkrieg musicians in perpetuity, Brooklyn’s Talibam! (Matt Mottel and Kevin Shea) were set up on a blind date with Alan Wilkinson by Bo’ Weavil Recordings for a London basement show in May 2008. Like a late ’60’s Sadean love-in ripe with Joycean epiphanies, Talibam! heard in Wilkinson’s tone the strength and grit of a fine British pint served cool and fresh… a perfect energy to swing-bounce their roly-poly hieroglyphic dance mayhem. A second gig happened in fall 2008, followed by this recording in winter 2009. If Talibam! and Wilkinson were a rugby team, they’d be in first place, trouncing competitors with more riff-hard tenacity and more powerful/declarative end-zone dances. Balancing contradictory cultural fragments into a psychedelic yin and yang power drive of glitch emission, sprezzatura horns, Zarathrusta organ drone launch, and sayanora-rama drum spills, Wilkinson, Mottel, and Shea turn animatronic nihilists into veritable musicological sexphorisms — they cut the tension on the dancefloor like that abrupt liminal point between peace and footsie, between donuts and bagels, between lizards and turtles. These three dangerously handsome myriad-men from the future have materialized mixed signals into sharp-fanged foreign accents on this red-eye voyage to vinyl metropoly, a 2-sided ecosystem of Gatsby-killer morph-prov entitled Dem Ol’ Apple Pie Melodies. Limited edition of 350 hand-numbered copies. Lavish heavyweight matte sleeve with insert, designed by Damien Beaton.
| || KRAUS/MEG BAIRD/HELENA ESPVALL, SHARRON: Leaves From Off The Tree CD (WEAVIL 016CD) 15.50|
New repress of a previously sold-out 2006 release. Bo’ Weavil releases Leaves From Off The Tree: a three-way project of Sharron Kraus, Meg Baird (Espers) & Helena Espvall (Espers). This is a beautiful recording of traditional folk material, with the most stunning singing and arrangements of some of England and Appalachia’s finest songs. The songs on this record were recorded after many an evening swapping songs (and beers!) in Fishtown, Philadelphia, where Sharron had moved from her native England, and Meg and Helena were already installed. Meg and Sharron both had traditional music backgrounds and would meet up and teach each other Appalachian and English ballads, and improvise harmonies and alternate melodies. At some point, Helena was invited along and her voice and cello added a rich new layer. All nine songs were recorded live in one afternoon, so as to capture the relaxed atmosphere of the group’s gatherings.
|BPITCH CONTROL (GERMANY)|
| || CHAIM: Love Rehab 12″ (BPC 212EP) 12.00|
Tel Aviv’s Chaim presents Love Rehab. The title track features tricky percussion and multi-layered atmospherics with a funk-injected organ riff. Its casually-extended song structure and vaguely lascivious vocals from Meital De Razon take you on a nocturnal journey. “New Years Eve” gets down to business with funky percussion and slap-bass samples, while the strings and brass could have been lifted straight out of a ’70s blaxploitation movie. “Locations” showcases some spooky vocal effects, accompanied by a looped mantra and nursery rhyme.
|BURLESQUE MUSIQUE (GERMANY)|
| || BUDZILLUS/SHEMIAN: Taksi Taksi 12″ (BUR 002EP) 12.00|
Burlesque Musique invites the band Budzillus to contribute a stomping Balkan beat song which the label heads put into a garment of luscious tech house. Every instrument is recorded live and used in this pumping remix by AKA AKA. If you’re into the black magic, buy the vinyl. It also contains the first release by Shemian.
| || GLITTERBUG: Privilege 2CD (CSIDES 007CD) 18.00|
This is the second album by Cologne’s multi-dimensional, creatively-active DJ/producer/artist/curator Glitterbug. Privilege is a milestone that continues Glitterbug’s line of adventurous sounds and overflowing inspirations, exploring and uncovering the new frontiers of techno. Glitterbug’s debut album Supershelter (CSIDES 002CD) made huge waves with music critics, magazines and fans around the globe. His subsequent EP Dim Flares and remixes kept unraveling his musical surprises and an unmatched sound of an epic Glitterbug world. Privilege is an emotional and passionate production, and Glitterbug’s sensitivity to sounds keeps unraveling and revealing a unique language that spans between abstract composition, ambient, pop music, and the one ingredient that binds it all: techno. Glitterbug takes the listener on a journey to explore new terrains, inverted and unconditional, drawing the full attention of every nerve and sense. If Supershelter was still searching for a refuge, Privilege goes farther, to explore alternative prospective landscapes and uncharted territories of unearthly lands. This album was produced partly in Glitterbug’s Cologne recording studio and partly on the road during his international performance tours in 2009 between the Arctic Circle, southern India, Israel, Europe and China (and everywhere in between). Fragments of field recordings he took in these places appear on many of the tracks — some are apparent, others very subtle. Despite its epic playtime, Privilege never feels lengthy, perhaps because of its genuine celebration of the sole opportunities of its own existence: Accompanying the CD is a stunning booklet by internationally-acclaimed Israeli visual artist and photographer, Ronni Shendar. Shendar’s photos and artwork perfectly mirror the album’s foreign terrains of blurring and desolate horizons.
| || 13TH FLOOR ELEVATORS: 7th Heaven: Music Of The Spheres CD (SNAX 614CD) 17.00|
“For the first time the original 45rpm mono mixes of the 13th Floor Elevators’ seven singles (A and B sides) for International Artists Records have been compiled on a single CD. Completing this brand new package are the four tracks from the ultra-rare French Riviera EP — three of which are unique stereo mixes. Following on from the extraordinary success of the band’s 10-CD box set, which has boosted the band’s already legendary reputation, this set is the definitive single CD introduction to the very best of the Elevators. The lavish package is a rigid digibookk with a new 16-page booklet printed on thick card and includes a detailed analysis by Paul Drummond of the extraordinary history of the band told through their singles.”
|CHROME DREAMS (UK)|
| || VA: Forbidden Planets 2CD (CHROME 5033CD) 22.00|
Subtitled: Music From The Pioneers Of Electronic Sound. “With electronic music’s current resurgence and interest in the form at an all time high, this superb 2CD set, containing compositions and original recordings by the pioneers of this fascinating style of sound, compiled here for the first time, is certain to attract enormous excitement amongst fans of the genre. Featuring tracks recorded largely in the 1940s, ’50s and ’60s, from names as diverse as the ever popular John Cage, Frank Zappa’s idol, Edgar Varèse, Sergeant Pepper cover star Karlheinz Stockhausen and even Auntie herself in the form of the BBC Radiophonic Workshop (unlikely contenders perhaps, but nevertheless leaders in the development of sonic electronics], this compilation features the bizarre, the avant-garde , the experimental and even, on occasion, the fairly melodic. A treat for fans of contemporary names such as Joe Meek, Kraftwerk, Can, Tangerine Dream, The Prodigy, Throbbing Gristle providing guidance on the roots of their chosen artist’s muse, the potential market for this extraordinary collection is enormous.” Compiled — and with extensive sleevenotes by — 1950s/60s music historian (and Edgar Varese biographer) Alan Clayson, and featuring 16-page illustrated booklet, and finished in deluxe slipcase packaging, this beautifully designed set will surely become the standard collection of the original electronica. Other artists: Miklós Rózsa, Pierre Schaeffer, Bernard Herrmann, Robert Beyer/Herbert Eimert, Paul Gredinger, Henri Posseur, Herman Heiss, Louis Barron/Bebe Barron, Henri Pousseur, Iannis Xenakis, Kid Baltan, Desmond Briscoe/Daphne Oram, Tom Dissevelt, György Ligeti, Henk Badings and Tom Dissevelt.
|CIRCUS COMPANY (FRANCE)|
| || GUILLAUME & THE COUTU DUMONTS: Breaking The Fourth Wall CD (CC 007CD) 17.00|
This is the second album by Guillaume & The Coutu Dumonts. Since releasing his debut album on the Musique Risquée label in 2007, the Montreal-born Berliner has released a steady stream of EPs, remixes and compilation tracks for Circus Company, Oslo, Cocoon and many more. Throughout, he’s developed one of the most distinctive styles in contemporary house music — a deep, powerful and original fusion of Afro-Latin percussion, instrumental melodies, soulful vocals, and intricate rhythm programming. With Breaking The Fourth Wall, he takes another big step forward. From dark-and-stormy basement jams to Ethiopian-tinged fantasias, from Afrobeat to ambient house, this album finds Guillaume venturing far beyond the limits of 4/4 boompty-boompty. He set himself the added challenge of making the album sound as much like the work of a live band as possible. To do so, he availed himself of a close community of musician friends, beginning with dOP, recording in their Paris studio. Dave Aju recorded the vocals for “On The Lips” in his San Francisco studio. Switzerland/Zaire’s Dynamike brings an Afro-beat feel to “Radio Novela.” Guillaume’s longtime collaborators Marc-André Charbonneau, Sébastien-Arcand Tourigny and Nicolas Boucher all feature on various tracks, playing guitar, saxophone and Rhodes. Even Guillaume’s brother turns up on guitar on “Discothèque.” Together, these and other ferociously talented musicians help translate Guillaume’s musical vision into a living, breathing, collective effort. While the DJs will have plenty to keep them busy, the album takes many turns, slipping into a slow 6/8 shuffle on “Discothèque” and digging into a kind of dub-cumbia on “Radio Novela”; “Intermede” and “Unwelcomed” both explore murky atmospheres swirling with organ and sampled acoustic instruments. It’s that acoustic element that gives Breaking The Fourth Wall such uncommon depth. Muted synthesizers and unobtrusive drum machines are the glue and staples holding together a panoramic collage of saxophones, congas, piano, Rhodes, Hammond organ, choral passages, preachers’ vocals, brushed drumming and more. It’s all polished off with killer hooks and vocals you might call subliminal, they burrow so deep into your head. Guillaume blurs the lines between sampling and composition, between machines and acoustic instruments, between the nightclub and the living room. Put it on and witness a new musical world coming sharply into focus — no 3D glasses required.
| || GUILLAUME & THE COUTU DUMONTS: Can’t Have Everything 12″ (CCS 046EP) 12.00|
Guillaume & The Coutu Dumonts present an extended mix of “Can’t Have Everything” featuring dOP, the first single taken from the album Breaking The Fourth Wall. This is a driving cut spiked with deep jazz, largely induced by live saxophone and Rhodes. “Discothèque” is a misty, 6/8 Pink Floyd-esque experience that introduces the listener to the deeper end of the spectrum. Live saxophone, acoustic drum sequencing and live electric guitar emerge alongside a stubborn synth, transporting the mind to soul-searching vistas.
| || POP, IGGY: Anthology Box – The Stooges & Beyond 2CD BOX (CLP 8909CD) 16.00|
“A comprehensive 2CD box set covering the early career of legendary punk rock icon Iggy Pop. The first disc includes rare studio tracks that showcase The Stooges inimitable, racous style on such classics as ‘Tight Pants,’ ‘Gimme Some Skin’ plus the covers ‘Louie, Louie,’ ‘Money (That’s What I Want)’ and more. Disc 2 features live and alternate versions of songs composed in collaboration with the great David Bowie, including ‘China Girl,’ ‘Lust For Life,’ ‘Dum Dum Boys’ and more!”
| || IGGY AND THE STOOGES: Jesus Loves The Stooges LP (CLP 9051LP) 17.00|
“Special limited edition LP collection featuring rare, raw and rockin’ studio recording by the most important U.S. punk rock band — Iggy & the Stooges. Features the band’s unique twists on Dylan’s ‘The Ballad Of Hollis Brown,’ Hendrix’s ‘Purple Haze’ plus the Stooges classics ‘Jesus Loves The Stooges,’ ‘I Wanna Be Your Dog,’ ‘I’m So Glad’ and more!”
| || DINKY: Musica Libre – Dinky In The Mix CD (CORMIX 028CD) 17.00|
This is the first mix CD from Alejandra Iglesias aka Dinky on the Cocoon label. Dinky is not a stranger to the scene, especially since her sensational 12″ for Cocoon Recordings Acid In My Fridge. She has run the Horizontal label since 2005, where she releases — besides her own, often experimental tracks — music from Matthew Styles, Jambi, Andres Bucci and more. “The mix is rather a non-conventional mix, as there are many unreleased tracks from friends and artists that I deeply admire, like Bruno Pronsato, Matthew Styles and The Mole, as well as some tracks from ladies I really love musically, like Nina Kraviz, Laverne Radix or Deniz Kurtel who provide an extra feminine touch. I also assembled different styles, so it is like a three-hour-set condensed to one hour. The idea is to show as much freedom in dance music as possible — the mix is not solely intended for the club or a big room, but is focused on the most intimate club, after-hour and warm-up moments with a strong emphasis on atmosphere. Emotion, femininity and depth are very important for me as an artist. I also try to keep the mix very modern, almost avant garde and visual, with new sounds and cutting edge tracks but without missing the club groove. As DJs, we usually feel we need to please hundreds or thousands of people in a club or at festivals. We have the pressure to make the ravers dance, scream and raise their hands frantically. Of course, we are in the club to party — but I feel and wish that sometimes we would try to be more brave and show the other side of the coin, which I will try to do with this project. This ‘rave alarm pressure’ is limiting us too much as artists and keeps us afraid of playing the most challenging, deep and beautiful music, as we are afraid of losing the floor. I wanted to get rid of this fear on this mix and show another side of dance music.” –Dinky, January 2010; Other artists include: Odd Machine, Maayam Nidam, Demarkus Lewis, Vlad Caia, Soulcapsule, No Regular Play, The Updates, Danuel Tate, Tensnake, Blunted Dummies, Pedro, Seuil, Ricardo Villalobos, and Pier Bucci.
|CONNAISSEUR RECORDINGS (GERMANY)|
| || SIS: Lola EP 12″ (CNS 035EP) 12.50|
This is the last Sis EP before his long-awaited album Dejame on his own imprint Cocoline is dropped. Sis has delivered two timeless tracks with two slightly different vibes; both designed to work the dancefloor, for sure. “Linda” is a party-guaranteed groove-monster, with chopped-up and manipulated vocals (recorded while in transit on Bucharest’s Otopeni airport) and plain good old house grooves with thudding kicks and a rolling bass lines.
| || JUJU & JORDASH: Juju & Jordash CD (DKMNTL 002CD) 17.00|
Dekmantel’s first-ever release sets the standard higher than an Amsterdam tourist, thanks to the multi-talented Israeli duo Juju & Jordash. Pinpointing Juju & Jordash’s style isn’t easy. Say they make fearless, jackin’ Chicago house, and they’ll reply with a cosmic, experimental, slow-jam. So it’s no surprise, really, that this LP ranges from experimental tracks like the oud-flooded “Jugdish” and the reggae-jazz jam “Niks” to pulsing, deeper tracks like “Time Slip Remix” and “Quasi.” “Deep Blue Meanies,” “Pulse A Denura,” “Dirty Spikes” and “Jazzy Trance” are — plain and simple — pure dancefloor material. Raw, energetic, musical bliss.
| || AKSUMITES/NIGGER CHARLIE: Ark Of The Covenant/Covenant Rock 12″ (DKR 013EP) 11.00|
“From the deepest wellspring of New York City roots, the Bronx, returns one of the most seldom heard and mystical pieces of roots music ever made. The Aksumites were a roots harmony trio unlike any other, and the ‘Ark of the Covenant’ is their masterpiece. Group leader and songwriter Andrew McCalla came to New York City from Trenchtown in the first half of the 1970s, and quickly took up work as a solo artist and song writer for Bullwackie’s and Munchie Jackson, releasing solo tunes on now-legendary labels like Aires. But at the turn of the 1970s into the 1980s, the Aksumites group got to work self-releasing some discomix 12-inches , including this one, a just-shy-of eight minutes long vocal side of singing and chanting, backed by a rhythm heavy enough to match their message. The flip side is the same heavier-than-lead approach, with the rhythm being mixed for vocal delivery in fine deejay style by Nigger Charlie (despite some labels saying ‘Dub’, the flip has in-fact always been the deejay version!). The incomparable rhythm track was laid in New York by the New Breed Band, now well known for their work on many releases from the Wackie’s camp. The rhythm was then taken to Channel One in Kingston, for voicing, overdubbing and mixing. The group released the disco just once, but with two different labels – the Thebes Sounds label was designated for Jamaican distribution, while the Aksum Records label would be for distribution in NY. Over the years this record has quietly attained the reputation it rightfully deserves, among the select few lucky enough to hear it. But it need be quiet no longer, and so Deeper Knowledge Records joyfully presents it again…behold the ‘Ark of the Covenant’!”
|DIRT CREW (GERMANY)|
| || SHEPHEARD, JAY: Umzug 12″ (DIRT 042EP) 12.00|
Producer Jay Shepheard has gained much respect with his fantastic releases and remixes for Compost, Diynamic, Buzzin’ Fly and his own Retrofit label. This is dry, percussive house music with a cool disco feel to it and great ’80s string hooks. Four tracks that go down the same smooth path into house heaven… your dancefloors will love it.
