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AS 009LP 1958-2009: 1958-2009 LP (AS 009LP) 18.00
“Amethyst Sunset is extremely proud to present the final document produced by 1958-2009. Matthew Sullivan (Earn/Ekhein) and Alex Twomey (Mirror to Mirror /Jugular Forest) provide us with the most beautiful guitar/synth ballads recorded on the one year anniversary of the death of the King of Pop. All brand new material and not released on any of the previously released cassettes. Limited to 350 copies on black vinyl.”
BEU 281CD ALESSI’S ARK: Time Travel CD (BEU 281CD) 13.50
“The beneficiary of studio time with in-demand producers and musicians, and tours with Mumford & Sons and Laura Marling, Alessi presents Time Travel, her first full-length U.S. release.””(Alessi) is wise beyond her years with her beautifully dulcet tones.” –NME.”Prepare to be enchanted by whispy, breathy vocals and ethereal folk songs.” -The Independent (UK). Includes a download code for bonus material not included on the album.
BEU 281LP ALESSI’S ARK: Time Travel LP (BEU 281LP) 18.50
LP version. On 180 gram vinyl. Includes download code for full album, plus bonus material.
BLKBXXX 004EP BIOME: Space 12″ (BLKBXXX 004EP) 11.00
With consistent support across Rinse FM, Manchester tastemakers Biome embody the current dungeon dubstep renaissance. Fierce kick-drums perforate the monolithic bass vacuum, where distorted space-time is squeezed by gravity-shifting synth-work and dramatic pianos. Support from Youngsta, Kryptic Minds, N-Type and DJ Madd. One-sided release.
BNR 063LP DRIVER, JAN: Amatilda 2LP (BNR 063LP) 20.00
Gatefold 2LP version. Jan Driver has been releasing music since 1993. Born and raised in Berlin, he started to produce music with analog gear and ever since, he’s done more than 100 remixes for artists such as Armand Van Helden, Laurent Garnier, Boys Noize, Faithless, Blaze, Romanthony, Afrika Bambaata, and others. With his own hits and remixes, he has toured the world from 1995-2003, until he decided he needed a break, saying goodbye to the pressure of making hits. He founded his own label Grand Petrol in 2004 where he started to release more deeper and playful tech-house while also releasing the music of his long time friend, Siriusmo. Between 2006-2009, studio work took up most of his time, so he didn’t do many DJing gigs but found himself being the mastering engineer, mixer and co-producer for Riva Starr, Modeselektor, Siriusmo and many more productions. In 2010, he released his much-anticipated Gain Reaction EP which got him big support from house and techno DJs like Erol Alkan, Miss Kitten, Tiga, A-Trak, Jesse Rose, Annie Mac and many more. Soon, Jan started producing his own music everyday and suddenly there was an album, his very first — playful as never before, and so colorful — an album that reflects his experience of almost 20 years of electronic music, quality production and forward-thinking tracks you can’t put in any category. Do you like techno? Disco? Punk? UK dub-tech? Listen to this album — it’s all in there, but be prepared, your head might explode because of Jan’s heavy bass. Real bass. Deep shit. Great tracks. Welcome back, Jan Driver.
BF 023LP THUNDERCAT: The Golden Age Of Apocalypse LP (BF 023LP) 17.50
LP version. “If indeed ‘you blows who you is,’ as Louis Armstrong once famously said, then Stephen Bruner’s bass is a mainline to the soul of a man whose DNA was transcribed from the stars onto staff paper. His Flying Lotus-produced debut, The Golden Age of Apocalypse, offers both stone-cold skill and uncanny astrality, picking up where the pair left off on 2010’s Cosmogramma and further distilling the jazz current running through that landmark Lotus release.” Includes download code.
BB 085CD TARWATER: Inside The Ships CD (BB 085CD) 17.00
This is the eleventh studio album by Bernd Jestram and Ronald Lippok aka Tarwater. On board are eleven songs that reflect the different facets of the Tarwater sound cosmos: dense soundscapes created by skillfully interweaving electronic and analog sounds. When the duo began working on the album, they initially intended to create a “Space Opera.” That was not to be, but the resulting visions of the future, fictional knowledge and the distant and unknown served as the inspiration for these songs. Yet despite titles like “Inside The Ships,” “Radio War” Or “Do The Oz,” this is not a concept album. Tarwater have always befuddled the fanatics of stringent categorization among pop analysts. The synesthesia produced upon hearing the new album — seeing alien worlds by means of acoustic stimuli — is deftly created by Jestram and Lippok in their own special way. They have dispensed with coldness and overtly technoid sounds. Science-fiction folklore remains sidelined. The “otherness” is produced, for example, through the use of brass (tuba, saxophone, horn, trumpet and trombone) and other instruments that are otherwise used far from the pop-context — such as the cimbalom. Even with these unusual elements, Tarwater’s sound cosmos remains an organic whole and is immediately captivating on first listen. “Sato Sato” marks the first time that German lyrics appear on a Tarwater album. The text is taken from a track by Deutsch-Amerikanischen Freundschaft (DAF) on their 1981 album Alles Ist Gut. However, it’s not really a cover: The phonetics of the lyrics serve primarily as another instrument with which Tarwater forms the song. Only the text is used, embedded within a new composition. This also applies for “Do The Oz” by John Lennon and Yoko Ono. While Jestram and Lippok’s work includes composing and performing music for film and theater, this album served as the model for the short film The Eagle Is Gone by Mario Mentrup and Volker Sattel. The film is set at night, in Berlin, at Alexanderplatz. The unique black and white aesthetic blurs the boundaries between the late Expressionism of the ’20s, the cool charm of the ’80s, and the present. The whole thing is supported by Tarwater’s songs, which were not written for the images, but rather provided the inspiration for the visuals, and thus actually generated the images. In this respect, the album becomes a form of dialogical introspection. Making a guest appearance on the record is Detlef Pegelow, a Klezmer musician who also performed as a guest in Tarwater’s predecessor formation Ornament & Verbrechen (1980-1983). Inside The Ships also works as a metaphor for the “inside,” whether within a ship or construed metaphysically. The song “Palace At 5 AM” is based on a poem by Charles Baudelaire that paraphrases the images and emotions induced by the rush of intoxication. Setting off with Tarwater means discovering something new and intensifying the familiar.
BB 085LP TARWATER: Inside The Ships LP (BB 085LP) 17.00
LP version on 180 gram vinyl with download code.
CRP 112LP MODULO 1000: Nao Fale Com Paredes LP (CRP 112LP) 31.00
“Formed in Rio in 1969, Modulo 1000 was a short-lived Brazilian progressive rock band which took its cues from British psych/prog and American hard rock to create something entirely new on the Brazilian music scene, much like the Sao Paolo based Os Mutantes who were also playing around the same music scene at this time. Their one and only album, 1971’s Nao Fale Com Paredes, featured nine tracks of heavy guitar and swirling keyboards amidst a barrage of protest lyrics, which may have made the band unpopular with Brazil’s military dictatorship, but extremely popular with fans. Like Os Mutantes, Modulo 1000’s one and only album remained a closely guarded secret until it was thankfully unearthed and re-released in the 1990s to much acclaim among fans of Brazilian music in Europe and the USA.”
CRP 113LP DEUTER: Aum LP (CRP 113LP) 31.00
“A mix of eastern and western styles, acoustic and electric instruments and musique concrete, the German-born Georg Deuter has been sharing his unique style with the world since an early brush with death prompted him to pursue a music career in 1970. Over the years Deuter, who now lives in Santa Fe, has followed his own spiritual path around the globe, releasing dozens of albums in the New Age genre, his most recent being 2010’s Mystery Of Light. 1972’s Aum, originally released on the German Kuckuck label, however, was more of a krautrock affair, combining the sound of the ocean with sitar, flute, guitar and drums to create a meditative mantra-like groove.” On 180 gram vinyl.