| || SOLOMUN: Saturday, I’m In Love 2CD (DIYNAMIC 001CD) 15.50|
2008 release. Hamburg-based Diynamic and its figurehead Solomun deliver their first label compilation. The 2CD compilation sees a selection of unreleased, exclusive tracks from H.O.S.H., Stimming, Trickski and more while those seeking a retrospective of the label get a mix deftly put together by Solomun of the label’s highlights. CD1 is a treat for any fan of house music as every track is a piece of unreleased joy from some of the most reliable names around (a testament to the Diynamic A&R policy). Solomun & Stimming continue their enviable pairing with opening track “Lemniskate” as well as individual contributions, while other home-grown Diynamic star H.O.S.H. turns in his best work yet with the wonderfully kooky “Gartenarbeit.” There’s also some quality contributions from Trickski and Jay Shepheard as well as relatively new talent in the form of Solar & Poppcke. Old hands and Solomun’s Innervisions labelmates Trickski serve up typically delightful deepness with “Your Lonely Nites” while relative newcomers Paulo Olarte and Solar & Poppcke display exactly why it’s always worth keeping an eye on Diynamic and its ability to unearth gems. CD2 serves up a wonderfully-executed mix from Solomun. Known for warm, flowing sets with real depth as well as peaks, Solomun has pulled off the unenviable task of choosing highlights from a release schedule which features little in the way of “lowlights.” Stimming & H.O.S.H’s monstrous “Radar” and Guido Schneider’s remix of “Feuervogel” by Stimming and Solomun sit alongside deeper house remixes from Motorcitysoul and Jimpster in a mix that builds, then delivers, in fine style. The only problem is picking a favorite, but then, that’s the beauty. A must for fans of the label, a must for fans of any of the label’s artists and a must for those who follow superb house music as either DJs or punters. Other artists include: Ost & Kjex, Gebrüder Ton, Anja Schneider, Kollektiv Turmstrasse, Jerome Sydenham, Guido Schneider, and Einmusik.
| || STIMMING: Reflections CD (DIYNAMIC 002CD) 14.50|
2009 release. This is Hamburg-based producer Martin Stimming’s first album for the Diynamic imprint — an album based around specific stories expressed through 11 tracks. With previous releases for Liebe*Detail, Freerange, and Buzzin’ Fly, Stimming imbues Reflections with a thoroughly modern house feeling laced with jazz and real depth of both emotion and sound via a mix of field recordings, live instrumentation and electronic wizardry. Shock, contrast and fresh outlooks abound on Reflections, where Stimming uses tracks such as “Sunday Morning” to lull the listener into a groove before hitting them with epic, almost orchestral slaps. Tried and tested house music influences are given new, skewed interpretations on cuts such as the drunken dub of “Song For Isabelle” and the Eastern-European folk-house of “Silver Surfer” while even more straightforward house templates in “After Eight” and “One Weekend” still sound totally unique and refreshing. Reflections sees the producer tackle vocals for the first time with “The Loneliness,” a bittersweet yet rousing piece which intertwines organic elements with electronic sounds seamlessly. Those seeking Stimming anthems which have thus far propelled the artist’s career, won’t be disappointed either, as there’s plenty. Whether it be the Detroit-y “The Beauty” or the lush, melodic closer “The Kiss,” dancefloors will surely buckle. A true journey, Reflections ebbs and flows wonderfully with jaw-dropping production, allowing Stimming to create some outstanding fusions of styles and moods.
| || SOLOMUN: Dance Baby CD (DIYNAMIC 003CD) 17.00|
2009 release. Diynamic main man, producer extraordinaire and globe-trotting DJ, Solomun, delivers his debut long-player Dance Baby. It has been a staggeringly short time in which the Bosnian-born Croatian Mladen Solomun has exerted a considerable influence in house music. Dance Baby sees Solomun further refine his craft and deliver an album which provides a neat but powerful insight into not just house itself, but his very personal view of the genre and its development. Just as early house did, Dance Baby distils disco, soul, funk and electronic sounds into a heady mix which flows like a classic DJ set — ebbing, flowing and taking in the whole spectrum of moods and energies. This flow also lends itself to home listening wonderfully, a rare trait for a house album and one that makes Dance Baby all the more endearing. Opener “Country Song” slides you into Solomun’s world with a 1 bar live bass loop doing all the work while layered keys and vocal ad-libs are scattered about the track, creating a light, airy introduction. Darker-edged cuts like the low-slung “Boyz In The Hood” and the incredibly tweaked-out “Blackout” create a sharp contrast but the programming means there are no moody quagmires to get caught in. As with much of his previous output, Dance Baby oozes with classic house references, such as the Detroitian string stabs of “Hypnotize,” the Chicago “jack” of “Déjà Vu” and the rabble-rousing vocals of “Cloud Dancer.” There are even touches of the oft-forgotten Sheffield “bleep” sound which resonates throughout. What really makes these references though, is that Solomun takes them and makes them his own, embedding them into thoroughly-modern tracks which don’t sound like any of his previous singles but still sound quintessentially Solomun. There’s also a musicality which blows through all 11 tracks which makes for a captivating listen and culminates in the massively emotive “Story of My Life” — an unforgettable, string-laden piece of timeless house. This is a stunning debut from a producer who truly has the authority to tell you to dance, baby…
| || VA: Hello Spring EP 12″ (DIYNAMIC 037EP) 12.00|
DJ Kaos has travelled the globe spreading his Chicago-infused house message. On Diynamic he delivers “Hard To Earn,” a deeply grooving electronic workout, the result of a late-night studio session with long-time production partner Muallem. Sharing this exclusive release is a special collaboration between dream-team Holger Zilske and Daso, who turn in a wonderfully unique and beautifully-twisted number. Capping the release in fine style is the boss Solomun with a low-slung, groovy tool that utilizes the original’s electronic warmth to perfection.
|EASTBLOK MUSIC (GERMANY)|
| || VA: BalkanBeats Volume 2 CD (EBM 007CD) 15.50|
2006 release. Eastblok Music presents the second volume in their BalkanBeats compilation series. What DJ Soko started in the Berlin-Kreuzberg underground has now become an established trademark and a party burner for fans and admirers. BalkanBeats Volume 2 widens the range again: here you’ll find artists from 10 different countries; Indian and Asian influences sit next to electronic music and classic gypsy tunes, and so on. DJ Soko seeks to project these new style-crossing trends as well as to acknowledge the purist Balkan sound, just as it is being celebrated at his parties in Berlin. Due to the ever-widening popularity of Balkan beats, masters of their art, like Fanfare Cioc?rlia, are by now not only regarded as just another Roma brass ensemble but are respected as internationally-acclaimed musicians. Young DJs and producers in Croatia and Serbia are now more aware of their roots and mix this with crazy new sounds. The Balkans are torn apart, wild and romantic, but able to be a part of modern Europe again, with many talented people who have emigrated to the region. That is why you also find on this compilation artists from the States or from Belgium bringing their own new influences. Some artists have probably not even heard of each other before. Some come from remote villages while others are fully linked up in the capitals. As the borders in Europe disappear and the cultural exchange spans world-wide networks, the music contains less clearly-defined genres. You can find this in abundance in the Balkans. BalkanBeats does not preserve this culture like a museum piece; rather, it puts it on the dancefloor to keep it alive. DJ Soko (Bosnia) and his partner-in-crime Marko (Croatia) don’t give a damn where the people on the dancefloor come from. BalkanBeats tries to capture this mix of passion, delicate melancholy, and its very own unique craziness. Includes a 20-page full-color booklet with photos and notes on the artists, and a bonus video. Other artists include: sevdahBABY, Mitsoura, Azis, Karaván & Boban Markovi?, Kal, !DelaDap, Biber, Besh o droM, Postolar Tripper, Kirill (feat. Vlada Divljan), Romashka, Boban Markovi? Orkestar, Va Fan Fahre, and Emir Kusturica & No Smoking Orchestra.
| || SHUKAR COLLECTIVE: Rromatek CD (EBM 009CD) 15.50|
2007 release. Eastblok Music presents the second album by Romanian act and electro-dance band, Shukar Collective. The collective idea was born when DJ Vasile and Dan Handrabur heard the original Roma songs of the Shukar original band. Immediately after, the musicians from these different generations met and decided to try and create a new project with a new and contemporary sound. “We wanted to bring together Roma singers and a group of musicians and DJs to form and create a unique sound, the Shukar Collective sound,” explains Dan Handrabur. The final result was the highly-acclaimed debut album Urban Gypsy, released in 2005. And now, to prove that Urban Gypsy was no flash in the pan, the Collective are back with their second effort. The album’s title Rromatek is a pun, combining the two words that define this album: Roma and technology. Having moved on from the rewarding but often awkward integration phase, when two very different cultures were making music together for the first time — the rural Ursari singers, stemming from a long line of bear-taming street performers, and the urban musician. Now, the DJs have unearthed the roots of what bear tamers do best — making people dance. Whereas the previous album took shape in the studio, Rromatek captures the spirit of the band in motion, with vocals being recorded in hotel rooms, backstage at concerts or during jams in buses. With the addition of a drummer and a horn player, a more organic sound is evident throughout the album, although the band has lost none of its electro-spice. This is a world-music idea, an audio-visual project, a mix of generations of musicians, a re-arranging of traditional Romanian and Roma sounds, and an eclectic mixture of spoons, wooden barrels, violins, accordions, bass, roots vocals, samples, sequencers, loops, scratches, turntables and beats. Shukar Collective’s mission remains that of exposing the brilliant traditional vocal performance of the Ursari Roma (incorrectly called gypsies) while working towards total acceptance of this minority into a tolerant, modern day society.
| || VA: BalkanBeats Volume 3 CD (EBM 011CD) 15.50|
2008 release. Eastblok Music presents the third volume in their BalkanBeats compilation series. More Balkan hits from DJ Robert Soko, straight from Berlin’s Mudd Club — again compiled strictly from a dancefloor point of view. Nothing smoothed out, everything fresh and steaming, single-handedly dug up and turned into trans-cultural, genre-crossing hits. Many of these tracks are making it to the West for the first time and are truly Eastern European gems — a burning amalgamation of Balkan brass, beats, rock, reggae, traditional Balkan stomp, and just about everything else you can imagine. Includes a full color 20-page booklet with pictures and notes on the artists. Artists include: Slavic Soul Party, Magnifico, Kiril (feat. MC Wasp & RUCL), Watcha Clan, Shantel (feat. Boban Markovi? Orkestar), Friends Of Boban, Goran Bregovi?, Ot Azoj Klezmer Band, Streamer & MPS Pilot, Max Pashm, Parno Graszt, Slonovski Bal, Damian & Brothers, Äl Jawala, Figli Di Madre Ignota, The No Smoking Orchestra, and Romengo.
|EAT CONCRETE (NETHERLANDS)|
| || AARDVARCK: Choice On 12 12″ (EAT 016EP) 12.50|
This is an album sampler from the king of the pigs. Aardvarck’s defined a new sound all of his own.
| || FLUXION: Perfuse EP 12″ (ECHO 043EP) 12.00|
Here comes the second EP from Greek artist Fluxion. “Perfuse” is a pulsating, slow dub track. The sound patterns emerge steadily, to form one stream, one organic movement where every part complements the other. “Wabbler” is a live track recorded in one take — a journey back to the influences of dub. On the B2 is a strong, powerful remix of “Perfuse” that will work on every dancefloor — a typical Deadbeat remix for all the fans out there.
|ECHOCORD COLOUR (GERMANY)|
| || MOELLER, BRENDON: Mainline EP 12″ (ECHOCOL 011EP) 12.00|
Brendon Moeller is back after 3 EPs on Echocord, but this time on Echocord Colour. “Mainline” is very powerful dub-techno that will please all the fans out there. The B-side is a remix by the one and only Robag Wruhme. He comes up with a killer remix, a real floor-burner — peak-time techno at its best, with the typical sounds from Robag’s universe. On orange-colored vinyl.
| || LOST VETERANOS: It’s Wrong/It’s Wronger 12″ (FIGURE 026EP) 12.00|
“The unstoppable combination of Timo Maas and Santos throw us another huge double header under their ‘Lost Veteranos’ guise. After their last old-school adventure as ‘Mutant Clan’ on Figure SPC, the pair crank up the vintage machinery and hand over two unbelievable new cuts. ‘It’s Wrong’ is a stampeding, strong tripping techno cut that maniacally revolves around pushing bass signals, sparse percussion and building levels of dancefloor madness characterized by the unnerving vocal motif. Lashings of delay drenched FX fills and gyrating moments of tension. The almost unbelievable ‘It’s Wronger’ takes the intensity to an even more disturbed place as freaky filtered warbles and off-world FX clank and grind behind an ungodly acid hook. Once again we are assured ‘It’s Wrong’, and this time it’s even harder to ignore! Two psychotic techno offerings that confirm the pure talent and tireless devotion of these two veteran producers; Viva Lost Veteranos!”
|FREAK N’ CHIC (FRANCE)|
| || FIDAN, TOLGA: Sexually Responsive 12″ (FNC 048EP) 12.50|
This is the debut Freak n’Chic release from Tolga Fidan, who concocts an electrically-charged couple of dancefloor tracks. “Nised” flirts with warm and feminine outcries, bubbling with a bottomless sound, and constantly transforming into a new arrangement. “Downer n°5” touches further on this light and graceful approach, while experimenting with more eclectic rhythmic design, taking the listener on a journey across vast continents, through a series of times and places.
| || LEKEBUSCH, CARI: Merry Go Round 12″ (HHMA 030EP) 12.00|
“Swedish institution in techno music Cari Lekebusch is no stranger to Harthouse Records. In 2008 he released his single Absorb and his album Mind Over Matter on Harthouse Mannheim. Moreover he produced his track ‘Stimuli’ under his alias Braincell together with Jola Bola aka Joel Stefansson, appearing on the Mirror Of The Future compilation. Furthermore, he had several releases in the mid and late nineties at our label. With his own label H. Productions and his own studio HP HQ he is one of Swedish DJs and producers who characterized and spread out the sound into the world that was famous later as Swedish techno (beside Adam Beyer, Joel Mull or Per Grindvik). Now he is coming around with his new release Merry Go Round on Harthouse.”
| || MASSEYEFF (FEAT. JR C), NICOLAS: No More Time 12″ (HERZ 018EP) 12.50|
The next great release on Herzblut comes from Nicolas Masseyeff. This time, he teams up with Jr C, who delivers dark vocals on this tech-house journey. And the package gets even better — the A-side is reserved for the original version of the dancefloor treasure, while on the flip side, you can find Oxia’s house-y interpretation of the track and Gabriel Ananda’s groovy touch.
|HONEST JON’S RECORDS (UK)|
| || TREMBLING BELLS: Abandoned Love CD (HJR 047CD) 17.00|
Following on from the unanimous critical acclaim of their debut, Carbeth, Glasgow-based Trembling Bells’ second album deepens their signature synthesis of traditional folk forms with the romanticism of country music, the deceptive complexity of Medieval music and the swagger of classic rock. Anthemic visions of the British landscape as a fantastic and treacherous netherworld are set to vying country-style duets, Bowie-esque stomps and the mysterious, serpentine melodies of Earlie Musik. Baroque, stately, flowery, richly-orchestrated British folk, with moments of acid burn. Members include: Alex Neilson (Jandek, Taurpis Tula, Current 93, Six Organs Of Admittance, etc.), Lavinia Blackwall (Directing Hand), Simon Shaw (Scatter) and Mike Hastings (The Pendulums).
| || HALL, KYLE: Kaychunk/You Know What I Feel 12″ (HDB 032EP) 12.50|
“After his remix of Darkstar’s ‘Aidy’s Girl Is A Computer’ at the end of 2009, Hyperdub were quick to request an EP from Kyle Hall, and these two fantastic tracks are the outcome. Just 18 years old and hailing from Detroit, Kyle Hall has been getting a lot of attention after releasing several EPs on his own Wild Oats label, plus a one-sided single for Omar S’ FHXE imprint. However, this is his first full release for another label.”
| || IKONIKA: Idiot 12″ (HDB 033EP) 12.50|
“Idiot is the first in a series of picture sleeve 12″s taken from the album, Contact, Love, Want, Have, backed with remixes from some of Hyperdub’s favorite current producers. ‘Idiot’ is already something of a hit with those who’ve heard it being played out, combining hard soca drums with lush ecstatic melodic synth harmonies and a driving bass with a strange 8-bit melody that stumbles and trips around the rhythm. It’s completely alien at first, but potent enough to stick in your ears until you might catch yourself humming the refrain when you least expect it. A unique and fantastic combination of compelling contemporary sounds.”
| || GLITZ, THE: Solar 12″ (IDEAL 010EP) 12.50|
Ideal Audio presents a wonderful tech-house release from The Glitz. “Solar” is everything you would want and expect from the perfect summer dancefloor piece. “Sunstep” balances the harmony between darkness and light — it is groovy and energetic while intertwined with a heavy bass-line. “Feel High” develops gradually, leading you to a state of happy intoxication. And, finally, “Solar” is deep tech-house with a trippy melody that will definitely do the trick in the early hours.
| || HUNTEMANN & DUBFIRE, OLIVER: Fuego 12″ (IDEAL 011EP) 12.50|
Heavyweight producers Oliver Huntemann and Dubfire reveal the first piece from their Elements series. “Fuego” is Spanish for “fire,” and it lives up to its name 100%. Be careful, because this track will make the dancefloors burn. With each subsequent play, you notice more and more melodies, beats, instruments… techno at its richest. Killer percussions come midway and build up the sound explosion. You are left with a sense of sweet anxiety and an adrenaline rush.
|IMBALANCE COMPUTER MUSIC (GERMANY)|
| || HENKE, ROBERT: Piercing Music CD (ICM 002CD) 15.50|
Restocked; Originally released in 1994 on his own Imbalance Computer Music, Piercing Music was Robert Henke’s (Monolake) debut, created at first as a sound installation which ran for a few weeks in an office building. The positive reaction of the audience led to a discussion about making a record out of it. Piercing Music is a one-hour journey into a dark, warm and sometimes pretty noisy world, full of artificial life, created long before the terms “glitch” or “microsampling” were real words. This is probably Henke’s most serious academic work, composed using controlled random distributions to create a synthetic structure which behaves “naturally”; this is achieved by deconstructing sound into tiny little particles and embedding them into a grid of slow, permutating deep drones. Most sounds are derived from recordings of water, transformed into crisp spikes of noise with occasional low bursts. It was produced using one of the first versions of the MAX software, with a minimum of other equipment; but, nonetheless, already embodied the typical depth and width which has come to characterize his releases as Monolake. Repackaged and re-released in 2003, Piercing Music is serious ambient music, more connected to the works of Thomas Köner or Asmus Tietchens than to the melodic structures of 1993’s chill-out productions. It still sounds up-to-date today and stands out as a unique piece of music.
| || HENKE, ROBERT: Layering Buddha CD (ICM 006CD) 15.50|
Restocked. Berlin-based Robert Henke is best known for his work as Monolake, and as the software technology developer for the pioneering Ableton music software. This is his fourth full-length solo release for his own label, Imbalance Computer Music. The new ambient work Layering Buddha is a dark, shimmering, epic journey, solely created with sounds taken from the famous FM3 Buddha Machine. By transforming, filtering and massively layering the thin buzzing audio sound from this device he has achieved intrusive and dense soundscapes with strong cinematic associations, slowly travelling into deeper and deeper sonic layers, opening spaces where the perception of time is extended, where microscopic details become visible, and where slight changes in color and timbre create sensations of giant structures moving slowly in the distance. The sound of the original Buddha Machine player was captured using state of the art recording equipment, capable of collecting artifacts far beyond the frequency response of the human ear. This made it possible to reveal hidden and usually inaudible aspects of the material during the processing, leading to sonically rich results full of incredible, almost organic detail. During the project, long permutating sequences were set up, using numerous independent layers of processed sound, all oscillating with their own frequency and breath. In a later production step, these long sequences were rearranged and cut down to obtain more closed works of different color. Finally, the most fascinating structures were chosen and assembled to form the Layering Buddha CD and limited edition vinyl. The CD has been compiled to work best as one long audio piece where the order of the tracks, and the way they interleave, guides the listener through different moods and places. Part of the fascination of the original FM3 Buddha Machine comes from the fact that it is a toy-like tool where one can experience each built-in loop as a solitary thing. But it’s also a source of experimentation — turning on more than one player at a time is highly satisfying. The limited edition vinyl box is a reference to this. Each work on the five record set can be played at any speed but, just like the original Buddha Machines, playing back two or more records simultaneously allows the creation of an infinite number of variations. The artwork for the CD and the limited vinyl edition is based on a work by Australian photographer Justine Lera.
| || MASTER MUSICIANS OF BUKKAKE: The Visible Sign Of The Invisible Order 2LP (IMPREC 296LP) 26.00|
“Deluxe 2LP set pressed at RTI with heavy duty tip-on jackets from Stoughton. B-side includes two bonus tracks not found on the original CD. Featuring contributions from Alan Bishop and Charles Gocher of the Sun City Girls on both the album and bonus tracks. Graphic design by Stephen O’Malley. At last the long-awaited reissue of a west coast outsider death cult classic! From the forests of the Northwest, an uncharted document of shamanistic psychedelia. Recorded mostly during rituals deep in Cascadia and filtered through destructive electronic meditations, this record is a trace down the tributaries to the origins of MMOB’s No-Age mystery. Featuring members of Sun City Girls, Earth, Asva, Eyvind Kang, and more. This deluxe reissue contains 20 minutes of lost, unreleased music from the original sessions presented in glorious gatefold vinyl.” “An opening gong signals the interface between collective ceremony and individualistic expression. This is the surviving carnival of creation from the frigid nights beyond a blistering hell to come. Out of necessity, a pack of wild solo predators assembles for the purpose of creating a larger and much more efficient hunting party. Creatures of like minds produce unlimited energy fields largely uncontrollable yet focused on an elusive chasm between desire and need. The choice is clear: Predator or Prey. By scattering the collective into individual identification snares, wardens of hypnosis domesticate confused souls relocating them to dry islands of servitude or stark pastures of the harvest. Bloodline or benefits claimed by slave masters and their operatives are not sufficient justification to remain among their rains for all wardens and their masters will be eliminated by a billion ghosts sailing the winds of death when filthy truths are revealed. These songs were siphoned from flying graveyards and fed through fiant funnels as navigatory spirits and sprayed into the haunted outskirts of behavior and its rickety platforms. Spreading as aggressive invasion in a mist of self-motivated obsessive defense mechanisms, this anti-virus of sparkling plasma glows as illuminated orb amidst the enemy’s elite shadows of deceptive, inferior energies which continually pollute the dimensions of all accessible realities. Within this illumination are gateways to new realities where the enemy fears to tread. A clever, weirder America is on the rise. One that won’t give up their guns or their souls to the agencies trained to occupy them. Those who can speak outside the language and direct energy on the inside are the only valid resistance to the creeping tumors of controlled humanity. Conceptual movement, intellectual logic, and ‘reasonable alternatives’ are not factors in decision making. Decisions are instantaneous judgements as perfection. The deciders who used to roam the universe in large numbers are almost extinct. The Master Musicians Of Bukkake are among the last bastion of entities capable of deciding which vapors of truth shall manifest and who shall breathe these truths.” — Alan Bishop, December 2009.”
|INTERNATIONAL DEEJAY GIGOLO (GERMANY)|
| || KONDERS, BOBBY: A Lost Era In NYC 1987-1992 CD (GIGOLO 1093CD) 17.00|
Remastered 2002 release. The beginning of that lost era in New York is marked by the end of maybe the most important, but surely the most legendary club of all times: Manhattan’s Paradise Garage, the place where disco got turned into a religion named “garage house” by DJ Larry Levan. In 1987, the Garage closed its gate forever. The Garage sound and its believers had to go deeper, way deep. Down there, deep house started to materialize. The househeadz only started to resurface when The Shelter opened, the downtown deep house institution where DJ Timmy Regisford carried the torch. In its holy halls, DJs like Francois Kervorkian and Danny Krivit still celebrate the spirit in a pure fashion. But for five long years, deep house was homeless. In the underground in secret locations that were only known to the initiated, the contemplative sound found a temporary refuge. The most important of them all was called Wild Pitch. Here, the hard core of the first deep house DJs played. Names that still get whispered respectfully: Viktor Rosado, David Camacho, Kenny Carpenter, Nicky Jones, John Robinson. Also DJ Pierre, who had just moved from Chicago to New Jersey, sometimes played there and even dedicated a whole track principle to those legendary sessions: the “Wild Pitch Mix.” One DJ, however, epitomizes more than any other the massive sounds and the unique spirit of the Wild Pitch parties: Brooklyn’s Bobby Konders. In his spectacular mix he threw in everything from reggae, hip-hop, house to disco. He aimed directly at the common factor, the true soul of those blood-related styles. At Konders’ Wild Pitch sessions everything was possible, as long as the bass moved in deep enough, the beat was ruff and rugged and the vibes soothed the tortured souls of the headz. Konders practically invented a school of intros, many times starting instrumental tracks with reggae MC-sloganeering. But he also roamed into other styles, throwing them into his melting pot of all ‘tings conscious. Though strictly dedicated to the deep, the raw, and the soulfully nice, he produced one of the most slamming acid tunes of all times, “Nervous Acid,” which still gets rocked massively to this day. Until the invention of his own Massive B imprint, his productions went under his street name Massive Sounds and were released by Frank and Karen Mendez on Nu Groove. On Nu Groove the whole classic, nice Konders shit appeared — long-deleted material that gets assembled almost completely on this massive compilation, compiled by DJ Hell and remastered and ready to be discovered by a new generation of headz, to be sucked in like a nice blunt. Includes a 16-page booklet.
| || PSYCHONAUTS: Songs For Creatures CD (GIGOLO 121XCD) 17.00|
Remastered and re-packaged 2003 release. This is the debut album by Psychonauts, comprised of members Pablo Clement and Paul Mogg. During the duo’s formative years, James Lavelle’s UNKLE project was part of the highly influential Mo Wax Records artist roster, where Lavelle was also head of A&R. In no time, he had moved Psychonauts to London, gave them a residency at his “Dusted” party and put them into the studio with KUDO from Major Force. From these sessions came the single “Hot Blood” which served as a lynchpin for the album and a track James Murphy cited as a sonic reference for the first Rapture album. By now the hype machine had kicked-in with remixes and DJ appearances impressing all and sundry and a rapidly building a fan-base. Among this fan base was Alan Moulder and Flood, the infamous producers behind London’s world class Assault & Battery studio. The two veterans of music production invited the Psychonauts and KUDO to record and mix at their studio. Amongst the collaborators on Songs For Creatures you will find James Yorkston, Siobhan Fahey from Swing Out Sister, Sam Lynham known for her work with post-punk, pre-The Rapture legends, Gramme and Zeben Jameson, the lead singer from Mountain Of One. Jim Abbiss, the man of several notable moments, pops up with mixing credits too. Since making Songs For Creatures, Pablo Clement joined James Lavelle as one-half of UNKLE. Paul Mogg relocated to Berlin where he jumped from project to project, finally taking root with Boy Of Girl. Gigolo felt that it was time to release the record as originally intended. Restoring the lost recording of “Wild In Your Eyes” and then repackaging and re-mastering brings the album full circle. The duo states, “We always felt like we missed the boat a little. Mo Wax fans were expecting a ‘trip-hop’ album and disco was still a dirty word. Looking back, it feels ahead of what was going on.” One listen to the album in its entirety would leave any music lover hard-pressed to argue with such a sentiment.
| || HELL: Größenwahn 1992-2005 + Automation Durch Monotonie 2CD (GIGOLO 151XCD) 20.00|
…(NY Muscle Interpretationen). Remastered 2005 release. DJs are rockstars. Like David Bowie, whose personality and feelings for rock’n roll changed through a series of phases that let us discover an unknown side of him in every new album, Hell, the master of electro-body-house music, sharpened and enriched his definition of music within 13 years of non-stop mixing and producing, while founding the sexiest and the most glamorous electronic music label, Gigolo Records. With this “best of,” Hell teaches us a lesson of hard-funking electro-house music and sheds a light on his personal vision of it, as a marriage between “Body Art” and “Art of Mind,” as if dancing were the ultimate secret for opening our mind. And contrary to all those “best-ofs,” where the tracks are either randomly or chronologically sorted, without any hidden purpose except the desire to make more money, contrary to all those “best-ofs” that people buy for 1 song out of 20, Hell selected his tracks thoroughly with the aim of teaching us the recent history of electro-house music. He managed to create a very personal atmosphere, varying between minimal and dark pieces of house music, and his tech-house taken from his already cult album NY Muscle. Very special digi-sleeve packaging, and including rare or unreleased remixes by Tiefschwarz, Dominik Eulberg, Ricardo Villalobos, Abe Duque, Radio Slave, Peter Kruder, Superpitcher, Jesper Dahlbäck, Dave Clarke, Adriano Canzian, and Tomas Andersson. Featuring unreleased tracks such as “Tragic Picture Show” (alternative version), and including hits such as “Suicide Commando” and “Keep On Waiting.”
|INTERNATIONAL FREAKSHOW (GERMANY)|
| || GREEN, TIM: Iotan 12″ (IF 018EP) 12.00|
Tim Green’s latest strike started to hit the floors in December ’09, when his second single Lone Time came out. People STILL go nuts when this house tune is dropped! 2010 looks set to be another huge year of growth for him. “Iotan” is deep, funky, melodic and warm the whole way through, constantly guided by a splendid specimen of a bass line! “Crispy Chair” shows his more minimalistic techno side by hitting you hard with this hypnotic groove monster.
| || PEOPLE OF THE NORTH: Deep Tissue LP (JAGBR 016LP) 15.00|
“Started by Kid Millions and Bobby Matador of Oneida, People of the North is an ongoing but sporadic outgrowth of that restlessly experimental Brooklyn assemblage. Since the first tour in early 2003, POTn has served as another language emanating from the screaming mouth of the O. It has always included Kid and Bobby, and usually other members of Oneida as well. While there are no clearly defined boundaries separating POTn from Oneida, it might be fair to say that the music tends to be more staunchly devoted to minimalism, repetition, improvisation, and sternness than the wide-ranging efforts of the big brother band. There is no specific or overt ‘influence’ that particularly defines the music on Deep Tissue, but there’s kind of a ’70s Germany/’80s Chicago/’90s Japan/’00s Iran thing with People of the North, so maybe that’s there?”
|JAZZMAN RECORDS (UK)|
| || J-ROCC: J-Rocc V. J-Man CD (JMAN 032CD) 17.00|
Widely-considered to be the one of the world’s best club DJs, J-Rocc teams up with Jazzman Records and unsurprisingly delivers one of the finest collaborative mixes to date. Digging deep into the 200+ catalog of tunes that is Jazzman and Funk 45, the Beat Junkie seamlessly flips up his own personal selection from the reissues that established the Jazzman labels as the leaders in the record world. Covering the entire spectrum from the start of Jazzman Records in the ’90s, and across those genres that just sound better on wax, J-Rocc works as the designer that’s been given the best tools in the trade, and the finished product doesn’t disappoint. Undoubtedly one of the most important figures in the underground music scene today, Jazzman Gerald has released everything from electronic library treasures to hardcore deep funk bangers, ethnic modal jazz to forgotten soulful masterpieces. From a record stall in Camden, as a collector and seller he remains unparalleled, counting amongst his clientele Gilles Peterson, Madlib, Pete Rock, Cut Chemist, Kenny Dope and DJ Shadow. His reissue labels — Funk 45, Soul 7 and Jazzman — have flawlessly brought forgotten and unknown records to the modern day market, and limited runs and collaborations (such as the world’s first Serato 7″) has meant that Jazzman Records never strays far from the buyer’s mind. J-Rocc is a man that needs no introduction. Party rocker, turntablist, collector, producer and general hip-hop icon, his blends, cuts and mixes are a DJ’s blueprint. An old-school digger, J-Rocc’s sets often turn up unknown beats and breaks, scoured from the bins of whatever country he happens to be playing in. So here’s a relentless label at the top of its game, joining up with the undisputed king of the turntables. With a great deal of unspoken respect between the two parties, this harmonious collaboration not only rounds off what Jazzman is all about but also shows off the skills of J-Rocc, working as an introduction into two different worlds that cross-over whenever good music is involved. Artists include: Anthony Burns, Mary Lou Williams, Lee Mason, Vanessa Kendrick, Bill Swift Trio, Eddie Warner, Soul Lifters, Los Brasilios, Soul Pleasers, Third Guitar, Little Beaver/Sam Baker, Andy Loore, Salah Ragab, George Guzman, Noro Morales, Har-You Percussion Group, IRP-3, Personations & Organisation, Gamith, Della Reese, Innersouls, Nina Simone, Lorez Alexandria, Primitive, Fabulous Originals, Arthur Monday, Wess & The Airedales, Communicators Band, and Deirdre Wilson Tabac.
| || BROOKS & THE ARTISTIC TRUTH, ROY: Ethnic Expressions LP (JMAN 034LP) 25.50|
Deluxe LP version, pressed on 180 gram virgin vinyl. Limited, numbered edition of 1,000 copies. Easily one of the most coveted and sought-after of all jazz LPs is the elusive Holy Grail that is Roy Brooks’ Ethnic Expressions. It’s not just rarity that makes a record of this nature so desirable, nor is it the compelling music within — sometimes, like a Van Gogh or a Picasso, it’s the personality of the artist himself that’s inexorably entwined with the record itself that lends a fascinating, mesmeric and mythical quality that simply can’t be contrived. The sixth release in Jazzman’s Holy Grail series is an attentive reissue of one of Detroit drummer Roy Brooks’ two LPs for the tiny Im-Hotep label out of New York. This Jazzman release is in conjunction with P-Vine Records of Tokyo, whose Japanese reissue has already vanished with only a handful having reached these shores late in 2009. Ethnic Expressions was recorded live in NYC in 1973, and exhibits a powerful message of black consciousness and spiritual freedom. This is post-Coltrane progressive jazz of the highest order! With a cry to his African roots, Brooks’ music combines modal, rhythmic and Afro-centric jazz with politics, spirituality and positive vibes. The result is deep, esoteric spiritual jazz that any fan into real-deal, vibrant jazz will require as essential listening.