COMP 383EP K’BONUS & NEGGHEAD: Harmonizing 12″ (COMP 383EP) 12.00
Idiosyncratic house music with a subtle disco submission. Crunchy, wiry, powerful, rising deep. K’bonus from Antwerp was invited to come and play with Nightmares On Wax and his Wax On Records crew in Ibiza, where Negghead is a fixed star of the Wax On family. It resulted in a remix by K’bonus of Negg’s tune “You,” which got picked up by Moodymann and Benji B, amongst others, while Negghead remixed one of K’bonus’ tunes. Remixes by Acid Mondays and Dave Brody vs. K’bonus.
CRASS 004CD CRASS: Christ – The Album 2CD (CRASS 004CD) 19.00
“The fourth release in the Crassical Collection, Christ the Album was recorded at Southern Studios between July 1981 and February 1982 and was the fourth studio album from Crass. The reissue includes additional outtakes and a second disc featuring the live recording of their June 1981 gig at the 100 Club in London along with other studio tracks, demos, radio broadcasts and cassette recordings, as well as the original Gee Vaucher poster, plus extensive liner notes from band members Steve Ignorant and Penny Rimbaud.”
DIAL 023CD FLUGEL, ROMAN: Fatty Folders CD (DIAL 023CD) 17.00
After two outstanding 12″ releases on Dial Records, German electronic music staple Roman Flügel continues with Fatty Folders, a full-length album presenting a colorful selection of essential works. Also known as Eight Miles High, Soylent Green, Sensorama and Alter Ego, Roman Flügel always has been a main influence on the Dial Records family. Roman Flügel’s unique and unexpected productions explore an excitingly wide range of eclecticism, modernism and dandyism under a groove. Every single track is a magical journey and the whole album is like finding a universe as deep as an ocean. Here comes a true sound scientist who knows how to enchant the dancers, the connoisseurs and the lovers.
DIAL 023LP FLUGEL, ROMAN: Fatty Folders 2LP (DIAL 023LP) 23.00
Gatefold 2LP version.
DIYNAMIC 052EP SOLOMUN/STIMMING: See You Everyday Alone/Challenge The Air 12″ (DIYNAMIC 052EP) 12.00
Diynamic label-boss Solomun delivers the soulful jam “See You Everyday Alone.” Epic strings and sounds of thunder and rain lead into deep breakdowns with a dark touch. Stimming’s contribution is “Challenge The Air,” featuring soft bass and vocals by David Stoltzenberg. Layered guitars and basslines combined with Stimming’s signature groove account for a warm, organic mood. The echoing vocal phrases underline the floating structure, which lends a hypnotic touch. Definitely one of Stimming’s more personal and emotive works.
DC 466CD SOCIAL CLIMBERS: Social Climbers CD (DC 466CD) 13.50
“It’s almost 1980. Soho, New York is fertile with young, no-wave punks getting sharper and increasingly angular: Branca, DNA, Teenage Jesus, Contortions, Suicide, et al, as well as the groups they would spawn. Coveted and revered bands for many today, this music was peripheral at the time. Unheard by most save for the underbelly, these were artists living free and dirty, trying to outdo each other. Within the periphery of this periphery, Social Climbers made sounds that were of their environs yet remarkably unique, leaving an indelible stamp on the scene while somehow managing to slither undetected out of all the history books. A downtown New York art band as much as any other, Social Climbers also claimed midwestern roots and actual musicianship that many of their contemporaries lacked, and in trade dismissed and essentially protested the snotty pretensions that drove many others within the scene. Social Climbers are an absolute post-punk blueprint: fat bass (often two), guitar, drum machine (dubbed “the monkey”), feverish vocals, and organ. Their lone, self-titled album is agitated and impossibly wild, yet danceable and composed. Gulcher Records initially released the album as a triple 7″. Their record was barely picked up by the local underground rock distributor, as is common in a crowded scene, and the group disbanded in 1982. Their one artifact is as earnest as it is fractured and terrifying. Mostly, it’s just fucking cool. And it’s here, again, sounding as relevant today as it did when it was of the moment; perhaps, even more so. And the CD contains two bonus tracks!”
DC 466LP SOCIAL CLIMBERS: Social Climbers LP (DC 466LP) 17.00
LP version.
DC 470CD BAIRD, MEG: Seasons On Earth CD (DC 470CD) 13.50
“Why if it ain’t young Maggie Baird! Wandering down the lane in distraction, yet forward and with purpose, our Miss Meg is back among us with her first new record in four years. Seasons on Earth reflects on at least a dozen or so of the things we call ‘seasons.’ Their passing has clearly left her the stronger for it. Meg is a thoughtful, spiritual, scientific and skeptical young woman who hears from and speaks back to the world in music. The pristine quality of her voice is the face whose placidity conceals a tangle of thoughts and sensations, and the guitar behind it conveys those complexities with tenacity and clear articulation. Her 2007 solo debut, Dear Companion, was in some ways a record about records, and those who hear and collect them. For that album, Meg sang eight songs by other singers, adding two of her own. Seasons on Earth places itself within the community of singers, songwriters and players; resilient, even rebellious in selfhood, assured of a place to go when the music’s over. Here there is a feeling to be tapped, songs to be written — so Meg has written them, saving room for a couple old favorites that fit well with her new work. This is a vision of Meg’s music that moves beyond the boundaries of Dear Companion, encompassing production, group playing and Meg’s world view to make a more social record, an album that revels with friends and neighbors while observing with a fresh and free sense of itself.”
DC 470LP BAIRD, MEG: Seasons On Earth LP (DC 470LP) 15.00
LP version.
DC 472CD CAVE: Neverendless CD (DC 472CD) 13.50
“Welcome to Neverendless! You’re all on Cave time now. This long player is the band’s first recording as a four-piece. As a result, Neverendless is more concise than any other CAVE record, despite clocking in at over 40 neverendless minutes. With only four designated inputters, we hear a thicker, denser sound with the shop light burning bright on all those nuances. Thus, clarity ensues! And this new and neverendless focus achieves what Cave has been doing all along anyway: inviting the listener to vibe with them. ‘WUJ’ could be an acronym, it could phonetic, it could be ignorant overturism — who knows and, frankly, who cares. We don’t title these songs ourselves — that went out a long time ago — but if we did, we probably would have called “This Is the Best” just that. It’s a mystery why Cave chose this title — we don’t talk with them like that — but that’s just the way that song makes us feel. It’s the best almost-fifteen minutes in rock today. Up until now, music from Cave has appeared on CAVE Tapes, Permanent, Important, Static Caravan, Trensmat and Drag City. Naturally.”
DC 472CS CAVE: Neverendless Cassette (DC 472CS) 8.00
Cassette version.
DC 472LP CAVE: Neverendless LP (DC 472LP) 17.00
LP version.
DC 491LP AZITA: Disturbing the Air LP+CD (DC 491LP) 17.00
“Disturbing the Air is a record of new songs from Azita, featuring piano and vocals. For these songs, only the piano proved delicate and flexible enough to hold Azita as she sang of unsaid moments, testing the words she heard that no one else dared to say. Even with a minimal palette, these performances are a brooding, commanding lot. Disturbing the Air considers the darkness that comes over a relationship in imbalance; vacated by one party, leaving the other in a faded, ghostly state. For Azita, this is a state of non-being. It means matching oneself to the void, a terrifying encounter. For we who listen, it means that we compare this album to no other — not even records that share its piano-and-vocal arrangement. Disturbing the Air is an expression; a singular statement, made more of necessity than desire. This album comes with a CD of the music enclosed.”
DC 495EP SIC ALPS: Battery Townsley 7″ (DC 495EP) 6.00
“D’we say Sic Alps? More like Slic Alps with this A-side they got goin’. The acoustic guitar is just that–acoustic! Almost glistening for real in front of the band with their rockin’ and scrubbin’. Even the vocal is tanked-out in an almost hearable way. Almost–but then the flip is boasting that v-word and living a bit more roughly than its clean shaven neighbor. Clangorous, with trash crashing in the background and hissing into grey. The guitars agree around the riff, the vocals trace the way, the drums explode and suddenly it’s over. We’re left with echoes. And we like echoes.”