|KARAOKE KALK (GERMANY)|
| || TOLOUSE LOW TRAX: Mask Talk CD (KK 052CD) 15.50|
This is the debut full-length release by Düsseldorf’s Detlef Weinrich aka Tolouse Low Trax. Mask Talk a distillation of the sounds of the night, possessing a musical intensity that bodes well for a different kind of dancefloor. Cool, atmospheric new wave sharpness, and a cushioned beat rate between 107 and 116 bpm call out a mechanical functionality that doesn’t bow to any contemporary doctrine. This is urban music, and a true club album, harkening big city lights in Africa with chilly neon sounds from Düsseldorf. As a member of Kreidler, Weinrich has contributed to a group’s cosmic vibes. Now, with his solo project, he demonstrates that an MPC and a small synthesizer ensemble are enough to bring alive futuristic dance music in the here and now. Bedroom-recorded under tense creative circumstances, the 10 tracks invoke, mostly instrumentally, an eerie atmosphere that would fit in perfectly with an early John Carpenter movie. With plenty delay on the bass figures, compact analog effects, percussive dabs and a rough blend of layers, Weinrich has, without any digital support, created quivering drum machine music, whose danceability he was able to test regularly as a resident DJ and co-owner of a Düsseldorf club/ bar. These tracks breathe the hypnotic power of his DJ sets, where he arranges diverse rhythms between Krautrock, cosmic, electronic and acid. They are also reminiscent of analog-electronic pioneers such as Cluster or Peter Baumann. Also, 1980s avant-gardists Cabaret Voltaire and Zazou Bikaye have left their mark, without Tolouse Low Trax explicitly referring to them. Mask Talk is a dark, urban solanum, full of reverb, whose melodies are never prankish, but whose minimal nonchalance is sure to help not only the dark creatures through the night. “Form is essence brought to the surface,” Victor Hugo wrote 150 years ago. Mask Talk reasserts this theory as a distillate of an operating procedure seeking to subvert ingrained listening habits and to resharpen the contours of the audible.
| || FINDLING & LIHAB: Stay Down 12″ (KD 030EP) 12.00|
This is the first single from Munich-based duo Findling & Lihab for Kindisch. A bubbling, percussive groove is the heart of “Stay Down,” but that isn’t the only thing that pushes this tune to the forefront of rhythmic and melodic tech-house — the tune is also topped off with a Southern bluegrass vocal. “Reversed Trust” takes you down memory lane with crunchy New York City house beats, infused with luscious, undulating pads and filtrated stabs. Findling & Lihab leave the filler behind.
| || VA: Kitsuné Maison 9 CD (CDA 028CD) 15.50|
The ninth edition of the Kitsuné Maison compilation series is “The Petit Bateau Edition” or “The Cotton Issue,” in reference to the baby that was recently born within the Kitsuné family. Indeed, here is officially the most snuggly, peaceful, motherly Kitsuné compilation yet — soft as cotton. That’s right, this is music babies can get into. A fully-padded compilation that’s rather more candid, innocent and carefree than the norm, and which still invites the listener to shake his hips a bit. This compilation will be attractive to ears of all ages. Restful, serene, and more contemplative, with a selection that’s probably more geared towards Sunday afternoons than Saturday nights, more yuzu green tea than stupid alcopops. Sure there are a few hysterical sirens on the Jupiter track, but Kitsuné asked for them to be toned down so as not to wake the little one. Other artists include: Washed Out, Gamble & Burke, Penguin Prison, Jamaica, Crookers, Yelle, Lifelike, Yuksek, Fenech-Soler, Two Door Cinema Club, The Twelves, Logo, Silver Columns, Holy Ghost!, Hurts, Arthur Baker, Gypsy & The Cat, Joan Of Arc, Feldberg, Your Nature, The Good Natured, Zebra & Snake, and Monarchy.
|LIVE AT ROBERT JOHNSON (GERMANY)|
| || FLUGEL, ROMAN: Live At Robert Johnson Vol. 5 CD (PLAYRJC 005CD) 15.50|
Starting the next round of Robert Johnson’s extolled mix and limited box set series is none other than Alter Ego’s precious Roman Flügel. Also known as Soylent Green, Eight Miles High, Roman IV and under a dozen other pseudonyms, Flügel has done it all (insert electronic music genre here) — except for a mix CD. Honing his craft as a producer with an idiosyncratic signature, Live At Robert Johnson Vol. 5 sheds some light on his skills as a serious selector and daring disc jockey. A combination that comes once in a blue moon, Roman Flügel manages to be fascinating and relevant in both. The proof thereof lies before your face. Whether his beeps, bleeps and clonks or his more contemplative moments are to your taste, the fifth volume for the beloved little harbor at the banks of the river Main, shares the one as well as the other. Here you will find long-lost jack trax moments with Armando, earnest new school techno with Ben Klock, Ratsnake’s quirkiness, a great love break in the shape of Idioma’s “Landscapes” as well as some vintage and future Flügel (Soylent Green plus two exclusive, vital and refreshingly new tracks for Live At Robert Johnson) himself. A key player and starter in the resident DJ team, he handles this ride as well as he does on any given night at RJ. Pleasing directly without using the obvious and celebrating a certain uncertain murky ambiguity without being indefinite, Roman established a distinguishable and delightful signature in his DJ sets. Live At Robert Johnson Vol. 5 is a true school interpretation of acid house music at its best. Other artists include: Freund Der Familie, Itzone, Thomos, Molex, Ink And Needle, Nail, Foreverreaction, Maetrik, and Soulphiction.
|LOVE LETTERS FROM OSLO (GERMANY)|
| || JOHNNY D/SASCHA DIVE: Point Of View/Kama Kama 12″ (LLFO 013EP) 12.00|
“Love Letters from Oslo starts with the 013 in the year 2010 and presented us with Johnny D and Sascha Dive, two producers of the special kind. After his sexy and playful house track, ‘Point Of No Return,’ released by Oslo, does Johnny submit us a title that fascinates the listener completely through his extraordinary percussive and impulsive composition, and it’s granted a look behind the scenes in the literal sense. ‘Kama Kama’ by Sascha Dive follows on the B side, a no less underestimated title. This track is distinguished by its deep bass line, intensified by atmospheric chords.”
|MACRO RECORDINGS (GERMANY)|
| || RAUDIVE: Paper EP 12″ (MACROM 017EP) 12.00|
Raudive aka Oliver Ho drops one of Macro’s most dancefloor-centered, future-forward outings so far. “Paper” — the chord, the bass, the strings! All deep ingredients are there. “Brittle” is “Paper”‘s evil sister and a giant step forward in groove design. Its repetitious patterns put any record to shame that has ever been called hypnotic. 2010 is right here. The EP is rounded off with the shimmering “Sienna” — a no-beat melodic variation set against the warmth of grainy crackle.
|MISPLACED MUSIC (UK)|
| || HOOD: Singles Compiled 2CD (MM 101CD) 24.50|
2010 repress, originally released in 2003. “Containing records that originally came out on labels like Earworm, 555, Love train, Happy Go Lucky, Orgasm and Rocket Racer, this double CD compilation also boasts 15 unreleased tracks and an 8-page color booklet with liner notes from the band. The music here shows Hood’s songwriting veering wildly between lo-fi pop gems, avant noise, electro/acoustic experiments and drawn out, majestic post rock. Singles Compiled does just that and collects all the bands out of print singles between 1995 and 1998.”
| || HOOD: Compilations 1995-2002 CD (MM 102CD) 18.50|
2010 repress, originally released in 2003. “This comp has been out of print for over 3 years — it’s now back to stay! 20 tracks; 66 minutes; Compilations 1995-2001 is a round up of rare and impossible-to-find tracks issued on compilations and split singles. This really is a treasure trove of lost classics covering all eras of the band’s development, from the scratchy lo-fi beginnings to the more recent genre-disregarding, highly-acclaimed work on Domino. Hood remain one of the UK’s most interesting and isolationist bands forging a fascinating if willfully idiosyncratic career path.”
| || CHIN CHIN: Sound Of The Westway LP (MR 053LP) 12.00|
“In 1985, Sound Of The Westway was released on Chin Chin’s own Farmer Records. As a progression from their first 7″, SOTW proved to be a brilliant mix of post punk and pop sensibility. The band’s fierce DIY stance and girl-positive ethics have echoed down through the indie scene. Mississippi and Slumberland are excited to collaborate on this classic reissue. On vinyl only, remastered by Tim Stollenwerk and new original artwork by Alec Icky Dunn. Includes free download card.”
| || CURTIN, DAN: Lifeblood CD (MOBILEE 010CD) 17.00|
Dan Curtin’s Lifeblood is his ninth album. Beginning in the early ’90s, Curtin established an inimitable brand of machine soul on releases for Strictly Rhythm, Peacefrog, Sublime and many others, and he hasn’t slowed down since — including three singles for Mobilee and her sister label Leena, not to mention Curtin’s own acclaimed Metamorphic label, which continues to chart the deepest recesses of electronic dance music. A bona fide legend of Midwestern American techno, Curtin has never shied away from the album format, using the medium again and again as a vehicle for exploring ideas that don’t fit conveniently on the space of a 12″. Lifeblood is no different. Refreshingly varied and remarkably cohesive, it’s a welcome reminder of techno’s expressive potential. Despite its roots in classic sounds, this is no throwback. It’s grounded in the here and now: drenched in funk, strengthened with silicon/analog alloys, and positively aglow with emotion. It spans 16 tracks: ten of them made with the dancefloor in mind, plus short ambient sketches and two unexpected slow-burners to remind us of techno’s kinship with golden-era hip-hop. It’s an album that’s fine with being broken down and carted off in DJ bags, or spliced into a mixtape — but it also rewards sustained, concentrated listening as a whole. And what a varied whole it is. “Mirrors Reflecting” combines terse, hard-knuckled percussion with ethereal pads and sci-fi bleeps, suggestive of both ’90s Tokyo and ’00s Hamburg, “Other (Lost In You Mix)” drops insinuating vocals over a deeply satisfying house groove, with plunging chords and atonal detailing caught in a delicious push-and-pull, “Tickets To Paris” and “Schlafwagen” are spooky and sexy in equal measure, all goosebumps and flushed skin, and so much more. Diverse? You bet. But more than that, it all holds together without ever repeating itself — a rarity for electronic albums. The form reflects Curtin’s own approach, dedicated to craft and open to possibility. Lifeblood speaks to the very essence of being — the pulse is within you.
| || AND.ID: I Will Be There 12″ (MOBILEE 065EP) 12.00|
And.Id has gone solo for “I Will Be There,” and he’s taking us back to the dancefloor. “I Will Be There” lands heavily with a punching kick drum and there is little release before the bass and groove come in. “Five” brings back And.Id’s signature jazzy sounds with some melodic piano chords. “Erotica” brings all of the elements together with a strong melodic bass line and punch kick. This package will definitely get you moving.
| || OLIVEROS & IONE, PAULINE: Njinga The Queen King: The Return Of A Warrior DVD (MODE 220DVD) 27.00|
“Njinga The Queen King is a collaborative effort between writer/director Ione and composer Pauline Oliveros, which they refer to as ‘a play with music and pageantry.’ It is based on historical facts. This fully staged ‘pageantry’ with a large cast weaves the plot around singing, acting, music — including ethnic music and percussion, electronic and dance. Njinga ruled 17th century Ndongo — now Angola — as a ‘king’ because tribal custom forbade her to rule as a woman. A skilled diplomat and fierce warrior, Njinga kept the Portuguese at bay from Ndongo for the 40 years of her rule. Flowing freely between time periods, Njinga traces the diaspora of Njinga’s people to Brazil and the United States, linking the ancient warrior’s life to that of a contemporary African-American woman who has lost touch with her heritage. Oliveros’ score, and the use of electronics and spatialization, provides an environment for the traditional African music, heightening the drama. This recording is based on the BAM (Brooklyn Academy of Music) Next Wave Festival performances of 1993. In addition to Olveros’ music and sound design, Njinga incorporates traditional Kongolese music arranged by Titos Sompas, and Brazilian music arranged by Nego Gato.” Region 0, NTSC format; Run time: approx. 3 hours, 10 minutes; aspect ratio: 4:3 and 16:9; color; Dolby 5.1 surround.
|MOON HARBOUR (GERMANY)|
| || LUNA CITY EXPRESS: Hello From Planet Earth Remixes Vol. 1 12″ (MHR 048EP) 12.50|
Norman Weber and Marco Resmann aka Luna City Express present a remix 12″ of tracks from their 2009 album Hello From Planet Earth. Mathias Kaden’s remix of “Diamonds & Pearls” experiments with the e-piano snippets from the original track, supported by an ambitiously grooving beat. Ray Okpara’s remix strips “Celebration Of Life” down to its essence: the groove. Catz ‘N Dogz take care of the humorous “Mr. Jack,” placing the vocals up front, like an instrument.
|MULE ELECTRONIC (GERMANY)|
| || EKKOHAUS: Almost Definately 12″ (MULE 069EP) 12.00|
Ekkohaus aka Kostas Tassopoulos is a Greece-born and now Berlin-based producer, and his debut release on Mule Electronic contains two modern, deep-house sounds. “Almost Definately” with its vocal samples and piano loops sounds like a modern remake of “Mood II Swing.” “Haunted House” is dirty Chicago house-influenced tech house. Both tracks are very playful if you like the sound of modern deep house or early ’90s house.
|MUSICA PARADISO (JAPAN)|
| || RISCO CONNECTION: Risco Connection 2LP (MP 424326LP) 24.00|
Gatefold double LP version. “In the late 1970s, Joe Isaacs put together a very unique dub/disco/reggae project called Risco Connection. The group released multiple 12″ singles covering classic disco tracks and was able to successfully take the original songs and make them their own. Risco Connection is more popular today than they were 30 years ago and this 12-track unreleased album is a must-have for any fan of good music.”
|MUSIK AUS STROM (GERMANY)|
| || FAKESCH, MICHAEL: Exchange CD (MAS 021.10CD) 17.00|
Michael Fakesch used to be one-half of Funkstörung (alongside Chris De Luca). From 1994 until their break-up in 2006, the two electronic wizards have been pioneers in combining weird beats, digital electro-madness and beautiful melodies. Their merciless remixes for Björk and Wu-Tang Clan marked their breakthrough and gained them international fame. After the demise of Funkstörung, Michael Fakesch concentrated on doing sound-designs for commercials (e.g. Toyota, Sony, Vodafone, Kia, Phillips) and even won the Grand Prix 2009 of the Cannes Golden Lions. He has made music for short films, he has reprocessed soundtracks, composed drafts for Hollywood scores, and — of course — also done remixes. For the remix compilation Exchange, Michael Fakesch collected all his best remixes and therefore builds on Funkstörung’s milestones Additional Productions or Viceversa. Due to the fact that most of these remixes have never been released or have only been available in very limited amounts, this remix compilation can be considered a new Fakesch album. Featuring remixes of the following artists: Mr. Oizo, Booka Shade, Scaffolding, Bomb The Bass, Paul Conboy, Shadowhuntaz, Raz Ohara, Towa Tei, Taprikk Sweezee, Hecq, Von Südenfed, Hexhead, B+, Kidkanevil, Her Bad Habit, Herbert, Jean Jacques Perrey, Notwist, The Broadway Project, and Franz Kirmann.
|NEW WORLD RECORDS|
| || SIMS, EZRA: Musing And Reminiscence CD (NW 80709CD) 15.00|
“Ezra Sims (b. 1928) is known mainly as a composer of microtonal music. Surrounded by world-class performers who champion his music, he has produced a large number of chamber and solo, choral, and two orchestral works. With his unwavering commitment to his unique vision he has made an enormous contribution to modern music. This retrospective spans his entire career, almost fifty years of compositional activity, and is an excellent introduction to his very distinctive sound world. Sims’ lyricism and delicate touch are evident in his earliest works, Sonata and Sonatine, both serial and composed in 1957. Sims says that at the time he was drawn to atonality, twelve-tone techniques, and serialism because of his desire for a ‘level of saturated dissonance.’ AEDM in mem (1988) has a deeply introspective quality, as solo pieces often do. If I Told Him (1996), based on a Gertrude Stein poem, is declamatory and almost percussive, like Stein’s own reading. Stein considered her poem to be a cubist poem, an homage to Picasso’s cubist paintings. The broken fragments of sentences, and their overlapping at odd angles, are an obvious correlation to cubism, and the exhaustive repetition of these fragments is well suited to the types of ostinati in Sims’ music. Musing and Reminiscence (2003) has a sober and nostalgic quality. In a sense, it is a retrospective of a lifetime’s methods, mannerisms, and characteristic turns of phrase. The final work on the program, Concert Piece II (2005), is a double concerto with classic instrumentation, in ABA form, with clear motivic development, arching ‘antecedent’ and ‘consequent’ phrases, even tonality (albeit an idiosyncratic kind). However, within conventional parameters such as these, Sims produces sonorities that subvert our expectations on a visceral level.”
|NOT NOT FUN|
| || SUN ARAW: On Patrol CD (NNF 187CD) 12.00|
“If a tree falls in a forest and no one’s around, shit still gets crushed. If Cameron Stallones holes up solo-style in a suburban cave and wah-riffs over canned bongos for five straight months, double LPs still get dropped. These are basic life laws. The latest from Mr. Araw is easily his least compromising audio self-portrait to date. Three minute rhythm sketches are stretched into ten minute loop pedal odysseys. Organ solos last for entire vinyl sides. Ambiguous law enforcement themes are toyed with then abandoned in a haze of hypnagogic sleaze. Gone is the sweaty orchestration and funk of Heavy Deeds, extra long gone is the sun-kissed pop smoke shuffles of Beach Head. In its place is a heavily casual, zoned, patient 85 minute drum machine burro-ride accented by phasered organ gasoline, echo guitar sparkles, funny flute trills, tried/true Stallones vocal exclamations (‘Whaaaah Ohhh’), and oddball FX. Magic Lantern cornerstone William Giacchi drops by to jam on one track but it doesn’t much upset the overarching On Patrol thesis: Ride It Out. The sound of one man’s conga mind soaking in its own juices, refracted down a hall of mirrors, and allowed to ferment. Two black vinyl LPs in a thick gatefold jacket with Knight Rider-y photo collage artwork by Stallones featuring plenty of his trademark triangles and yellow fontmanship. Mastered by James Plotkin.”
|PAST & PRESENT (UK)|
| || VA: Piccadilly Sunshine Part Three CD (PAPR 2118CD) 17.00|
Subtitled: British Pop Psych And Other Flavours 1967-1970. Volume three of Piccadilly Sunshine, available for the first time on CD. The Piccadilly Sunshine series sets foot into the deep and wondrous valleys of British pop music culture, daring to bring forth the once-overlooked and sadly-neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. Join the Past & Present label as they tip-toe barefoot and trip through the late 1960s and early ’70s in Great Britain’s vast and glorious cultural dustbin. Stepping amongst the 20 flower-powered trippers presented here, you will now hear them lovingly restored to their former glory. Includes a full-color booklet with detailed sleeve notes. Artists include: Howard Walker, The Bombthrowers, Paul Slade, Alan David, The Spectrum, Dave Justin, Pythagoras Theorem, Dead Sea Fruit, Studio Six, Mighty Joe Young, Tim Andrews And Paul Korda, Jiminy Crikitt, Cupid’s Inspiration, J. A. Freedman, Episode Six, Jerry St. Clair, Dukes Noblemen, The Spectrum, John Bryant, and Ottilie Patterson.
| || ARK: Arkpocalypse Now 2LP (PERL 079LP) 25.00|
2LP version. Parisian minimal/experimental house producer Guillaume Berroyer aka ARK started his musical career back in the ’90s. Since then, he released his work on labels like Brif, Playhouse, Karat, and Circus Company. Arkpocalypse Now is his second full-length album for Perlon — a musical bastard somewhere between house, funk and that special ARK element that is hard to describe. Sorta sample-ish, heavy on the bass at times, with eclectic breaks and rumbles.
| || MELCHIOR PRODUCTIONS: Gentlemen Jack EP 12″ (PERL 080EP) 14.00|
Perlon presents Thomas Melchior’s “Feel Sensual” in an unreleased mix plus 2 brand-new tracks on the flip-side. Recorded at Deep Sound Therapy, London and Berlin.
| || STEEL POLE BATH TUB: Unlistenable LP (PERM 015LP) 15.00|
“Steel Pole Bath Tub put out a bunch of killer records between 1986 and 1996, most of which are long out-of-print. Towards the end of their tenure, SPBT was signed to a major label in the free-for-all signing bonanza of the post-Nirvana years. The second album SPBT recorded in 1996 for their major was deemed ‘unlistenable’ by the suits and went unreleased until 2001, when it came out on CD via Zero to One. So here we are 14 years after the original recording of this incredible record, releasing it on vinyl for the first time. The entire SPBT catalog is great, and highly recommended for fans of the noise rock released on labels like AmRep and Noiseville, and genre defying bands like Chrome and Melvins, but Unlistenable stands out as a stellar document of a weird band at their weirdest, and it’s a damn shame it took this long to finally hear it on wax.”
| || MISSING LINKX, THE: Got A Minute 12″ (PHP 045EP) 14.00|
Here’s the second strike by SoulPhiction and MK aka The Missing Linkx on Philpot. While “Who To Call” (PHP 041EP) gained lots of attention and is still found in many playlists, the two guys also dropped a great 12″ on DJ Koze’s brand-new Pampa imprint. So here are three more live pieces from this stunning project: the real deal, no edits, no polish, no boundaries — just the recorded bliss of the moment.
| || BROWN, JAMES: Ain’t It Funky LP (KS 1092LP) 11.00|
Exact repro reissue of the Polydor release of Mr. Brown’s 1970 raw soul explosion, originally released on King. The first side contains parts 1 and 2 of both the title track and “Fat Wood” (featuring Brown on organ). The second side contains instrumental versions of “Cold Sweat,” “Give It Up Or Turnit A Loose,” “Nose Job,” “Use Your Mother” and “After You Done It.”
| || BROWN, JAMES: Get On The Good Foot 2LP (PD 3004LP) 21.00|
Gatefold exact repro reissue of the Godfather of Soul’s 1972 album. The significance of the title track goes well beyond its status as one of the most unparalleled gems in the singer’s catalog; it’s also a key track in the history of breakdancing and, for a time, was almost exclusively used to settle street gang disputes by way of dance-offs. This record saved lives, kept kids out of jail and to this day it still does a body good. Also includes “The Whole World Needs Liberation,” “Cold Sweat,” “I Got A Bag My Own,” “Funky Side Of Town,” “Please, Please,” “Ain’t It A Groove,” and the astonishing spoken word wisdom of “Recitation By Hank Ballard,” in which the lead vocalist of the Midnighters warns against the perils of fame. A record more epic than the Bible by a singer mightier than God.
| || BROWN, JAMES: Black Caesar LP (PD 6014LP) 11.00|
Exact repro reissue of the soundtrack to Larry Cohen’s 1973 blaxploitation film. Includes the essential “Down And Out In New York City” — one of the biggest cuts compiled on Soul Jazz Records’ Can You Dig It? compilation — and “Mama Feelgood.” A mix of vocal and instrumental tracks, the entire record embodies the iconic righteousness and classic grooves of the very best of the blaxploitation soundtrack genre, with the Godfather of Soul assisted by funk architect Fred Wesley.
|POST PRESENT MEDIUM|
| || TOTAL ABUSE: Mutt LP (PPM 032LP) 12.50|
“Total Abuse are from Austin, Texas. Since their first show in November 2006, TA have been recording and playing a heavy onslaught of feedback drenched hardcore soundscapes, taking hints from the Dead C, Black Flag (Chavo and Rollins era), Void and Harry Pussy. Total Abuse’s roster includes Rusty Kelley on vocals (who also makes harsh noise under the name Breathing Problem), Matt Lyons on drums, Ryan Foster on guitar, Dustin Pilkington on bass and, as of August 2008, they added former Snobs guitarist Duncan Knappen as second guitar. Members now live in New York, Oakland and Austin and get together as much as possible to record and destroy ears live.”
| || COPELAND, ERIC: Doo Doo Run/Fun Dink Death 7″ (PPM 033EP) 5.50|
“Eric Copeland is an experimental musician based in New York. He is a core member of Black Dice and forms half of the duo Terrestrial Tones with Animal Collective’s Avey Tare. This is a 7″ of two epic EC solo tracks. The A Side ‘Doo Doo Run’ is a great twisted and mutilated dub like jaunt through the murk. It keeps you moving along in any pace you seem to choose. The B Side, ‘Fun Dink Death,’ is an almost garage rock gone through the tubes, some would say a pop.” Housed in a full-color fold-out poster sleeve.
| || GRAND SALVO: The Temporal Wheel CD (PRE 005CD) 15.50|
2005 release. The Preservation label presents The Temporal Wheel, the third album from Melbourne’s Grand Salvo. Grand Salvo is the work of singer-songwriter Paddy Mann. Grand Salvo’s debut album, 1642-1727, and its follow-up, River Road, earned him rave reviews and a solid following at home and beyond for his stark, sensitive and beautiful songs. After a spell living in Europe, Paddy returned to Australia and began work on another album he’d dreamt up while away. A set of songs that acts as a children’s storybook, the album became cursed with too many recording problems, and Paddy decided to shelve it. While that project will eventually see the light of day, its plagued nature ironically became the motivation for The Temporal Wheel. Paddy resolved to make an album with more spontaneity and gut feeling than ever before. Holing up in Tony Dupe’s (Archer Prewitt, Via Tania, Holly Throsby) tiny house-cum-studio at Saddleback Mountain on the beautiful New South Wales South Coast, over two sessions in two days, Paddy recorded intensively. With ideas forming on arrival, Paddy steeled himself to write impulsively soon after waking in the morning. He would find himself in a curious, reflective way, thinking about the order of things and how they inexplicably change with the passing of time. These are songs for simple moments, moments that grow into revelations of transcendence. Surrounding the core interplay between Paddy’s rich, oaken voice and his acoustic guitar, his subtle and intuitive orchestral arrangements — cello, trumpet, glockenspiel, harps and various percussion — keep the easy rolling, classic feel of his songs, which also ring with sparkling creativity. The Temporal Wheel is an album of poignant emotional candour set in stunningly intimate atmospheres. Housed in a limited edition packaging with a unique design.
| || SADDLEBACK: Everything’s A Love Letter + Everything’s Open To.. CD (PRE 006XCD) 15.50|
..Interpretation. Saddleback is the solo project of producer Tony Dupé. In many ways, with its warm and exploratory craft, 2004’s Everything’s A Love Letter was the culmination of the varying strands in Tony’s musical life contained in one special debut. Tony first came to notice in Glovebox, who put an ethereal, ambient twist on the indie-pop scene as far back as the early ’90s. Glovebox’s swirling sound has been as unhurried as its release schedule, though no matter how spare their output, each album has always found a warm reception. The group were even invited to make a record with U.S. independent music luminary Kramer, who at the time had already produced records for the likes of Low, Palace Brothers and Galaxie 500. As time went on, Tony would tinker with the Glovebox sound by using a rotating group of players with each recording and eventually started to produce records himself and sow the seeds for Saddleback. Tony moved into an old disused nunnery on the South Coast of NSW and into production, fashioning a recording studio within the huge 18-bedroom building. As Saddleback, Dupé had unanchored his atmospheric musings from Glovebox’s pop roots into new territory. Everything’s A Love Letter unfolds with small sonic gestures and gradually shifting layers of quiet sound, its fluttering, winding arrangements building into something altogether mesmerizing. Blending guitar, piano, strings and brass into its mild electronic realm brings up compelling dimensions between classic composition and abstraction — a tender melodicism that draws on jazz, folk, pop and ambient electronica. His affecting style brought many plaudits, furthered by the release of Saddleback’s second album Night Maps. This reissue edition features interpretations of five of the original tracks from acclaimed Preservation artists Aaron Martin, Grand Salvo, Post, Early Songs and Richard Skelton. They add to an already fascinating and beautiful listen. Deluxe packaging in a unique design.
| || BASHO-JUNGHANS, STEFFEN: Unknown Music II – Transwarp Meditation CD (PRE 007CD) 15.50|
2005 release. The Preservation label presents Unknown Music II – Transwarp Meditation, from Steffen Basho-Junghans. The passion for exploratory acoustic music has been with Steffen Basho-Junghans for a long time. Based in Berlin, Steffen has been one of the most searching artists in the ever-increasingly loose folk idiom for over two decades. His work on the six and twelve-string guitar makes him a modern-day counterpart to great trail-blazers John Fahey and Robbie Basho, from whom he takes his name as a creative talisman. While experimentation is a feature of Steffen’s playing, the soul of acoustic guitar tradition is there in equal measure. With boundless imagination, his technique takes in American folk, Eastern raga and Western classical harmonics but also resonates with the inspiring power of free jazz. His Unknown Music series features what he describes as his most personal excursions yet, containing some of his most stirring and unique compositions. While some pieces are relentlessly intense, there’s an undeniable beauty at their core, found as equally in those that curl out with complex, but softer melodic measure. The percussive qualities of his sound heighten its hypnotic feel in a space created from, and for, pure feeling above all. Unknown Music II is much more than just a set of psychedelic overtures. It’s a work of deep spiritual vision that comes from having travelled far down an exceptionally individual path.
| || POST: Post CD (PRE 010CD) 15.50|
2006 release. The Preservation label presents the self-titled debut album from Melbourne’s Post. Post is the solo guise of James Wilkinson, who has gleefully cracked the ground between free jazz and punk in Bucketrider and made sonic cinema with the electro-dub-hip-hop fusion of High Pass Filter. He’s also provided innovative sound design for the internationally-acclaimed puppet theater company Snuff Puppets, and it’s his adventurous spirit that runs free through Post’s pop persona. Post’s playful but stirring sense of composition makes for a set where bouncy dancefloor-bound fun, retro-futurist funk, space-y jazz noir and ambient atmospheres face-off at fizzing tangents. Strings, guitars, recorders and piano on the album were recorded at David Bridie’s studio The Enormodome, with further creating, recording and mixing taking place at Wilkinson’s own Wilkinsound studio. The final mixes were done with François Tétaz, who has worked on remixes for Aphex Twin and composed the soundtrack for Australian film Wolf Creek (2005). The array of collaborators also includes renowned experimenters Anthony Pateras (piano), Robin Fox (electronics) and drummer Steve Heather (drums). For all its smarts, Post is the sound of a man in love with the worlds of sonics and song, and therein lies its warm, immediate appeal. Limited edition special package design.
| || EARLY SONGS: Wind Wound CD (PRE 012CD) 15.50|
2007 release. The Preservation label presents the debut album from Glasgow’s Early Songs. Early Songs is the work of Glaswegian David Scott. David has been playing guitar for nearly 15 years after hearing his first musical inspiration in the lyrical country-blues of fingerpicker Mississippi John Hurt. The second turning point for David’s work came after hearing the violin playing of Dirty Three’s Warren Ellis. The instrumental trio prompted him to leave singing behind, pick up the fiddle and create emotive instrumental music of his own. Using more instruments as he continued to write, David went on to score music for locally-produced films while forming the songs that would eventually make up Wind Wound. David wrote and recorded in his bedroom with the window open, and it’s the open air that’s a shining quality of Wind Wound. Disarmingly spare, Wind Wound’s pastoral atmosphere is generous in scope and warmth, reflecting David’s keenest writing motivations — patterns and cycles, movement and momentum and recurring feeling — and displaying them with wide-eyed wonder and joy. His guitar-playing swoons and breaks, aching with drama and tenderness, also going on more light-fingered, breezy trails. The songs were taken to Glasgow engineer Andy Miller, who has worked with Mogwai, Songs: Ohia, Life Without Buildings, and Sons & Daughters, to bring an expansive feel to David’s music while preserving its innate intimacy. Limited repress in deluxe packaging with a unique design.
| || SKIPSON, KNARF: The Skip EP 12″ (QUINTESSE 013EP) 12.00|
Knarf Skipson is back on Quintessentials for his second release. His style? Still house with a kind of hip-hop flavor! Is this cool? Ah yeah! And the remix? A fat tool from Sascha Dive! Need more? Buy the record!
| || ALVA NOTO + RYUICHI SAKAMOTO: Vrioon CD (R-N 050CD) 17.00|
2010 repress, originally released in 2002. During his first live tour in Japan, Carsten Nicolai met Ryuichi Sakamoto in Tokyo. A year after that, he was asked to remix material from Sakamoto for the Japanese magazine Code Unfinished. “The material that was given to me was already layered with digital effects. From one little clean piano piece I made the first track. Those simple piano chords I combined with a clear rhythm constellation. Somehow Ryuichi was very surprised and really liked my work. Weeks later he sent me another specially for this project.” This was the beginning of an almost 2 year process of musical exchange and creation. Vrioon is very relaxing, it opens rooms and landscapes blur before listener’s eyes. Static rhythmic pieces circle round and vary one and the same theme that, with its impressionistic sphere, reminds of soundtracks and ambient compositions. In this cooperation, two different generations meet and share the idea of electronic music as an inspiration source for new musical structures.
| || ALVA NOTO + RYUICHI SAKAMOTO: Revep CD (R-N 072CD) 14.00|
2010 repress, originally released in 2006. The EP Revep is a continuation of the collaboration between Alva Noto and Ryuichi Sakamoto, and offers a previously-unreleased extract of this musical exchange which started with Vrioon (2002) and found its temporary end with Insen (2005). Similar to its predecessors, Revep breaks the rules of traditional acoustics — the separation of sound and noise — in a mysterious manner. “You hardly can go further, hardly can get deeper into the structure of sounds — in order to discover a beauty never heard before.” –Tim Lorenz, Groove. In contrast to both predecessors, Revep presents “Ax Mr.L.,” a track where the artists fall back on an already renowned composition by Sakamoto — the theme music to the movie Merry Christmas Mr. Lawrence with David Bowie, Ryuichi Sakamoto and Takeshi Kitano from 1983. 20-minute EP, housed in a fold-out digipak.
|RECORD MAKERS (UK)|
| || TURZI: B CD (REC 055CD) 15.50|
The follow-up to 2007’s A, Paris-based Turzi presents B, featuring Bobby Gillespie (Primal Scream) and Brigitte Fontaine. Mixed in London by Max Heyes (Doves, Radio 4, The Rakes, Patrick Wolf) with a little help from Brendan Lynch (Primal Scream). “It could be a soundtrack to a journey in Blade Runner or a party scene in Beyond The Valley Of The Dolls, and it fades out at the end just like a strange dream. This is definitely taking drugs to make music to take drugs to.” –Pitchfork; Thunderous, contrapuntal, prog-rock/synth/electronic bombast for the alphabetically-inclined world traveler.
| || ACID WASHED: Acid Washed CD (REC 059CD) 15.50|
Paris’ Acid Washed is a two-man process primarily, involving deteriorating sound amongst souvenirs, friends, home studios and analog equipment. It follows the blueprint devised by two DJs keen on using modern and vintage equipment to create sophisticated electronics with a sharp pop aesthetic. The result is a fusion of late ’90s French house vibes and DFA disco touches that acknowledge the influence of Chicago and Detroit without being overly reverential. Throw names like Steve Reich, Giorgio Moroder and Kraftwerk into the hat as well if you like, but don’t dwell on them. The list of big-time collaborators queuing outside the hit-factory is getting larger by the day and shows no sign of dying down anytime soon. The romantic and cinematic vision of Acid Washed slots in perfectly alongside the widescreen-zombie-electro of Kavinsky and the sophisticated bedroom grooves by Sébastien Tellier. A glittering fusion of Paris dance sophistication, and Detroit’s dirt-flecked sound.