EAR 037LP PRIMAL SCREAM & MC5: Music From The Film ”Black To Comm” LP (EAR 037LP) 27.50
“Deluxe limited edition one pressing LP of both bands performing live on stage together at the Royal Festival Hall London. Artwork is a painting by MC5 bassist Mike Davis derived from a sketch from 1967. Joint vocals shared by Primal Scream’s Bobby Gillespie and William Duvall from Alice in Chains guesting on vocals for Davis, Kramer & Thompson.”
EAR 041CD HAWKWIND: Leave No Star Unturned: Cambridge January 1972 CD (EAR 041CD) 24.50
“Previously unheard and unreleased live Hawkwind show from the Cambridge Corn Exchange in 1972. Recorded at the beginning of Hawkwind’s mainstream breakthrough year, it features ‘classic line-up’ members Dave Brock — Nik Turner — Lemmy — Robert Calvert. Diligently cleaned-up and re-mastered to provide maximum listening quality, and enabling Hawkwind’s dedicated fan base to experience the band in full flow, poised to fly high and fly far, making the very concept of space rock their own in perpetuity.”
EMEGO 123LP MCGUIRE, MARK: Get Lost LP (EMEGO 123LP) 19.50
LP version. And yet another killer album from the ever-productive Mark McGuire (Emeralds). It just keeps getting better, as he delivers another fine set of tunes in his perfected style. A few more electronic elements than usual and even some voices, but still the unique blend of feel-good riffs, electric and acoustic loops and melodies that just stick in the head. This album is chockablock with short hits and one long jam of blissed-out McGuire ambience. Awesome. Electric and acoustic guitar, vocals, and guitar-synthesizer recorded digitally between June 2010 and July 2011 in Westlake, Ohio and Portland, Oregon. Mixed at Hardbodies, July 2011 by Mark McGuire. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin. Photography and art by Mark McGuire, 2011.
EMEGO 127LP ANGEL: 26000 LP (EMEGO 127LP) 19.50
LP version. Angel is Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (Schneider TM) who play time-transcending freeform sound with the weightlessness and gravity of electromagnetic signals, together since 1999. These five tracks describe the last period of a 26,000 years-long cycle that leads to a new situation on this planet. 26000 was recorded between 2008 and 2010 at Construction Site Studios in Berlin and Ilpo’s cottage in Karttula, Finland and features guest appearances by Hildur Gudnadottir, BJ Nilsen and Oren Ambarchi. The repertoire of the instruments is very wide: glass bowls, metal objects, pieces of wood, grass, birds, dragonflies, lake echo, smoking box and regular electronic equipment as well as acoustic instruments. Hildur plays cello & the hallodrone (a kind of cello that feeds itself back). Oren plays percussion & guitar. Benny did field recordings and processing. All mixed by Angel at Dirk’s newly-built studio called Zone and mastered by Rashad Becker in Berlin. It’s all good in the tummy, bwoys, because the Black Sabbath parts were totally AC/DC.”Nothing is wider than empty things.” –Francis Bacon”Time is the accident of accidents.” –Epi Kuros
EDLX 018EP KIERAN & JOCHEM PAAP, PHIL: Workshops Vol.01 12″ (EDLX 018EP) 12.00
Workshops is a new experimental series by Phil Kieran and Jochem Paap (aka Speedy J), exploring the recording techniques used in the middle of the 20th century and dating right back to the mid-1950s. Volume 1 consists of three flowing tracks with an organic appeal. “Paint And Chemicals Dept. Dub” is the most dancefloor-focused of the bunch. “Wood And Organic Dept” drips with spaced-out sounds and “Wood And Organic Dept. Dub” is the heavy cousin of B1., which leads back to the dancefloor.
EXP 020LP ENGLISH, LAWRENCE: The Peregrine LP (EXP 020LP) 18.00
“It is truly an honor and privilege to present the latest work by long time comrade, inspiration, and one of the modern masters of the craft, Lawrence English. Over the past decade English’s work has been published widely on respected imprints including Touch, 12k, Winds Measure, his own Room40 label and has collaborated with fellow contemporaries such as Tujiko Noriko, Stephen Vitiello, Ben Frost, Francisco Lopez, Minamo, DJ Olive and Tenniscoats. Lawrence’s latest work The Peregrine was realized in sound during the first half of 2011. Based upon J.A. Baker’s book of the same name, the album finds its structures through the descriptions of land, environment, and movement contained within the books’ chapters and further develops Lawrence’s experimentation with harmonic distortion and saturation.”
FINGER 001CD HUGHES, LANGSTON: Harlem In Vogue: The Poetry & Jazz Of Langston Hughes CD (FINGER 001CD) 17.50
“Twenty-nine track collection of classic material by Langston Hughes, a key innovator, novelist, playwright and poet whose best-known work sparked the Harlem Renaissance of the 1920s and 1930s. Featuring the super rare Weary Blues album where Hughes’ incisive poetry was set to music by Leonard Feather’s All-Star Sextet and Charles Mingus and the Horace Parlan Quintet from two late 1950s sessions. An early conceptual piece, The Weary Blues highlighted New York life in Harlem at the end of the ’50s painting a vivid story in words and also some fine jazz playing. The set also features Hughes’ spoken word versions of some of the tracks along with other socially-charged pieces including the influential ‘I Have Known Rivers,’ which has been interpreted by jazz and soul exponents on many occasions since, as well as Hughes’ recollections of bars and boulevards and the emotive study of ‘dark’ America on the poignant ‘I Too.’ Finally, the collection closes with two Hughes interpretations by Bob Dorough With The Bob Dorough Quintet from the similarly rare vinyl album ‘Jazz Canto Volume 1.’ Remastered with sleeve notes by MOJO magazine’s Dave Henderson.”
GET 51280CD BYRD, GARY: The Gary Byrd Experience CD (GET 51280CD) 15.00
“Having been a close collaborator with Stevie Wonder for years, 1972’s Gary Byrd Experience represents the talented musician’s opportunity to step into the spotlight with his own group. Best known as a DJ working at New York station WWRL, Byrd’s relationship with Wonder began in the ’60s and continued through Wonder’s prolific years in the next decade, when he helped co-write ‘Black Man’ and ‘Ghetto Village Land.’ Stepping out on his own with this album, Byrd’s work sparkles with funky R&B flavors and early hip-hop influences. With a message of black empowerment, Byrd created slick, catchy songs like ‘Black is So Beautiful’ and ‘Shining Black Prince’ that featured him delivering spoken-word raps over the music a la Gil Scott-Heron and The Last Poets. Record collectors and hip-hop heads will also recognize the two-part track ‘Soul Traveling,’ an ode to Byrd’s contemporaries like Curtis Mayfield and Al Green, which was famously sampled by Large Professor for Nas’ debut single ‘Halftime’ in 1992. In continuing their efforts to provide the best in high quality reissues of rare and important albums, Get On Down is proud to present The Gary Byrd Experience for the first time ever on CD, brought to life in brilliant stereo sound as it was intended to be heard. An essential addition to any soul/funk lover’s music library.”
GET 53504CD DE MERLE, LES: Spectrum CD (GET 53504CD) 15.00
“When Les De Merle released Spectrum in 1968, at age 22, his credentials as a musician were already impressive. Having been immersed in jazz culture from an early age, De Merle was already an accomplished bandleader by the time of the album’s release, but Spectrum helped establish De Merle as not only a skillful, creative drummer on his own, but a composer/arranger adept in crafting a cohesive, intoxicating album. Spectrum is a prime example of his talents as a drummer and arranger, as working with a large band, he gives tracks like ‘A Taste of Honey’ and ‘A Day in the Life’ (famously sampled by rapper O.C. for his classic 1994 single ‘Time’s Up’) a polished, big sound reminiscent of Quincy Jones or David Axelrod. Having floated in and out of print for years, Get On Down is proud to present this rare gem from Les De Merle in a spectacular new edition, featuring digipak packaging and two bonus cuts that were not included on the original release.”
GET 54042CD WATERS, MUDDY: After The Rain CD (GET 54042CD) 15.00
“The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late ’60s, Muddy Waters’ After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983. After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players. This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass: ‘I Am the Blues,’ ‘Ramblin’ Mind,’ ‘Bottom of the Sea,’ and ‘Blues Trouble.’ After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters and presented in an attractive digi-pack.”
GET 707EP KOOL D.J. A.J.: Ah, That’s The Joint 7″ (GET 707EP) 8.00
“Get On Down’s 7″ series continues with a true old school rarity. Kool DJ AJ goes so far back into the old school that he came up following Kool Herc’s exploits behind the turntables. Perhaps best known as Chief Rock Busy Bee’s DJ, AJ electrified crowds around the city in Hip Hop’s earliest days. But Ah, That’s The Joint is his lone solo outing originally released in a limited pressing on the ultra-rare White Diamond imprint in 1980. The cut features all the essential old school elements, a throbbing funk bass line, hand claps, a call and response chorus, everything you want in an old school classic right down to the rap ‘and the beat don’t stop til the break of dawn.'”
GET 708EP IOU: Chill Out 7″ (GET 708EP) 8.00
“Get On Down keeps kickin’ it old school with the latest installment in the Get On Down 7″ series, IOU’s Chill Out. As with other offerings in the series, this one was originally released as a 12″ and has never before been available on a ‘doughnut.’ First issued on Peter Brown’s Georgia Peach imprint even the most rabid collector’s and Mr. Brown aren’t certain of the exact year of release. But the thick layers of electro funk and vocoder has the educated ear landing this between ’82 & ’84. In fact, this cut may have the most vocoder per minute of any cut in recorded music history. Which only reinforces its status as an electro classic and gives you good reason to Get On Down and pick up this destined to be collectible reissue.”
GPM 146EP WADSWORTH, KRIS: It’s Time 12″ (GPM 146EP) 12.50
With It’s Time, Kris Wadsworth wears his Detroit heart on his sleeve, delving into the electronic music legacy of his hometown. The epic 10-minute title track is secret journey through the city’s pulsing underground. Grimy electro breaks and wiry melodies are spun before revisiting its deep house origins. Kris’ own “Move Dat Ass Remix” of his track “Det Sound” takes the dubby 2010 original, and reworks it as a ferocious bass and drums workout with dizzy vocal arrangements and blasting sirens.
GT 003EP BOMAN, AXEL: Lucky Tiger EP 12″ (GT 003EP) 15.50
This is Axel Boman’s debut on Glasstable, ahead of the release of his full-length album. The EP opens with the deep steel drums and subliminal funk of “Esteban Peligro.” Buried in aqueous echo and reverb, it features off-kilter percussion and sampling, while the synths and drunken bass rhythms of the Appleblim & Al Tourettes remix is also as essential as you would hope. “Naomi” operates in a more serene headspace with melodic color, a male vocal hook and metallic percussion.
GUESS 035CD KARACA, CEM: Karda?lar & Apa?lar CD (GUESS 035CD) 17.00
Turkish-Azerbaijani-Armenian Cem Karaca was one of the pioneers (if not THE pioneer) of Anatolian rock, blending Western rock music with traditional Turkish folk. This record is his debut album from 1972, actually comprising songs previously released on 45s, backed by the bands Karda?lar and Apa?lar between 1969 and 1971. Enjoy Anatolian rock in its full glory. Fully remastered sound. CD housed in a jewelcase with a CD booklet containing extensive liner notes and photos.
HMS 021LP HAYNES, JIM: The Decline Effect 2LP (HMS 021LP) 24.00
“Parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. Where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. As such, this ontological disappearing act stands in allegorical parallel to the entropic art of Jim Haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound. This San Francisco Bay Area artist has long defined his work through the pithy phrase: ‘I rust things.’ The Decline Effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. Haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. Here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and/or digital patch authored by Christian Fennesz. Haynes’ broken minimalism orbits somewhere near the work Joe Colley, G*Park, Nurse With Wound, and BJ Nilsen. The 2LP of The Decline Effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve, and sports the necessary download coupon. Zener cards not included.”
HAFTW 010LP KIRBY, LEYLAND: Eager To Tear Apart The Stars LP (HAFTW 010LP) 20.00
LP version. James Leyland Kirby is a prolific artist with a remarkably long and varied career working inside, outside and beyond the electronic underground. From his roots as one-half of renowned audio pranksters and sonic agitators V/VM, to his critically-acclaimed work as The Caretaker and, most recently, Leyland Kirby — he’s always attracted the attention of an often bewildered audience, although his stature and position as serious auteur has somehow grown exponentially with every year that has gone by since his beginnings in rainy Edgeley back in the mid-’90s. Eager To Tear Apart The Stars is his follow-up proper to the now-classic Sadly, The Future Is No Longer What It Was trilogy of LPs, which were released in 2009 to widespread critical acclaim. Since then, he’s quietly ushered in the demented white label vinyl series Intrigue & Stuff, and released another album as The Caretaker, An Empty Bliss Beyond This World. Eager To Tear Apart The Stars echoes and refracts the maverick solo synth classics of Roedelius and Harold Budd, but with a temporal warping and sense of decayed decadence individual to Kirby’s oeuvre. There’s an ostensible sadness to these six pieces, but of a life-affirming and subtly ambiguous kind, evoking almost indecipherably mixed emotions of a rare and enigmatic variety which continue to haunt long after the record has come to a close. The album artwork features another specially-commissioned painting by Ivan Seal. Mastered and cut at Berlin’s Dubplates & Mastering.
HUBRO 2507LP EILERTSEN, MATS: SkyDive 2LP (HUBRO 2507LP) 26.50
Gatefold 2LP version. SkyDive is the sixth album from bass player, composer and band-leader Mats Eilertsen, released under his own name. His quartet has been expanded and grown into a quintet since the release of the highly-praised 2009 album Radio Yonder (HUBRO 2501CD). The members of the original quartet are still present: saxophonist Tore Brunborg, who also plays together with Eilertsen in Tord Gustavsen’s band, the exciting guitarist Thomas T. Dahl, and the creative Finnish drummer Olavi Louhivuori, who is known from the Ilmiliekki Quartet and Tomasz Stanko’s band. The new member of the team is the extraordinarily sophisticated Finnish pianist Alexi Tuomarila. Like Louhivuori, Tuomarila plays in Tomasz Stanko’s band. He released the album Constellation together with Eilertsen and Louhivuori in 2006. Mats has found the perfect quintet to play his melodious, intricate and organic music. Intense beauty and fluid virtuosity. In this band, the members are all equals and are all superlative players. The album was recorded at the legendary Rainbow Studio by Jan Erik Kongshaug, and was produced by Eilertsen himself. The material also has a broader scope this time, ranging from the robust to the ethereal and esoteric, from the hymn-like “Parachute Psalm” to the energetic riffs of “The Old Oak.” All the material was composed by Eilertsen. As always, his music is melodic, dynamic and richly lyrical.
IMMUNE 013LP TUMA, SCOTT: Not For Nobody LP (IMMUNE 013LP) 16.00
“Not For Nobody is the third solo album from Chicago’s Scott Tuma. Originally released on CD in 2008 by the Digitalis label, Immune is happy to present a first time vinyl edition of this essential work featuring new artwork by Chris Koelle. Not For Nobody was greeted with critical acclaim upon it’s release in 2008 and was the much needed follow up to Tuma’s solo albums Hard Again (2001, Truckstop) and The River 1 2 3 4 (2003, Truckstop). Since the release of Not For Nobody, Tuma has released the collaborative album Taradiddle (2009, Digitalis) with Mike Weis (Zelienople) and his fourth solo album Dandelion (2010, Digitalis). Tuma is a luminary of the Chicago musical environment from his days as guitarist in pioneering Chicago alt-country band Souled American to his work in the Boxhead Ensemble and Good Stuff House (with Matt Christensen and Mike Weis of Zelienople).”