| || ROSKA: Roska CD (RINSE 016CD) 17.00|
This is the debut full-length album by London, UK’s Roska. With a slew of infectious releases on his own imprint Kicks & Snares and a seemingly never ending list of remixes at the request of artists including Zed Bias and Four Tet, the hype on Roska leading up to this album is written on the proverbial wall across radio, in the clubs and on blog sites. A collection of ten of his currently most ubiquitous productions including “I Need Love” and the Jamie George collaboration “Wonderful Day.” Undoubtedly, there’s a charm in the restraint that Roska affords his production which has seen him adopted by the funky scene as one of their most cherished children. However, welcome as he may be, Roska’s more curious than his counterparts to stay outside of the constraints of the genre. He says: “If people wanna call me funky, that’s cool, but I don’t wanna go out there and say that myself. I hope this album appeals to as many people as possible. I’m travelling abroad DJ’ing in places where funky as we know it here hasn’t properly reached and it’s a great experience…” Playing to audiences with less rigid expectations has allowed Roska to stay experimental with his sound. Here you’ll find curve-ball riddims like “Squark” and “Tomorrow Is Today” which betray his one-time love affair with grime (he was a grime emcee before turning his hand to production.) If it’s playing to open-minded crowds that inspires him, then things are really going to heat up for Roska once he returns from Barcelona’s Sónar, where he’ll be playing as a guest of Mary Anne Hobbs for her BBC Experimental stage, following in the footsteps of Martyn, Kode9 and Joker. Named in Mixmag’s “Producers of The Year” list for 2009 after a flurry of EPs, this album is the milestone that marks the firm arrival of Roska.
|RUSH HOUR (NETHERLANDS)|
| || WILHITE PRESENTS, RICK: Vibes New&Rare Music Part B 12″ (RH 111B-EP) 12.50|
This is the second release in Rick Wilhite’s Vibes New& Rare Music compilation. Fellow 3 Chairs producer Theo Parrish starts out on a blues tip, then morphs his track into a string-laden jazz affair without missing a beat. It’s a one-way ride to Chicago with Ricardo Miranda blasting on the car stereo — his track kicks off soulful, and yet so raw, reminiscent of the best days of Prescription Underground, on which this easily could have been released. Addictive.
| || WILLIAMS, BOO: Residual EP 12″ (RH BW1-EP) 12.50|
The late ’90s saw three releases from Boo Williams on Titonton Duvante’s Residual Recordings. From these three EPs, Rush Hour pulled the four best tracks, which make up this Residual EP: “Mortal Trance,” “Eternal Mind,” “Day And Night,” and “Teckno Drome.” Four times raw, deep, melancholic, late-night grooves of which Boo is a master. Essential house music.
| || VA: House Of Trax Vol. 3 12″ (RH TX3-EP) 12.50|
This is the third release in Rush Hour’s House Of Trax series, and it mostly features the magic of Jamie Principle. However, this EP opens with a sublime, deep vocal track originally released on Trax sub-label Saber in 1991 by Ace & The Sandman (who are also responsible for the Virgo Four tracks).
| || VA: House Of Trax Vol. 4 12″ (RH TX4-EP) 12.50|
Rush Hour presents the fourth House Of Trax 12″. Blackman originally released “Beat That Bitch With A Bat” in 1993, a song which was popularized by Johnny Dangerous. The original 12″ is available now for the first time in 17 years. There’s also the vocal and instrumental version of Maurice Joshua’s 1988 track (with Hot Hula Hands) “I Got A Big Dick,” the A-side of his more known “This Is Acid.” These are rare tracks that will still go down a storm on the dancefloor.
| || EFFI BRIEST: Rhizomes CD (SBR 033CD) 12.00|
“Rhizomes is the debut full length from the all female outfit, Effi Briest. The nine-song opus Rhizomes unleashes a propulsive beat that drives angular guitars and bone-chilling vocals over dark bass, dense drones and clattering dance-like percussion. The atmospheric psychedelica owes as much to Arthur Russell as Amon Duul. Rhizomes includes two of the band’s UK singles on Loog records and seven more previously unreleased original songs. There are brilliant videos for both singles; the cinematic ‘Long Shadow’ directed by Brandon LaGanke is making its way around the internet and showcases the six-piece during their most formidable hour. And Mak Kern’s stunning animation for Effi Briest’s palindrome song ‘Mirror Rim’ is bound to boomerang back if you missed it the first time. Featured on a split with Peaches on Blast First Petite as part of the label’s ongoing 12″ tribute series to Suicide.”
| || EFFI BRIEST: Rhizomes LP (SBR 033LP) 15.00|
LP version, housed in a silkscreened cover with printed inner sleeve.
| || WAITS, TOM: Under The Influence DVD (SI 553DVD) 19.00|
“This documentary film examines, dissects and all but lobotomises the wealth of music, literature, theatre and film that have assisted in creating Waits’ legendary genius and, results in hand, reviews the life and career of Tom Waits from this fascinating and rarely identified viewpoint. With exclusive interviews, rare and often previously unseen footage and contributions from: Tom’s legendary producer Bones Howe; Moris Tepper and John French from Captain Beefheart’s Magic Band; and occasional TW collaborator, Ken Nordine; Harry Partch associates David Dunn and Dean Drummond; BBC’s head of music, Chris Ingham; Beat-era scholar John Tytell plus Tom Waits historians, music academics, and respected writers. Also features numerous seldom-seen photographs, much archive film and a host of other features which all at once make for an educational, inspiring and joyous celebration of Tom Waits and those he holds close to his heart.” NTSC all-region format; run time: 142 minutes; 4:3 aspect ratio; stereo.
| || SHINDIG: Shindig! Vol. 2, Issue 16 May-June 2010 MAG (SHIN V2#16) 9.00|
“On the cover: Paul Revere And The Raiders: An American Rock & Roll Band. Features: Shoes: 1970s power-pop legends revisited; Granny’s Intentions: The emerald isle’s forgotten blues-rock heroes; Sun Dial: Exploding in your mind!; Caravan: Canterbury tales from the darlings of psych/prog; Jim McCarty: The Yardbirds drummer comes clean; The Lemon Drops: Teen acid tales from cult Illinois combo. Plus Alex Chilton, The Monkees, The Stooges and more!” 92 pages.
| || BELIAYEVA, XENIA: Ever Since 12″ (STRIKE 111EP) 12.00|
Xenia Beliayeva presents the first single from her album Ever Since (STRIKE 113CD). The title track is a raw and clean, pop and mean, track and song. This 12″ includes the wonderful original plus a variety of awesome remixes. Xenia’s co-producer André Winter adds a special, tripping magic, while Ezequiel Sanchez delivers a cool, basic tech-house remix. Detroit Grand Pubahs’ broken club mix sticks to the pop vein of the track and emphasizes the dark side of Xenia’s aesthetics.
|SLOW TO SPEAK|
| || DJ DUKE: Core – 1995 – Heard/Trent 12″ (CORE 1995EP) 11.00|
“DJ Duke, unsung hero of deep house ingenuity, receives a deserved and absolutely essential reissue from NYC’s slow to speak imprint. One of the lost masters of the abundant deep house community of the early 1990s, Duke epitomized the queen-infused, deeply fierce insular dialogue of New York’s most outcaste underground. Part of his ode to deep house staples of yesteryear lost, ‘Heard’ & ‘Trent’ live up to their namesake, instrumental electronic masterpieces that disregard the concerns of conventional standardization while retaining the indisputable efficacy of NY’s exploratory antiestablishment. Emotive, depthtful and totally accessible, Core – 1995 is the first re-visitation of forward-looking genius that will continue to epitomize slow to speak’s retroactive genius, speaking more to the potential inventiveness of dance music than its former vivacity. Highly recommended.”
| || COLLIER, KEN: A Tribute To Ken Collier 12″ (WHITE 21796EP) 10.00|
“What Larry Levan is to NY and Ron Hardy is to Chicago, Ken Collier is to the prodigious city of Detroit. Before Mojo electrified the airwaves with his eclectic funk and ‘The Wizard’ Jeff Mills vied for radio supremacy, Ken Collier was busy laying down the visionary groundwork that would eventually birth techno, defining the sound of generations to come and enriching an economically stagnant city with the invaluable cultural capital of dance music. Playing in predominantly gay and black clubs scattered across the Detroit metro area, Collier pushed the boundaries of genre definition and segregation as all the great programmers of our age have, infusing the landscape of American uptempo soul with the cold analog repetition of Europe’s growing synth musics, the recognizable formula that occurred at that specific moment in American culture that lead down the inevitable road to house, techno and garage. But Collier was more than a historical agent that helped to create the predestined formula for electronic dance music to grow; he was, without a doubt, a brilliant and absolutely visionary disco DJ who epitomized the grassroots music community of 1970s & 1980s Detroit, a man of impeccable aural genius that introduced, championed and eternalized many of the indisputable classics that typify this very special city of the middle North. Focusing on the life source of all dance music, the club, and maintaining this as his immovable base of operations, Collier was the first DJ in Detroit to play the first techno records proper, combining these otherworldly discoveries with the solid foundations of soulful dance that he had been laboring to concretize for years previous at such legendary clubs as Todd’s and Heaven, where he held residencies. Indeed, Collier was always ahead of the curb in this way, a knack that earned him city-wide supremacy among those heads really ‘in-the-know.’ To him, this new style was a definite break with the past — but still rooted firmly in the same common roots as archetypal disco, having the creative intuitiveness to integrate this music seamlessly with the classics he had already eternalized through his tireless years of work. Unfettered by the constrictions of radio play and loyal to the deeply discerning gay underground that ruled the U.S.’s underground at that time, Collier was the most inventive and forward-looking DJ in Detroit, period. His death in 1996 was an absolute tragedy and an undeniable loss for the dance music community at large, occurring just as his due recognition was coming about. But fame was never his aim, as with any sincere artist devoted entirely to his work; the creative spirit of his breathtaking DJ sets and ingenious though underappreciated production and remixing work speaks for itself. Despite all obstacles, the re-writing of histories and the lost memories of a generation dissipated in time, his legacy has lived on to this day, passed down through faint whispers and guarded secrets of the true underground, a quiet but ceaseless wind that has finally come around once more with this deserved 12″ compilation tribute to some of the legend’s greatest work.” Tracklist: A1. Tell Me That I’m Dreaming; B1. Ride The Rhythm; B2. Happy Days
|SMALLTOWN SUPERSOUND (NORWAY)|
| || LINDSTROM: Leftovers EP 12″ (STS 17112EP) 12.00|
The Leftovers EP came about when Prins Thomas, Todd Terje and Smalltown Supersound were let into the Lindstrøm vaults, so to speak. Lindstrøm makes a lot of music obviously, and these were two tracks just laying around that he hadn’t thought about releasing. These are some of his finest moments. His signature melodies and sound are all here ready to set dancefloors on fire.
| || ZS: New Slaves CD (SOCIAL 078CD) 13.50|
“Ah, a new decade of experimental music is here and, no, it has nothing to do with making ‘weird’ disco and throwing a Pro Tools filter over the top to make it sound like a cassette tape. Zs are ready to unload their first full-length for The Social Registry. It’s called New Slaves, and is the most physically visceral experimental LP we’ve heard in a minute. Hitting with a similar impact as Oughts giants like The Boredoms’ Vision Creation Newsun and Black Dice’s Beaches and Canyons, New Slaves is a true behemoth — epic, unapologetic, painfully and artfully composed, mind-boggling in complexity, original in sound and intent, while maintaining a minimalist, chugging funk groove throughout its precise post-capitalist haze. It is arguably the most definitive statement from a band that have been challenging listeners for a decade, demonstrating, over the course of 70 minutes, just how versatile their sound can be.”
| || MERZBOW: Ouroboros CD (SOL 170CD) 17.00|
“Ouroboros is an ancient symbol dating back more than 4000 years. A snake or dragon eats its own tail, and represents eternity, or the circularity of life. A more modern interpretation might suggest that mankind will eventually consume itself once it finishes consuming all the life and resources on Earth. Snake species are in decline just about everywhere. Agriculture, pesticide use, roads that separate breeding populations, habitat loss, decreased food supply and predation by other animals are all putting pressure on snakes. Sadly, many of them are disappearing for reasons unknown, and considering their general unpopularity with humans, few people are concerned. Yet these beautiful reptiles are top-level predators, and play an important role in the health of every ecosystem they inhabit. Just as the loss of wolves has lead to unintended consequences for populations of other animals, so it will be that the disappearance of snakes will have unwanted outcomes for other creatures, including man. Masami Akita, recording under the name Merzbow, with more than 200 albums to his credit, is considered one of the preeminent artists in the field of noise music. In recent years his output has centered on animal themes, following his concern for the protection of animal rights. Albums for chickens, whales, seals and dolphins have been released on a variety of labels. Important Records of Newburyport, Massachusetts (USA) has released a series of thirteen CDs, each dedicated to a different Japanese bird. Ouroboros is presented in an exquisite handmade screen-printed eight-panel roll-folder featuring original artwork by Mr. Akita, and is limited to 500 copies.”
|SOUL JAZZ RECORDS (UK)|
| || A CERTAIN RATIO: Early 2CD (SJR 060CD) 23.00|
2010 repress. “The” definitive anthology of ACR recordings from 1978-85″. Well-packaged per the Soul Jazz standard, with a 36-page booklet of historical photos and a long interview with the band. “A Certain Ratio were the first group (alongside Joy Division) to sign to Manchester’s infamous Factory Records in 1978, future home of New Order, Happy Mondays. etc. As purveyors of dance music in the aftermath of punk, A Certain Ratio led the field. After punk, a new set of groups emerged who wanted to mix dance music — funk, soul, reggae, disco with the spirit of punk: groups such as A Certain Ratio, Cabaret Voltaire, 23 Skidoo and The Pop Group were the first UK groups to bring dance music into their sound. In New York’s dance clubs, ACR’s ‘Shack Up’ became an underground dance hit in places like Paradise Garage and The Roxy, leading to them playing live in New York’s Danceteria with seminal New York group ESG and their first album being recorded in New Jersey mixed by legendary Factory producer, Martin Hannett. Here, ACR first encountered Nu Yorican Latin percussion/street music in Central Park. The following day, ACR bought bongoes, whistles and congas and didn’t look back! Mixing punk, funk and Latin percussion together to make a unique sound, their sets often ended in ten-minute percussion jams, and they occasionally dressed in Brazilian football gear! When Factory opened their new nightclub, The Hacienda, ACR played at the opening night along with ESG. A Certain Ratio were a band ahead of their time, mixing dance music with punk spirit. When asked by Tony Wilson (founder of Factory) what ACR sounded like, style guru Peter York replied that they sounded ‘Early.’ ‘Early what?’ asked Wilson. ‘No, just Early,’ came the reply. Soul Jazz Records are releasing a definitive compilation of ACR featuring classic tracks along with lots of rare stuff, interviews and original photos.”
| || A CERTAIN RATIO: Early 2LP (SJR 060LP) 24.00|
2010 repress, double LP. Only contains the material from the first CD (of the 2CD set), ie. only the proper Early album, none of the bonus “b-sides, rarities & sessions”. 13 Tracks.
|SOUND OF A HANDSHAKE (GERMANY)|
| || SOLEY: Theater Island CD (SHAKE 008CD) 12.00|
This is the debut EP by Sóley Stefánsdóttir, a girl from Reykjavík, student of composition and a member of the highly-acclaimed Icelandic indie-collective Seabear. Theater Island is the debut of a singer and a dreamer: 6 songs held together by Sóley’s piano and her voice — because every one of her compositions comes into being while she is singing to the piano. She uses a lot of other instruments though: strings, guitars or just some electronic crackles and noises. The record opens with “Duttla,” a dotty and strange song that is followed by the engrossed and nearly impressionistic “Kill The Clown.” From now on, the songs become more and more catchy. The title-track is in keeping with Seabear’s open-hearted indie-folk while “Blue Leaves” and “Read The Book” are touching pop ballads — and the record’s finale “We Will Put Her In Two Graves” is absolutely disarming in its simplicity. But there’s something vague and unreal that sticks to all of these songs as well. This applies to the lyrics, too: Like Alice, Sóley walks through her very own wonderland where things happen that can only occur in the surreal logic of a dream.
| || SWEET TALKS: The Kusum Beat CD (SNDW 014CD) 14.50|
Sweet Talks were undoubtedly amongst the top five biggest bands in Ghana in the 1970s, recording a string of hit albums. The Kusum Beat was originally released in 1974 and became somewhat of a household favorite with heavy emphasis on the “Afro” through its traditional rhythms and motifs, blended together into a modern mix that combined highlife, funk and Afrobeat. Like a small handful of seminal Ghanaian albums, The Kusum Beat has stood the test of time and sounds as original and unique today as it did back in 1974, thus original pressings are in high demand and can be found on record exchanges for significant prices. This was the second album from the band who were formerly known as El Dorados, later to change their name to Medican Lantcis before settling on Sweet Talks, having moved to a live residency at the legendary Talk of the Town nightclub in the port town of Tema, just outside the capital of Ghana-Accra. It is here that they established a name for themselves as one of the most exciting young bands in the country. Due to the popularity and commercial success of their first three albums — Adam & Eve, The Kusum Beat and Spiritual Ghana — the band began touring on a regular basis and made it as far as Los Angeles and here they went on to record what was to be their biggest-selling record, the Hollywood Highlife Party LP as well as some straight disco recordings aimed squarely at the burgeoning American market. The Kusum Beat is far from typical of their trademark sound but shows just how versatile an outfit they were — able to turn their hands to any one of a number of styles. It’s a great reminder of how open-minded, experimental and curious the music scene in Ghana was back in the first half of the 1970s.
| || SWEET TALKS: The Kusum Beat LP (SNDW 014LP) 15.50|
| || HEDZOLEH SOUNDZ: Hedzoleh CD (SNDW 019CD) 14.50|
Hedzoleh Soundz were one of the first and most original “Afro” bands from 1970s Ghana, playing a mix of traditional music from across the country tinged with Western rock. They were residents at the notorious Napoleon nightclub where they met South African trumpeter Hugh Masekela in late 1973. The music for Hedzoleh was recorded just months before the band met Masekela to become the backbone of (and sadly over-shadowed by) the Afro-jazz classic LP Introducing Hedzoleh Soundz. Hedzoleh (meaning “freedom”) emerged at the beginning of a decade that saw great changes in the West African music scene. At that time, the sight of a band playing music at clubs in the city (as opposed to the countryside), dressed in traditional costumes was fairly radical and typified the new feeling for Afrocentric roots and culture which was gaining popularity amongst the youth of the day. The self-titled LP Hedzoleh has since vanished from public domain despite the success of their collaboration with Hugh Masekela. The original trumpet-less sound of this record hasn’t had a chance to be heard for nearly 40 years… until now.
| || VA: Document CD (SPC 088CD) 15.50|
When Ghostly International spawned the Spectral Sound imprint nearly a decade ago, Sam Valenti and Matthew Dear conceived the label as the dark, dancefloor-oriented alter-ego of Ghostly’s eclectic, album-based sound — a home for, as Matthew Dear calls it, body music for the mind. Now run by Spectral producer/DJ Ryan Elliott alongside co-founder Dear, the label has solidified its image as Ghostly’s leaner, meaner brother. Which brings us to the Elliott-curated Document compilation: it’s a calling card, the Detroit-bred Berliner explains, a battle flag carried into a new decade. Document, in other words, is the ultimate Spectral Sound manifesto, mingling Spectral’s old guard (Audion, Hieroglyphic Being, James T. Cotton) with new blood (Kate Simko, Seth Troxler, Lee Curtiss) and a few artists who straddle both worlds (Lawrence, Bodycode with Lerato). An overall aesthetic is hard to describe, but the Spectral vision lurks in the music’s details: the way the bass-line ricochets between the crackling snares of Lawrence’s “Divided” (Kassem Mosse Remix) like a pinball; the skyline-spanning groove of Ryan Crosson’s “Don’t Look Further”; and the thoughtful organ that hums below the record-closing “She Only Looks At You” by newcomer Gadi Mizrahi. Document captures Spectral Sound circa 2010, at a peak in the label’s almost decade-long evolution. And although Spectral Sound’s sonic footprint is forever in flux, its mission has been the same since day one: to provide uncompromising, forward-thinking, dancefloor-oriented music that’s relevant and cutting-edge on a global scale that also reflects their Midwestern roots. As a compilation of all things Spectral, Document does just that. Other artists include Mike Parker and Martinez.
| || JAMES T. COTTON: On Time 12″ (SPC 093EP) 12.00|
Tadd Mullinix aka James T. Cotton storms back with On Time. “On Time” features tight jacks and bouncing bass before a male voice begins an endless mantra for more than eight minutes. “Octopus” mines Drexciya territory with gritty analog synths and washes of static. “On Time (Rick Wade’s Grimetime Remix)” is a nocturnal house reinvention of the original. “Jak Your Own Stars” builds slowly with rubberband bass, cowbells, and a bleepy melody till some nasty drums toy with the funk.
| || BLACK SWANS, THE: Words Are Stupid LP (SAINT 040LP) 15.00|
“The new album by The Black Swans, Words Are Stupid, is a batch of tunes recorded on 4-tracks and computers in kitchens, basements, and living rooms bound by the central theme of language letting us down and mucking us up. A little bit country and a little bit doom folk, the world of The Black Swans is where humans aren’t animals as much as they admire them. A drunk boyfriend goes deaf in Buenos Aires; an artist paints a rooster; couples (don’t) learn from the felines and the canines in the comics; cowards climb trees unable to assimilate with monkeys. Throughout, there is a lot of kazoo-ing, the wordless purr of joy. Pitchfork called The Black Swans’ last album ‘a sort of blues, full of thoroughly digested worry and world-weariness’ and Dusted called their debut ‘one of the best, most overlooked new folk records of the psych-folk revival.’ Words Are Stupid is another left turn down the same WTF road traveled by kindred spirits like Hazelwood, Zevon, Robyn Hitchcock, and Michael Hurley. The vinyl LP features 200 different photographs of the same 40 poses from 5 photographers in a field of concrete corn framed in a silk-screened cock-and-balls drawing.”
| || HEAVEN AND: Bye And Bye I’m Going To See The King CD (STAUB 098CD) 17.00|
This is the second full-length album on Staubgold for Heaven And, comprised of members Tony Buck (The Necks); Steve Heather (Efzeg); Martin Siewert (Trapist); zeitblom. Heaven And’s second album simply cannot be attributed to any genre. Earthy bottleneck guitar licks or wailing lap steel harmonies are occasional references to folk and blues, yet they’re only an acoustic sheet lightning on a heaven in which — occasionally — violins play on cloud nine. But the delicately-tared string quartet does not emanate an acoustic cotton-wool coziness. Rather, it’s a precisely-accentuated “European” counterpoint to those seemingly primeval American motifs. A similar ying and yang is evident in the sometimes deliberately jarring, and almost seamless juxtaposition of acoustic and programmed sounds. From the hovering clouds and walls of sound generated by keyboards or an organ unexpectedly emerges a percussive pulse. Digital sizzling, throbbing and clicking stand in contrast to melodic guitar mantras. Monolithic bass patterns mutate into thunderous noise attacks. Electronic tweeting reminds one of flicking across the dial of an analog radio. Massive layers of chords develop the sinister and gorgeous force of a stream of lava. Dark drum patterns, ritualistic trance grooves or the evident use of snare drum and cymbals are proof of drummers Tony Buck and Steve Heather sure feeling for magic rhythms and associative counterpoints. In other passages, the band goes without beats — which gives the music a more cinematic feel. For this album, live improvisations were used as a basis, which were processed and edited thoroughly, allowing all 6 tracks to develop sublime arcs of suspense, sudden changes in dynamic and an intensity which at times almost assaults the listener. Guest pianist Ali N. Askin (who has been vitally involved in the Ensemble Modern’s Zappa projects) arranged the string quartet, trumpet maverick Franz Hautzinger contributed abstract sounds, while Michael Weilacher completed the rhythmic structures with additional marimba or vibraphone patterns. Named after a song by Blind Willie Johnson, nevertheless, Siewert assets that the band’s music “reminds me more of Haitian voodoo masses than of classic blues from Texas … it reminds me of an archaic spirit and unadulterated, transcendental energy.”
| || ECHOLOGIST: Slow Burn 12″ (SFV 006EP) 12.00|
Under his Echologist moniker, Brendon Moeller presents Slow Burn. The original mix is a lush slice of ambient techno that immediately sucks you into its subby, atmospheric realm where chords and pads playfully bounce off one another. The dub version is a much trippier and spaced-out mix. The B-side features a stellar remix from London’s techno/dubstep talent, Sigha. His trademark psychedelic techno leanings shine through as he delivers just over 8 minutes of dub techno that is destined to hypnotize dancefloors worldwide.
| || SOULEYMAN, OMAR: Jazeera Nights: Folk & Pop Sounds of Syria CD (SF 055CD) 15.00|
Sublime Frequencies is honored to present Omar Souleyman’s third Western collection on disc. This retrospective features live recordings spanning 15 years of Omar’s tireless repertoire, and is rife with frenzied Syrian dabke (a regional folkloric dance and party music), Iraqi choubi and a host of Arabic, Kurdish and Turkish styles, among others — an amalgamation that exemplifies the musical essence of Northeastern Syria. Culled from cassettes recorded between 1995 and 2009, this collection offers a further rare glimpse into Syrian street-level dabke folk-pop — a phenomena seldom heard in the West, not previously deemed serious enough for export by the Syrians and rarely, if ever, included on the import agenda of worldwide academic musical committees. Over the years, Souleyman’s popularity has risen steadily and the group tirelessly performs concerts throughout Syria and has accepted invitations to perform abroad in Saudi Arabia, the United Arab Emirates and Lebanon. In 2006, Sublime Frequencies partnered with Omar to release Highway To Hassake (SF 031CD), the first compilation of his works to be issued in the West. The success of this release and the video for the song “Leh Jani” helped see Souleyman and his group invited for their first Western tour in 2009 alongside label-mates Group Doueh from the Western Sahara. This successful tour quickly elevated Souleyman to the status of an international legend — and deservedly so. This release coincides with the beginning of Omar’s 2010 international tour in May which will take him to the UK, the European mainland, and hopefully the U.S. and Canada. CD features a full-color 8-page booklet with great photos, a general overview of the lyrics translated into English and liner notes by compiler Mark Gergis.
|SUBLIMINAL SOUNDS (SWEDEN)|
| || AMAZING, THE: Wait For A Light To Come CD (SUBL 070CD) 14.00|
This is the second album from Sweden’s The Amazing on Subliminal Sounds. Wait For A Light To Come features brand-new recordings of Swedish folk-rock-psych-pop perfection. Their 2009 debut album received unanimous critical acclaim worldwide. This follow-up is an all-encompassing sonic soundscape of groovy electric folk-rock, psychedelic pop and heavy jams. The core musicians in The Amazing are Christoffer Gunrup, Reine Fiske (who doubles as the lead guitar wizard in Dungen and who solos so furiously, it’s as if something’s trapped inside him that must be turned into melody or he’ll burst into flames), Johan Holmegard (who doubles as the drummer in Dungen, too) and Fredrik Swahn. The intimacy permeating through this group intensifies itself steadily in the music they produce; swimming idly through the twisted melodies, yet luminously anchored by Reine’s astral guitar. Elsewhere they forgo the interstellar for a more bucolic revelry, built upon acoustic laments and a male and female vocal ripple that could only have spread itself outwards from Sweden’s forlorn beauty. With special guests including some of Sweden’s finest musicians; Gustav Ejstes (Dungen) and Moussa Fadera (Life On Earth!) amongst others, nothing on Wait For A Light To Come is introverted or overworked — everything is balanced, kept together by natural melodies and soulful vocals. The Amazing is a feeling, an organic consequence of something that effortlessly came together.
|SYLLART PRODUCTIONS/DISCOGRAPH (FRANCE)|
| || DAGNON, BAKO: Sidiba CD (SYLLART 6146642) 15.50|
Bako Dagnon is one of Mali’s premier Mande musicians, as well as a respected female griot. This is the follow-up to her highly-acclaimed international debut, 2007’s Titati. The West African oral griot tradition of singer/storytellers evolved in the 13th century out of the heartland of the Mali empire, and has since produced many stars, but none quite like Bako Dagnon. She is a singer’s singer. Her clear, soaring voice and rolling melodies mirror the savannah landscape where she was born, in the west of Mali. Bako sings with the authority, passion and wisdom born of having learned her craft the old way: not from recordings, as many young singers do nowadays, but at the feet of masters, deep in the countryside. As such, she may be one of the last griots to live according to the old ways of griotism, though she carries her message for the current age with a knowledge base that ranges from her native Biriko style, to the more lyrical Maninka music from Guinea to the Bambara style from Segou. Her songs sound deceptively simple; yet they are informed by a prodigious knowledge of Mande history and culture, with even Ali Farka Touré often consulting her and Banzoumana Sissoko, “the old lion” inviting her regularly to his house in the 1980s to sing famous old songs like “Janjon.” She has the gift of bringing the old stories to life, making them sound utterly contemporary. She is the bridge between the old and the new. On Sidiba, the special character of her voice finds a new expressive freedom, with a subtle production that brings out the best in her voice and music. When Bako says something, you are compelled to listen.
| || PERRY & OLIVIER GREGOIRE, ANTE: Honey Panny 12″ (SYST 066EP) 12.50|
One of the best-selling and most successful Systematic releases to date has been number #36 produced by Babylon Robots in collaboration with the German DJ legend Ante Perry. The track “Urknall” became a massive tech-house killer all over the global floors in 2008. After different singles on Moonbootique, Giant Wheel and Hertzlich, he now returns to Systematic Recordings, this time in cooperation with Olivier Grégoire, who is also best known under the names Kolombo and Mugwump (R&S, Cocoon, Kompakt).
| || HERPES: Das Kommt Vom Küssen CD (TR 177CD) 17.00|
This is the debut album by Berlin’s Herpes. Hard to say if the boys and girl in Herpes haven’t made their lives a little more difficult by choosing the name of that very nasty infectious disease as their band name, but, being a punk band from Berlin, they couldn’t really give a hoot about any kind of marketing or commercially-minded arguments/objections from anyone. And so, Herpes it is! After their first tour of Europe (France, Sweden, Germany, etc.) before they even had a record out and the subsequent release of club hit “Fette Muttis,” Herpes finally present their first full-length release for Hamburg’s Tapete Records. Das Kommt Vom Küssen (trans. “What You Get From Kissing”) is punk rock with a very artschool twist. Rather than the beer-drinking, riff-rocking, fist-fighting variety found too often in European clubs these days, Herpes are cheeky and fun with weirdo synths, driving drums, German speak-sing shouting, and angular guitar lines. Devo and Plastic Bertrand are just some like-minded artists that come to mind here. Even before their first release, Herpes were invited to London to play the almost painfully-hip Playground Club. A knightly accolade for any continental European band, for sure. Herpes will make you hysterical, Herpes is infectious (ooops…sorry).
|TEMPORARY RESIDENCE LIMITED|
| || MONO: Holy Ground: NYC Live CD/DVD (TRR 159CD) 17.00|
“To celebrate their 10th anniversary as a band — and the release of their acclaimed new album Hymn To The Immortal Wind, Mono and Temporary Residence Limted organized a once-in-a-lifetime concert in New York City. In association with the esteemed Wordless Music Series, Mono super-sized their already legendary live show with a 24-piece orchestra. Painstakingly recorded and mixed by famed producer Matt Bayles (Mastodon, ISIS, Minus The Bear), Holy Ground brilliantly captures every moment of whispered calm and breathless beauty with patient clarity. Included with the album is a stunning live DVD documenting the entire 90-minute performance, featuring live orchestral versions of many of Mono’s most beloved songs. For a decade fans have clamored for a Mono album that matches the catharsis of their infamous live shows, and Holy Ground — overwhelmingly delivers.” NTSC, all region DVD format. Includes 32-page full-color booklet.
| || MONO: Holy Ground: NYC Live 3LP/DVD (TRR 159LP) 30.00|
3LP version with DVD, housed in a deluxe tri-fold sleeve. Includes vinyl-only bonus track.
|THESE DAYS (UK)|
| || VA: These Beats Vol. 1 12″ (TD 007EP) 12.00|
These Days presents an impressive compilation of six drum tools/beats on a single 12″ especially made for DJ use. Our favorite beat-makers, from Radio Slave to Marlon D and Jerome Sydenham, contribute exclusive drum moments from new-school New York to more Chicago jacking and techno. Comes with a beautifully-curated, nostalgic ’90s cover. Essential.
| || TEYSSIER, GUILLAUME: La Femme Invisible CD (TSR 019CD) 17.00|
After his My Sister Klaus project and 2007’s brilliant Chateau Rouge (TSR 013CD) album, French-dandy Guillaume Teyssier comes back with a soundtrack which has the depth of an album — elegant and racy, tainted with discreet melancholy. Composed for the full-length indie movie La Femme Invisible directed by his sister, Agathe Teyssier, the music accompanies a playful and lunar film starring Julie Depardieu in the main part and Charlotte Rampling. Here, no string quartets, no sugar icing, but 15 sharp, deep and minimal instrumental tracks. Crystal chimes, harp cascades, lush guitars, atmospheric piano. Vini Reilly meets Syd Barret meets The Goblins. The chants of Arvo Pärt and Olivier Messiaen rolling down Kraftwerk’s autobahn as a vintage electronic harp pulls the tracks towards magical atmospheres. From the French vintage flavor of “La Femme Invisible (Intro)” to the whirling “Valse Invisible,” from the zen touch of “Thème De Harpe” and “Thème Nocturne” to the fantastic rêverie of “Untitled 1” and “Untitled 2,” from the pounding of “Cat Walking” to the bright denouement of “La Femme Invisible (Outro),” melodies fall like tears, evaporate, then resurrect in glorious cascades. It’s a psychedel-epic odyssey both intimate and lyrical. A mesmerizing score, all simplicity and grace, modern and classic — clearing a path for Guillaume Teyssier’s eventual full-length album.