KRS 554EP FORBIDDEN FRIENDS: Totally Low 7″ (KRS 554EP) 5.00
“Forbidden Friends is the side-project of Hutch Harris from The Thermals. An almost-acoustic affair, the songs are at once modern and old-fashioned. The instrumentation is incredibly minimal – simple and effective. The lyrics are love stories sung from a hidden location – keep it underneath, in a place where only you and I know.” Includes download code.
LPH 001EP RUNAWAY: Indoor Pool 12″ (LPH 001EP) 12.00
Let’s Play House Records is helmed by NYC DJ/producer Jacques Renault and editor/journalist Nik Mercer. LPH Records marks the partners’ foray into the physical manifestation of their biweekly Let’s Play House party. The debut release features a deep, dark house jam by Runaway (Renault’s production venture with Marcos Cabral). The three remixes come courtesy of a veritable who’s-who of the slow-mo disco-house scene, including New York’s Slow Hands, UK stalwarts Soft Rocks, and Washington, D.C.’s Beautiful Swimmers. Cover artwork by Ruvan Wijesooriya.
“Originally self-released in 1984 on Pterodactyl Records, No Visible Means is the work of Canada’s own Lou Champagne. Lou Champagne was active the Ontario music scene and also performed with other local musicians from that region as well. The Lou Champagne System was the real-time guitar synth solo act of Lou Champagne. Due to his knowledge of electronics, he was able to link his guitar, synth, and synthetic drums into a working one-man solo act that was playable with floor switches and pedals. The overall effect was the sound of a full band. No Visible Means was recorded in 1981-1982 and mixed in 1983. It consists of 9 works of unrelenting sonic bliss. The music can be described as synth-heavy, textural punk with a very diverse palette of styles drizzled in for a truly unique listening experience. ‘Don’t Say I’m Here’ opens the album with a bang showcasing Lou’s angular guitar effects and emotionally powered vocals. ‘Propaganda Frustration’ is a thick, modulated affair with overtones of minimal disco and motorik motifs that commands attention on the dark dancefloor. ‘Machine Muzik’ is a standout track with effects-laden jagged guitar hooks drenched in a haze of electronics. From beginning to end, ‘No Visible Means’ is a synth-punk masterpiece and will surely appeal to connoisseurs of the darker, synth-based outer limits of post-punk and jagged guitar-heavy new wave. Available in the past only in limited quantities from Mr. Champagne himself, No Visible Means has been long out of print. Medical Records is proud to reissue this LP with original reproduction artwork. Original 1/4 analog tapes were restored, transferred, and remastered by George Horn at Fantasy Studios in Berkeley, CA. This reissue is officially licensed from Lou Champagne. LP also includes original ‘nuclear circuit map’ as an additional insert (with lyrics on flipside of insert). Presented on high quality 180gram white vinyl in a limited edition of 1000 hand-numbered copies.”
MLP 003LP MIGHT OF COINCIDENCE: Announcing The Birth Of… LP (MLP 003LP) 30.00
“Might of Coincidence play a typical acid folk prog in the trippy German tradition similar to Emtidi’s Saat or especially Amon Düül’s Paradieswärts Düül. Tranced female/male vocals over tablas, wood flute and electric/acoustic guitar. Most of the tracks sound similar, except the last one which is considerably more cosmic and experimental.” Includes a 2-page insert.
MINUS 113EP JAKE & AMBER: This Is Mine 12″ (MINUS 113EP) 11.00
Jake & Amber met while studying advanced hemp-weaving at Colorado Springs Community College. They discovered electronic music by way of a Steve Rachmad CD flying through their car window one summer evening. Deciding that it was the perfect music for dolphins and other sea creatures, they set about making water-tank soundtracks for flippered beat-friends at the local aquarium. Now Jake & Amber spend their days tuning 909s to elicit responses from thought-impaired Europeans instead of their underwater cousins.
MR 095LP HAGAR THE WOMB: A Brighter Shade Of Black LP (MR 095LP) 14.00
“Hagar The Womb is for many, the missing piece of the UK anarcho punk scene. Formed in 1981, Hagar The Womb was not a typical example of that scene, for they refused to conform to the dress codes and dour seriousness of their peers. What first started as a sextet sporting three female vocalists, soon experienced a healthy bit of turnover. Circulating through at least a dozen band members, Hagar The Womb was often identified by bright colored artwork and outfits, as well as bringing an original and upbeat sound to an otherwise homogenous scene. A week after their inception, they were sharing a bill with The Mob and Zounds. Hagar The Womb would go on to play with the likes of The Apostles, Poison Girls and Rubella Ballet before breaking up in 1985. A Brighter Shade Of Black puts together both of their 12″ EP’s Word Of The Womb and Funnery in the Nunnery as well as a common compilation favorite called For The Ferrymen. The latter recorded by Poison Girls sometimes bassist, Pete Fender in the Poison Girl’s own X-N-Trix Studios. Reissued for the first time and limited to 1000 copies.”
MOBILEE 083EP MISS JOOLS: Walk Away 12″ (MOBILEE 083EP) 12.00
Julia Porter, best known as Miss Jools carved her niche in the UK capital before making Mobilee her musical home. After a short break, “Walk Away” brings her special musical flavor back to the floor — as minimal and trippy as it is dreamy and melodic. The same can be said for “What’s Going On,” but this time, a powerful vocal is layered over the freaky backdrop. Meanwhile, on the B-side, “Feel You” will keep you spinning.
MOBILEE 084EP RODRIGUEZ JR.: Bittersweet 12″ (MOBILEE 084EP) 12.00
Here are four tracks from Rodriguez Jr.’s debut album Bittersweet (MOBILEE 013CD) on vinyl for all the collectors out there. These tracks demonstrate the breadth of musical styles that Olivier Mateu works with in this oeuvre. Simultaneously presenting techno, atmospheric dub, hypnotic, melancholic and hands-down hedonistic music with a focus on exploring textures and moods, there is something here for everyone to get lost in.
MONKEY 015LP MODESELEKTOR: Monkeytown 2LP (MONKEY 015LP) 21.00
Gatefold 2LP version. Berlin duo Modeselektor returns full-force with a new album whose immense energy and club-boiling beats will inject the global dance community with inspiration that reverberates across the entire musical spectrum. Flowing freely between styles and tempos, Monkeytown experiments with the edges and extremes, exploring fresh sonic territory from a solid base of beats located deep within the groove. With massive drums, minced vocals and a mastery of mounting tension, Modeselektor creates a new animal out of dance music, a mutating chimera with body parts of left-field hip-hop, soulful R&B, punk, rap and playful surprises. Contributing to the album is an exciting palette of guest vocalists and musicians, including Thom Yorke (Radiohead), Busdriver, PVT, Anti-Pop Consortium, Miss Platnum, Sascha Ring (aka Apparat), Pillow Talk, Gordon Boerger, Siriusmo and Otto von Schirach. Monkeytown immediately sets the stage on a higher level with intro track “Blue Clouds,” which loosens limbs from the start with a deep and sparkling hook. “Pretentious Friends” is a full-throttle experience whose beats bump like elephants between Busdriver’s scratched-up, screwed-down vocals. Thom Yorke collaborates on two tracks, contributing his production finesse and haunting falsetto to the dark tension of “Shipwreck” and to the psychedelic caverns of “This,” where pixelated vocals echo from the shadows with ominous overtones. Trashy dancefloor rocker “Evil Twin” is drenched in metal and concrete, and Modeselektor pulls out hidden drawers of bass in the funky “German Clap,” a steaming monster that grabs with gasping urgency. Miss Platnum rides low and slow into “Berlin,” smoothly spreading vocals over the chunk-ridden rhythm, a luscious R&B offering to lap up like cream. The album breaks open entirely and monkeys run wild on “Grillwalker,” a slamming club behemoth fashioned from mutilated 8-bits and a delirious bassline. PVT shines on “Green Light Go,” a poignant, off-kilter track that shuffles forward between loose drums before lifting off into the ether. Beneath Monkeytown’s exquisite orchestration and eclectic sound, pure energy is at the core of the release, vibrating with an emotional vivacity that dares to escape its sonic cage and fling itself upon the world. Joining the heavy ranks of Hello Mom! (BPC 115CD/LP) and Happy Birthday! (BPC 159CD/LP), Monkeytown will light up the club and the cerebrum with Modeselektor’s incredible abilities to move the body, melt the mind and gather disparate genres and their listeners together in one monkey-filled, musical metropolis.