| || FENNESZ: Venice CD (TO 053CD) 14.50|
2010 repress; universally acclaimed as one of the major releases of 2004! “Venice was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004. Venice, the fourth studio album by Christian Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. Includes the continuation of his collaboration with David Sylvian on the track ‘Transit’, following the success of their duo on Sylvian’s 2003 solo album, Blemish. Fennesz burst upon the scene with Instrument [Mego, 1995] and followed that up with a succession of ground-breaking and highly original solo albums. As The Wire wrote, ‘he offers all the puzzles and adventures of experimental music, but with a more assimilable grasp of melody — and a prominent role for the guitar’, and to be sure, ‘though the process may sound simple, it takes some skillful manipulation to simultaneously tug those heartstrings and poke them with tiny pins.’ [Nick Phillips, City Pages, USA]. Fennesz has been active in film soundtrack work — for Gustav Deutsch and his forensic view of cinema, film ist’… Live performances, improvised music within a modus operandi that adheres itself more to jazz than computer software… everywhere from Tokyo to Bratislava. Fennesz has also taken part in many collaborations: Fenn O’Berg, with Jim O’Rourke and Peter Rehberg [Mego], a duo with Rosy Parlane [Synaesthesia], and with Polwechsel [Erstwhile]. He has also been recording with Sparklehorse, the first fruits of this collaboration appearing on the recently released Spire [Touch # Tone 20]. He lives and works in Paris and Vienna.”
| || GRAHAM AND HIS SATELLITES, KENNY: Moondog And Suncat Suites CD (JBH 036CD) 15.50|
Trunk presents a very rare 1957 album featuring British jazz interpretations of Moondog originals. The exceptional jazz line-up includes Stan Tracey, and the recording is made all the more extraordinary because of the exotic instruments used. And to top it all off, this 1957 recording was also engineered by a very young Joe Meek. This is the first time this fabulous album has been issued since its release 53 years ago. By 1956, the early New York street recordings of the great Moondog had just reached British shores. His primitive percussive sounds struck a new nerve with many artists and musicians, none more so that fine London jazzman Kenny Graham. He was so inspired, that he decided to bring together a band of top-notch jazzers and pay his very own musical homage. The result is this exceptionally rare and unique 1957 album of Moondog cover versions (Moondog Suite) and Graham’s very own complimentary compositions (Suncat Suite). Engineered by a young Joe Meek and starring Stan Tracey, Phil Seamen, Danny Moss, Ivor Slaney, soaring vocalists and a host of strange instruments, this was a truly unique cocktail of sound and musical vision. There is no other recording that would ever bring together Moondog, British jazz and Joe Meek. And the result is an exotic, ethereal and timeless album that will inspire, haunt, beguile and charm for many years to come. Beautiful period color sleeve, CD comes with a 6-page concertina booklet, complete with the original 1957 sleevenotes, and a biography of Kenny Graham.
| || OXIA & NICOLAS MASSEYEFF: Keep The Drums 12″ (TSUBA 041EP) 12.00|
“It’s a pleasure to welcome back Oxia for his next Tsuba release, this time alongside Nicolas Masseyeff. The resulting track ‘Keep The Drums’ is a total killer house tune with the impeccable production that you would expect from Oxia and Nicolas. For the remix, Martinez provides a percussive bomb rounding off a package that looks set to be one of 2010’s big releases.”
| || INDIGNANT SENILITY: Plays Wagner CD (TYPE 060CD) 14.50|
This recording under Pat Maherr’s Indignant Senility moniker first appeared as a very limited cassette on Maherr’s own label in 2009, but as soon as it landed at the Type offices, they knew it needed to reach a wider audience. Using a handful of dusty Wagner pieces (no doubt scored from one of Portland, Oregon’s many thrift stores), he has stretched and distorted the hallowed tones of the original material into something indescribably dark and beautiful. Like David Lynch’s peerless Eraserhead soundtrack before it, this is music that sounds as if you are being dragged through rusted pipes and hearing the distant swell of broken gramophones playing in unison. Maherr has created music that is at all times exquisite but deeply disturbing. Like Leyland Kirby or even William Basinski, there is a sense of harmony, nostalgia and restraint in the layers of hiss, grit and noise. It is only very rarely you hear something as pure and enveloping as Plays Wagner, and Type is proud to be able to bring this to the wider world. Having mastered this from cassette tape, all the decomposing grime experienced on the original version (which was dubbed to aging, heavily-used C90 cassettes), has been maintained, but also has been beefed-up for public consumption. The best way to absorb an album like this is to just listen and simply slip away into a deep, nightmarish slumber. Just keep your eye on the radiator, who knows what might happen.
| || ROTHENBERG, NED: Ryu Nashi/No School – New Music For Shakuhachi CD (TZ 7267) 14.50|
“Internationally acclaimed for his solo music since the late ’70s, Ned Rothenberg is one of the world’s most original voices on the shakuhachi. A student of two of the foremost masters of the instrument, Yamaguchi Goro and Yokoyama Katsuya, his style is informed by tradition, but goes beyond it to many new and exciting domains. This CD presents his original music for this unique Japanese end blown flute in beautiful recordings that capture all the subtle nuances of this ancient and profoundly moving instrument. Performed by Ned and some of the foremost players outside Japan, Ryu Nashi is evocative and cutting edge music for shakuhachi.”
| || DREAMERS, THE: Ipos: Book Of Angels Volume 14 CD (TZ 7380) 14.50|
Subtitled: The Dreamers Play Masada. Featuring Marc Ribot (guitar>, Kenny Wollesen (vibraphone), Jamie Saft (keyboards), Trevor Dunn (bass), Joey Baron (drums) and Cyro Baptista (percussion). “The dynamic sextet featured in two of Zorn’s most recent and popular musical projects — The Dreamers and O’o — jump another level in Ipos, their most beautiful and powerful recording to date. Featuring ten new compositions from the lyrical Book of Angels, the music draws exotica, surf, world music, Latin jazz, rock, film music and more into a seductive new musical world. Perfect for the early morning, late at night, at home or in the car, The Dreamers Play Masada is truly a magical combination. Powerful new music performed by an all-star band of downtown masters.”
| || GOLDBERG QUARTET, BEN: Baal: Book Of Angels Volume 15 CD (TZ 7381) 14.50|
“A mind blowing and fiery new quartet featuring Ben Goldberg, one of the true pioneers of Radical Jewish Culture whose groundbreaking group New Klezmer Trio proved an important influence on the Masada legacy. Turning his hand to Masada music in this fabulous all-star quartet — organized, arranged and conducted by Zorn himself — Ben plays like never before, displaying a sensitive virtuosity and a brilliant sense of sound and space. At times moody, intense, meditative, driving, lyrical and atmospheric, this is brilliant Jewish chamber music from four longtime and intimate members of the Masada family. Absolutely stunning!”
| || SAFT, JAMIE: A Bag Of Shells CD (TZ 7520) 14.50|
“Virtuoso pianist/guitarist/recording engineer/composer Jamie Saft has been a crucial member of the downtown scene since the early 1990s, both as sideman and as leader of his own ensembles. In more recent years he has turned his hand to scoring film, and this exciting collection displays the incredible facility and diverse range of his compositional and production skills. Recorded and mixed at his infamous studio Frank Booth, the cues range from jazz, reggae and heavy metal to Jewish music, classical and more. A talented multi-instrumentalist, Jamie performs most of the music himself, bringing in a few luminaries from the downtown scene as special guests. The music is moody, intense, driving, lyrical and a constant delight.”
| || THIRLWELL, JG: Manorexia: The Mesopelagic Waters CD (TZ 8072) 14.50|
“One of the most radical musical renegades since his early days in the 1980s as Foetus, JG Thirlwell has been expanding his musical language more recently through collaborations with classical musicians, improvisers and even robots! This CD is the long awaited third installment in his Manorexia trilogy, his most experimental instrumental grouping to date, and presents his dynamic music in colorful chamber arrangements for string quartet, piano, percussion and laptop. The compositions are in turn strongly rhythmical, cinematic and textural, disturbing yet beautiful.”
|UNIVERSAL SOUND (UK)|
| || EIGHTIES LADIES: Ladies Of The Eighties LP (US 033LP) 21.00|
Deluxe heavyweight gatefold vinyl version. “This amazing one-off album produced by Roy Ayers featured the group Eighties Ladies, made up of the singing talents of Susan Beaubian, Marva Hicks, Vivian Prince, Denie Corbett & Sylvia Striplin\, backed by an all-star line-up Roy Ayers band (including Rick James, who shares the production). The anthemic ‘Turned On To You’ and ‘Ladies Of The Eighties’ are both included in this absolutely classic boogie-funk-jazz-soul album from the start of the ’80s. Loved by soul boys and jazz heads alike, this is one of the rarest of all classic boogie albums, with original copies fetching upwards of hundreds of pounds for many years now.”
| || VA: The Afrosound Of Colombia Vol. 1 3LP (VAMPI 108LP) 34.50|
3LP version. Over 2 ½ hours of funky, hot Afro-influenced tracks from the ’60s and ’70s golden-period of the seminal Discos Fuentes label in Colombia. Forty-three dancefloor hits provide an irresistible mix of genres: salsa, cumbia, boogaloo, tropical funk, and chicha. The story of the Afrosound is a tale of transformation. It tells of the enslaved African peoples who were taken to Colombia, who mixed with Europeans and indigenous inhabitants (by force or choice), and were eventually set free, as well as the escaped cimarrones (maroons) that lived in palenques (fortified settlements) and continued their own traditions. The Afrosound sings of a double diaspora, first the trek in chains during the infamous Middle Passage from the Motherland of Africa to the so-called New World, then much later, the migration from the plantations to the cities. This release deals with the unique sounds produced as a result of the inventive mixing of pop and roots that took place in the urban confines of the Discos Fuentes studios, far from Colombia’s coastal regions. The invented term “Afrosound” serves as the title of a thrilling and sometimes odd soundtrack that chronicles the diffusion and evolution of the musical culture from those coastal regions as it was brought inland, where it was translated, simplified, mass marketed, manufactured, modernized, “whitened,” globalized, recycled, and then sent back to the world at large, disseminated from the cities of Medellín and Bogotá, where the major bulk of the music production industry resided in the ’50s through to the ’70s. To tell the story of Afrosound, you not only have to know about the influence of Afro-Antillean music and indigenous Colombian tropical coastal genres, you also have to know something about the history of Discos Fuentes and musician/producer Julio Ernesto “Fruko” Estrada. Suffice it to say that the coastal area of Colombia shares in common with other areas in the Caribbean Antilles a certain tropical mix of sensuality and syncopation that somehow manages to combine joy and pain in a transporting wave of rhythm and melody that is food for the soul. The tracks on this compilation were chosen from the vast archives of Discos Fuentes because they are fun, funky, and unexpected. The title of this compilation comes from one of the Fuentes bands, Afrosound, but here it’s taken more as a general term to denote the funkier side of the label’s prolific output in the ’60s and ’70s. The unifying factor for the collection is that the tracks all have something to do with African roots or influences in one way or another, and they mark a period of sonic experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers, and engineers. Full-color printed inner sleeves include in-depth liner notes with rare photos and original LP artwork.
|VINYL LOVERS (RUSSIAN FEDERATION)|
| || NICO: Femme Fatale 2LP (VL 900960LP) 37.00|
“Despite her stunning beauty, famous friends and lovers, and a promising career as a model, Nico, instead of becoming the trophy wife of a rich man, aligned herself with nihilism and self-destruction, becoming the goddess of the underworld…a beautiful and tragic angel of death with a voice from the beyond. In 1982 she recorded two tracks with Martin Hannett, most known for producing the similarly gloomy Joy Division and New Order, and backed by The Invisible Girls. These tracks, a reworking of the Velvet Underground’s ‘All Tomorrow’s Parties’ and her own brooding ‘Procession’, alongside heavily atmospheric live tracks selected from her 1983 tour in London, Copenhagen, Utrecht and Amsterdam are present here. Femme Fatale also includes versions of songs written for her by Dylan, Browne, Bowie and Lou Reed as well as nine Nico originals. Also featuring a detailed bio by Nina Antonia.” Gatefold sleeve.
| || FOWLEY, KIM: Animal God Of The Streets LP (VL 900977LP) 24.00|
“A driving force behind both flower power and punk rock, if you are a rock ‘n’ roll fan chances are you’ve crossed paths with something Kim Fowley either wrote or produced. When he wasn’t busy writing songs for, or producing, the Beach Boys, Cat Stevens, Frank Zappa, the Runaways, the Modern Lovers, and Soft Machine, to name just a few, he was releasing his own albums, like this 1975 LP, a Doors-influenced garage binge from the outer fringes of rock ‘n’ roll. Includes annotated track list and liner notes by Kim Fowley!”
| || SCHAFFHAUSER, MATHIAS: Re:3 / Selected Remixes Vol. 3 CD (WARE 018CD) 15.50|
This is the third volume in Ware label-boss Mathias Schaffhäuser’s Re: Selected Remixes compilations. Re:3 was made almost entirely during the most extreme techno economy crisis to-date, when Mathias Schaffhäuser received one remix request after another. Except for two, all tracks were produced after August 2009. This makes Re:3 a fresh and coherent album, not much different from an artist album. There are two tracks that Ware is particularly thrilled about: unlike the sad fade-out version on the Faust album from 2002, the remix for “T-Électronique” here is featured in its full-length. “You Laugh At My Face,” originally by Patrick Cowley & Jorge Socarras (aka Catholic), is a track exclusive to this compilation. Stefan Goldmann’s Macro Recordings found the original version on an unreleased album from the 1970s when both these artists collaborated. Later, Jorge Socarras played in the band Indoor Life, who Schaffhäuser was a huge fan of during the early 1980s. When he heard the Cowley/Socarras track, the old flame rekindled. After a few phone calls to Macro, the licensing and release of an exclusive mix was a done deal. Also, the remixes for Leigh Morgan and Aldrin & Akien were so far only available as internet downloads — the first is now being released on CD and vinyl, the latter on vinyl only, as is the 16-minute original remix version of M² (alias Markus Güntner and Markus Kavka). Other artists include: Henneberg & Stiller, Philogresz, Gunne, Delhia De France, Breger, and Nooncat.
|WARP RECORDS (UK)|
| || HUNDRED IN THE HANDS, THE: This Desert CD (WAP 293CD) 8.00|
“This Desert strikes a path that touches on elegant French pop, blissed out dub, house and post-punk. The 6-track EP sets the stage for deeper explorations on a full-length this fall (2010). The Brooklyn-based duo consisting of Jason Friedman and Eleanore Everdell creates emotionally charged and intensely driving music, which harks back to the most classic of dance songs from NYC’s storied underground. The band describes the EP as, ‘The more ethereal, gauzy side of our tastes; the Summertime-Gothic and dreamy tracks we made thinking they’d go well with open hydrants and looks that kill.’ But The Hundred in the Hands’ self-description belies more than just a dance band. Everdell and Friedman bend and blend styles, sounds and eras into something that doesn’t feel confused, fake or forced. It just feels fun.”
| || LIDELL, JAMIE: Compass CD (WARP 192CD) 15.50|
“Jamie Lidell is a genuinely restless soul. He broke out of small-town England and has been a nomad ever since. His constant desire to progress, leaping and stumbling towards new discoveries, has defined his musical journey so far; and there’s no sign of it fading away. Recorded in Los Angeles, New York and Canada, Compass is his most eclectic album yet. Songs shift, chop, change and mutate genres and forms before our very ears. It’s got funk in spades; the jaw-dropping power of the vocals is stronger than ever; it rocks, it pops, it’s sweet, angry, hard, soulful and soft, often within the span of a single track. It’s the restless album that finally matches the soul of its creator. Jamie’s fellow travelers on Compass include Beck, Feist, Gonzales, Chris Taylor of Grizzly Bear and Pat Sansone of Wilco. Musically and lyrically this is very much A Jamie Lidell Production reflecting not only his exhilarating, diverse tastes, but also a year of change, love, longing and arrival at a new place. For both newcomers and initiates, this will be an experience. And no, he won’t stop.”
|WE ARE FREE (UK)|
| || INDIAN JEWELRY: Totaled CD (WRF 008CD) 13.50|
“Woozy, heart-pounding and subject to double-vision, Totaled is more than a record for people doing poppers. It’s an all-in album, an unsprung clock, and it moves sideways in time. In it is the swamp electro of 2003’s We Are The Wild Beast, the nightmare throb of 2005’s Invasive Exotics, and the sonic angel dream of 2008’s Free Gold. It’s a crash course in sound + vision. The record was written and recorded in 2009 in Houston, Texas and Los Angeles, California by Erika Thrasher and Tex Kerschen. Totaled is the sum of hundreds of shows on the road, hundreds of hours under headphones, and the countless songs they’ve already written together. These are songs like iced tongues. Songs for the love hole, mind hole, sink hole, worm hole. This is an encounter with the true and the truly fucked up.”
|WE PLAY HOUSE (BELGIUM)|
| || SAN SODA: Immers & Daarentegen Sampler EP 12″ (WPH 008EP) 12.50|
We Play House presents a sampler from San Soda’s debut album, featuring three exclusive tracks. “Bright Piano” kicks things off with vintage San Soda chords, a big build-up and then a break to leave everybody wanting more. On “Ode Aan De Verkeersdrempel” San Soda tests out just how much Laurent Garnier likes We Play House. “Hypocrisy” sees San Soda drop a dancefloor bomb that puts the majority of big room releases to shame, while still maintaining that typical WPH rawness.
|YORE RECORDS (GERMANY)|
| || WADE, RICK: Duke Of Cologne 12″ (YORE 024EP) 12.00|
Deep house soldier Rick Wade has been releasing deep house tracks long enough to warrant a royal title, and now he returns with the mighty Duke Of Cologne. Driven by a slinky backbeat, the title track gets its skanky kick from a wah-wah guitar figure and classic, disco-era strings. “Forever Pimp” rolls out an immense thrust. Alongside a driving house rhythm, congas, electric piano, a snake-charmer flute, and high-pitched strings take turns in the spotlight. Not to be missed!
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