MUSIQ 057EP JOHNWAYNES: Papiro 12″ (MUSIQ 057EP) 14.00
Portuguese artist Johnwaynes presents Afro-Brazilian influenced house on “Papiro.” B-side “Like The Sunshine” is an electro boogie track with a male vocal reminiscent of Prince.
MR 7236EP DMZ: First Time Is The Best Time/Teenage Head 7″ (MR 7236EP) 8.50
Reissue of the Telstar single from 1986 by legendary Boston garage punk band DMZ, featuring two short, sharp anthems recorded in 1976.
MR 7238EP CAPOTE, MAX: Ana/Si Nena 7″ (MR 7238EP) 8.50
A great cover of Peru’s ’60s cult band Los Saicos plus an original on the B-side by Uruguay’s garage beat sensation Max Capote, accompanied by El Sicodélico Y Sus Silboomcate.
RISQUEE 024EP RADIQ: Gun Street Shuffle 12″ (RISQUEE 024EP) 12.00
Yoshihiro Hanno’s project Radiq has beautifully evolved over the last years. From his more dubby, chilled-out experiments to his present housier sound, one thing always remains: his music has the natural feel of groove and rhythm, and it can’t be clearer than on this EP for Musique Risquée. From the groove of “Gun Street Shuffle” to the soulful “Pharaohe” to the funky “Stolen Moments,” this EP has it all.
ZEN 172LP TODDLA T: Watch Me Dance 2LP (ZEN 172LP) 20.50
2LP version with full-color innersleeves and a download code. “In Watch Me Dance Toddla T has created a dubwise, street-soul masterpiece, and to ensure it was everything Toddla envisaged it could be he’s carefully selected an impressive lineup of friends, peers and musical icons to guest vocal, co-produce, remix, co-write with him on the album. Names including previous collaborator Roots Manuva, fellow DJ, producer and remixer Skream, Ms Dynamite, Ross Orton, Wayne Marshall, Timberlee, Roisin Murphy and Shola Ama.”
ASH 3047LP FLOWER TRAVELLIN’ BAND: Made In Japan LP (ASH 3047LP) 22.00
LP version. Following critical acclaim but meager record sales in their native Japan after their superb debut album, Satori (ASH 3002CD/LP), Yuya Uchida and his Flower Travellin’ Band decamped to Canada following an invitation to open for local jazz-rock outfit Lighthouse. While there, Lighthouse leader and keyboard player Paul Hoffert offered to produce the band’s next studio album, the ironically-titled Made In Japan, originally released in 1972, although it must be said, Hoffert’s musical vision didn’t always reflect the band’s. However, Uchida was particularly happy with the results; although again, critical acclaim didn’t translate into significant record sales and the band duly parted company following their half-live/half-studio release, Make Up (ASH 3033CD). Housed in a gatefold sleeve with slip case and original LP artwork. Digitally remastered. Hand-numbered edition of 1000 copies.
PLAIN 174LP APPLE, FIONA: Extraordinary Machine 2LP (PLAIN 174LP) 27.00
“Upon its release in October of 2005, after years of label disputes, leaked tracks, and re-recordings, Extraordinary Machine received almost universal acclaim. It was only Fiona Apple’s third album in close to 10 years, proving that she was a perfectionist not interested in following anyone’s commercial schedule. Produced by Jon Brion, along with Mike Elizondo and Brian Kehew and featuring help from ?uestlove, amongst others, Extraordinary Machine is a brilliant piece of pop songwriting prowess and considered by many to be Apple’s finest work to date.” On 180 gram vinyl.
PROTEZ 020EP POMPEYA: 90 – The Remixes 12″ (PROTEZ 020EP) 12.00
This 12″ with remixes from Popnoname, Korablove, Gorje Hewek and Khz is a tribute to Moscow’s synth-pop and new wave shooting star, Pompeya. Pro-tez are proud to present a remix single which offers a house, a disco, a dub and a synth-pop version of the original hit “90.” Pompeya’s music might be compared to Death Cab For Cutie and Postal Service, but with their own exhilarating sound.
RO 54602CD LOS CANARIOS: Todas Sus Grabaciones 1967-1972 2CD (RO 54602CD) 30.00
“It’s said in Spain that this is the most anticipated CD release since the CD format was invented. Los Canarios, well-known internationally for their Ciclos double album, also had a brilliant past before recording that prog monster, a f*cking brilliant past! Here’s their complete recordings 1967-1972 for your pleasure. Powerful soul-rock bombs such as ‘Get on your knees’, ‘Three-two-one-Ah!’ or ‘Trying so hard’, the mod fave ‘Peppermint Frappe’, some relaxed soulish stuff, some pre-prog, this release also includes some unreleased stuff! All carefully remastered and has a booklet with info (unfortunately only in Spanish). For some mysterious reason it’s been impossible to reissue those recordings until today, and they’re some of the most important recordings in Spanish popular music.”
RS 075LP GOLDEN RETRIEVER: Light Cones LP (RS 075LP) 16.00
“Golden Retriever was formed in Portland, Oregon in 2008 by multi-instrumentalists Jonathan Sielaff & Matt Carlson, both long time participants in the city’s potent music scene. Focusing on the relationship of two primarily monophonic instruments (Carlson on modular synthesizer & Sielaff on bass clarinet), and utilizing layering with a deft balance of improvisation & composition, the duo has created an infinitely varied approach to their sound world: dense, spacious, overwhelming, soothing and completely alien in equal measure. Light Cones is unique in the Golden Retriever discography as it’s their first release more akin to their live performances, with each of the LP sides consisting of one extensive track. Both sides find the group exploring the various colors of their pallet. From the electronic bog that opens side A, to the more zoned out meditations of the first half of side B. Sielaff’s bass clarinet continues to be an anchor for the duo, with its lower organ-like register providing a wide earthly gravity for the layering of sound.”
RALP 305LP FRA LIPPO LIPPI: Fra Lippo Lippi 6LP BOX (RALP 305LP) 102.00
All of Fra Lippo Lippi’s six studio albums had been out-of-print for up to 22 years when Rune Grammofon re-released In Silence and Small Mercies as The Early Years (RACD 101) back in 2003. Songs was released as a limited edition CD in 2005, but Light And Shade, The Colour Album and Dreams have all been unavailable since the mid-’90s. This 6LP box collects the collects the four last studio albums, Songs (1985), Light And Shade (1987), The Colour Album (1989) and Dreams (1992), plus In Silence (1981) and Small Mercies (1983). None of these albums have been available on vinyl since they were new releases and Dreams has never been on vinyl. It comes in a limited edition of 300 numbered copies only. The deluxe box includes personal liner notes from Rune Kristoffersen on each album and stunning design by internationally-acclaimed designer Magnus Voll Mathiassen. After having released their two first albums In Silence and Small Mercies on the Norwegian indie label Uniton, Fra Lippo Lippi decided to finance and release their next album, Songs, themselves. If the development from the Joy Division-influenced In Silence to the piano-based Small Mercies was a big step, the same can be said about the further development leading up to Songs, the most obvious aspect being a stronger focus on more structured songs. Although the acoustic piano was a key part of Small Mercies, it was even more evident on Songs, especially as the original recording of Songs was completely without guitars (which were added on the international Virgin release). This gave the album a very personal and unique sound in the middle of a period that championed drum machines and the newly-developed digital synths and sequencers. On white vinyl.
SSR 282LP LOS DESTELLOS: Constelacion LP (SSR 282LP) 17.00
“Peruvian Cumbia is one of the most unique sounds of modern South America. It mixes the more widely known Colombian Cumbia with rock, funk, phsycadellia, surf music, Cuban Guracha, and of course traditional Peruvian crillo and highlands music. No single artist was more influential in the creation of this sound than Enrique Delgado and Los Destellos. Delgado, an incredibly skilled crillo guitar player was the first artist to take the electric guitar and make it the lead instrument in cumbia, earning him the nickname ‘Father of Peruvian Cumbia.’ After the release of their debut single, ‘El Gatito’ in ’66, Delgado continued to push the band in a more experimental direction which reached its pinnacle with 1971’s Constelacion. Today Constelacion is among the most collectable South American LPs known. Tattered copies yield top dollar on sites like eBay and discogs. Though a couple tracks have appeared on some very successful compilations over the last few years, a proper reissue has never been released until now! Secret Stash is thrilled to announce the release of this, the first ever reissue of Los Destello’s ultra rare masterpiece. Each copy is hand assembled in our facilities, hand numbered, includes an MP3 download card of the entire album, and comes in a re-sealable dust bag.”
SRNDS 003EP JOHNWAYNES (FEAT. STEE DOWNES): Never Enough 12″ (SRNDS 003EP) 12.00
Portuguese duo Johnwaynes have had a fruitful career so far with releases on labels like Brique Rouge and Compost. Now they appear on Serenades, with this trippy and inspired vocal house track “Never Enough.” Featuring the soulful vocal talents of Stee Downes, the team have cooked up a real hit in the making in two distinct versions. The original keeps things low-down and dirty, while the “Raw Mix” pushes the story further with a more rave-y vibe and extended tripped-out moments.
STAUBANA 007LP MASCHINA, JASMINA: Alphabet Dream Noise LP (STAUBANA 007LP) 17.00
LP version. The second full-length album from celebrated Australian musician Jasmine Guffond aka Jasmina Maschina continues her brave expedition into a musical dreamland as yet unknown. Firmly rooted in experimental electronics with an equal dedication to song, Jasmina’s folk soundscapes transport you into her beautiful world of sonic adventure, strong emotions, electronics, songs and deep love. The journey starts with fresh new sounds, abstract yet organic, floating among melodious, even catchy guitar lines and generated noise joy. After our initial take-off we hear basses warbling away at our feet and a rhythm hard to find in any conventional rock format. This pre-shadows the breath of a new world and when finally landed on this fantastic planet, we encounter a whole new life in Jasmina’s voice. It seems to come from the deep center of one of those tropical flowers one sees in late-night nature specials as her song reverberates off the petals, coming to caress our ears; fully foreign and bathed in lunar light. Jasmina is not following some fashion made up by someone else before her. Instead there is something original, something truly creative. She is one who sings to her soul, one who has found her natural voice, one who has no trouble expressing any emotion whatsoever. She inhabits her own world, her own vast universe and we are merely invited in. A culmination of sound, song and ambience.
LP version. What is a “Teufelskamin?” A “Devil’s Chimney” is a natural geological phenomenon, a natural rock formation built by tidal powers. Take for example, the natural shaft on the Crozon peninsula in Brittany, France. Waves push into this pit and spit out a giant jet of seawater. Watch out! It’s a cold, Satanic soup coming from Hell’s kitchen. When chef Satan starts cooking, wet showers come out of his hut, not dry smoke. At least the devil cooks with water. What is cooking when the old Kammerflimmer Kollektief invites you to sit on their Teufelskamin? There is a familiar electric guitar that takes you on a ride into black mountains. There is the ground making the sound of the breath of an Indian harmonium. There is the gentle, dark push from an upright bass. And there is the female voice amplifying wordless moods over wordless songs. For years now, the Kammerflimmer Kollektief have skillfully sailed waves of various musical genres. On Teufelskamin, a spooky guitar sound, a sort of “Surf Noir” is the new ingredient. And bravely, they call out for Albert Ayler’s helping ghost. Kammerflimmer Kollektief has created a great, authentic dish over a nice long-running fire, and like the devil, they cook with water. Cool, cool water. Heike Aumüller, Johannes Frisch and Thomas Weber stir up some salty beauty from which no one can escape.
STH 2271CD RUFFIN, VEX: Crash Course EP CD (STH 2271CD) 13.00
“On paper Vex Ruffin’s music is simple: an untrained punk musician who uses a few basic instruments in uncomplicated ways, he calls the style ‘minimalist.’ Although it may not seem like it upon first listen, Vex’s music is rooted in sampling and hip hop beat-making culture. The SP 303 sampler provides the drums and other sounds, a purchase inspired by Madlib. Vex is the first and only artist signed to Stones Throw Records on the strength of an unsolicited demo sent through the mail.”
SBR 5080LP LEIGH, ANDREW: Magician LP (SBR 5080LP) 22.00
Gatefold LP version. Recorded after bassist Andrew Leigh left Spooky Tooth and before he joined Matthews Southern Comfort (enjoying a #1 hit with “Woodstock”), this long-lost LP first appeared in the summer of 1970, and has barely been heard since. Recorded in London in the late ’60s, it boasts guest appearances from members of Blossom Toes, Spooky Tooth, Fleurs De Lys and Titus Groan, as well as cult figures such as Reg King, Gary Farr and Gordon Jackson. A blend of gentle ballads and jamming rockers, spiced with flute, sitar, wah-wah and more, it is now reissued on vinyl, complete with rare photographs and full notes from the man himself.
SUOL 030EP TRICKSKI: Good Time To Pray 12″ (SUOL 030EP) 12.00
Trickski became the critics’ favorite in the blink on an eye with their album Unreality (SUOL 002CD) and now it’s time for the second single, featuring the gifted vocalist Ernesto. House touches, dub touches, and a nice, warm feel. Remixes courtesy of Axel Boman, Tom Trago and Soul Minority.
TR 221LP DOWNPILOT: New Great Lakes LP (TR 221LP) 17.00
LP version. For the follow-up to the acclaimed They Kind Of Shine (TR 166CD/LP) (including songs featured on television series One Tree Hill), Hiraga sequestered himself on Seattle’s nearby Vashon Island in a spacious woodland studio and set to writing and recording, far from the distractions of the city. Although several Downpilot alumni would later make cameos, the feeling from the start was that this would be a more intimate, solo-style album. With his arsenal of self-made recording equipment and surrounded by an extensive collection of vintage keyboards and other instruments, the multi-instrumentalist recorded ideas in a spontaneous, stream-of-consciousness fashion. After a solitary week, the foundation was laid for the fourth Downpilot LP: New Great Lakes. Time and distance function like a filter, obscuring some details while bringing others into sharp relief. Time might heal all, but we always, inevitably, find ourselves back where we started. Why isn’t an issue. Whether you can go home again or not is actually an issue, because there’s an inherent need to revisit the past at some point in our lives. The landscape itself may have altered — the landmarks eradicated or erased or at least redecorated — but there’s a part of ourselves that will always see the skeleton of what was there back when; a part of our soul that needs to process the journey; a longing that we might never find the words to identify but persists nonetheless. Home. Whatever that means. It’s here, and yet it’s inescapably there — and it creeps up on you in the strangest ways. It certainly does on Downpilot’s latest offering. Singer/songwriter Paul Hiraga may not have set out to revisit his Midwestern roots, but if you listen closely you can hear the wind whipping off the great plains, or the desperation of the industrial rust belt. The disorienting sights and sounds and sentiments of displacement, made all the more profound because you never expected to be displaced (or distanced) from the place that you disowned. And yet hopefulness somehow inexplicably prevails. Forward progress is a human impulse — we just forget that sometimes we need to stop and consider what got us to our current vantage point. You can run, as they say, but you can never, ever hide. Includes free download code.
TR 223EP THE HORROR THE HORROR: Leaving/Vangelis 7″ (TR 223EP) 7.00
Instead of a third single off the Wilderness album, The Horror The Horror chose to record again and are now releasing two brand-new tracks on beautiful white vinyl. Leaving/Vangelis is movie soundtracks from the early ’80s. It is campfire. It is club music from the time when anyone with a sampler was king. It is a tiny bit disco. It is those cheesy hit songs you used to hear on the radio. And still, it is simply The Horror The Horror.
TEMPA 057EP DUB WAR: The Funky Deal/To The Depths 12″ (TEMPA 057EP) 11.00
Classic Tempa producers Dub War are back in the studio after a 9 year hiatus. Dub War are Benny Ill (Horsepower Productions) and Bill Robin (Rebel HiFi). Trivia: Brooklyn’s famous dubstep night “Dub War” takes its name from the production duo. These two new tracks, built in the Rebel HiFi studios in Berlin, are the unforgiving 4/4 bassweight of “The Funky Deal” and the under-the-sea vibe out of “To The Depths.” For fans of Hessle Audio, Swamp 81, Autonomic, etc.
WIRE 332 WIRE, THE: #332 October 2011 MAG (WIRE 332) 8.50
“On the cover: Christian Marclay (David Toop meets the Swiss-American champion of the Venice Biennale to discuss DJing, video editing, downtown adventures, and radical scores). Features: Collateral Damage (Robin Rimbaud aka Scanner celebrates social networking for pleasure and profit); Cross Platform: Ed Atkins (The British artist generates emotional and perceptual discomfort in his out of synch films); Global Ear: Portmore (Sun Araw’s Cameron Stallones on a Jamaican recording trip with dub legends The Congos); Shabaka Hutchings (The versatile London reedsman connects the dots between Cecil Taylor and Schoenberg); Raime (Mark Fisher talks dystopian dubstep and the 1980s interzone with the Berkshire electronic duo); Invisible Jukebox: Chris & Cosey (The former TG stalwarts and techno duo oscillate wildly to The Wire’s mystery record selection); Hieroglyphic Being (Feeding off Sun Ra’s cosmic emanations and magic numbers, Chicago’s Jamal Moss infuses Afro-futurist house with Nubian soul); Bill Orcutt (After leaving foul-mouthed hardcore group Harry Pussy, the American guitarist reinvented himself as a blues mangler par excellence); The Primer: Militant Tuning (A field guide to the war on equal temperament, from Bach’s Well-Tempered Clavier to La Monte Young’s Well-Tuned Piano); Epiphanies: Performance artist Anat Ben-David praises the transformative experience of improvisation.”
THR 062LP TRANS AM: Futureworld LP (THR 062LP) 15.00
2011 repress on vinyl, originally released 1999. “Trans Am continues the evolution of rock music. On Futureworld, their 4th and most controversial album, they leave behind all the doomsday prophets and false futurists, bringing us a tough vision of what is to come. What they see is stark and uncompromising, melancholic, but not without hope.”
TSQ 2639CD VA: This May Be My Last Time Singing 3CD (TSQ 2639CD) 36.00
Subtitled: Raw, African-American Gospel On 45rpm(1957-1982). “Get ready for fiery sanctified soul, heavy Pentecostal jams, drum machine gospel, slow-burning moaners, glorified guitar sermons and righteously ragged a cappela hymns! The music on this compilation was originally released on small label 45s, mostly in the 1960s and ’70s. At least one-third of the records were self-released, paid for by a church congregation or the artists themselves. Others were on regional labels (typically run by one single producer) little known today outside of a small circle of collectors. This vibrant music is incredibly honest and almost criminally unknown. All tracks were sourced from 45s collected over the last decade by compiler Mike McGonigal, who also produced 2009’s three disc set Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007) for Tompkins Square (TSQ 2271CD).”
2008 release. “Bryn [Jones] took 2 different albums of Species of Fishes to create this album. Because this is a remix, we get some different sounds than usual for a Muslimgauze release, which is nice! There are still occasional Arabic voices, and overall this release has a pleasant sound to it overall, not as ‘challenging’ as some Muslimgauze can be, but there are still spots that make you take hold, like, wow, what an ear piercing first song! This looped whistle gets into your head and makes the world a different place. Dubby sounds on track 2 with the trademark dropouts of Muslimgauze. There are other tracks with sharp sounds, but they aren’t distorted like on some other releases — just the sharp without the static. This is a cool release for Muslimgauze. Some are take it or leave it, but this one is worth hearing. Previously released in 1999 on Species Of Fishes (FCD 01). The original tracks from Species Of Fishes albums Songs Of A Dumb World and Trip Trap were used for this remix project. All remixes, summer/autumn 1998. This CD is the result of the mastering of the original DAT prepared by Muslimgauze, while on the original CD there had clearly been some editing by Species Of Fishes.”
PD 14675EP BROWN & MARVA WHITNEY, JAMES: Unwind Yourself/What Do I Have To Do To Prove My Love To You 7″ (PD 14675EP) 7.00
Classic James Brown 7″ reissue: Marva Whitney’s “Unwind Yourself” and “What Do I Have To Do To Prove My Love To You,” produced by James Brown.
LP version. Antonio González Batista was born in the Graçia neighborhood, Barcelona, in 1926 — the son of a gypsy man who earned a living as a fisherman (hence the nickname “El Pescaílla,” “The Young Hake”). Antonio used to help him while he carried out his trade, and at nights he also used to accompany him when he sang and played guitar at El Tablao de la Pava. Antonio would show his talent very early on. He learned the rules of the game soon and word quickly got around in Barcelona. Well into the 1940s, he was already king of the flamenco rumba. His sense of rhythm possesses the perfect cadence, sparkling and free. It’s a rhythm that sprouts from tradition and would improve with the Cuban influence: son, mambo, guaguancó, chachachá, etc. His infinite skill at marking the cadence of the rhythmic beat became masterful. He seasoned his lyrical bitterness with succinct and measured strokes: some bongos here, rhythmic handclaps there, the precise guitar over there, some cajón drums — and the voice: naked. The tone is proud, distinguished, tormented, with subtle cracks and runaway crescendos. At the dawn of the 1950s, Lola Flores sees young Antonio in Madrid and she gets him to sign a contract. Lola’s myth is already huge, a giant monster that devours everything it finds in its way: men, audiences, songs, herself. Antonio decides to be a supporting actor rather than the lead. He becomes a mere guitarist to the outside world, accompanying the legend, father of her children, a discreet but solid support, and he withdraws more into himself. Films, tours, TV programs — his role is always secondary. Every now and then, there is a spark of genius: a song on one of her records, a minor role on the screen, two or three rumbas in the middle of a show, a single or EP ever more infrequently. He decides to spend the last 20 years of his life as a recluse. In a genre that is wrongly considered to be just about fun, a mere tributary to something of more substance, it’s always been counterproductive to remain silent. Even more so when a loud voice has often been the natural way to be heard. Only a few – the great ones, as it happens – chose silence as the only worthy attitude. Antonio González Batista took that path all his life. Includes key titles of the genre such as “Sarandonga”, “Que Me Coma El Tigre,” “Sabor A Mí” and “Extraños En La Noche” (“Strangers In The Night”). Several tracks feature vocal duets with Lola Flores.
WP 048 WAX POETICS: #48 August/September 2011 MAG (WP 048) 9.99
On the covers, front: Nina Simone; back: Theophilus London. Contents: Editor’s Letter; Re:Discovery (Swamp Dogg, Sarah Vaughan, Odyssey, The Beastie Boys, Midnight Movers Unltd.); Hudson Mohawke; Count C; Theophilus London; Neu!; Dom Salvador; Shock G; Yabby You; Billy Cox; Nina Simone; In Memoriam (Gil Scott-Heron, Fonce Mizell); Analog Out (Roland Drum Machines). 106 pages, full color, high gloss.
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