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ARTLESS 2192EP FURSTENBERG, MARKO: Counter Mode EP 12″ (ARTLESS 2192EP) 14.00
The Mojuba sub-label brings you two new tunes from the vaults of dub techno ambassador Marko Fürstenberg. These two tracks of pure dub techno magic build a seamless connection to his previous releases and capture the special sound and feel of a true Fürstenberg track — how it can only be done for this label.
ABD 045LP SUN CITY GIRLS: Funeral Mariachi LP (ABD 045LP) 22.00
In stunning fashion, Sun City Girls’ final studio record caps a 27-year run for what many hail as the most bizarre, eclectic and provocative musical trio ever assembled. From the delirious intro of “Ben’s Radio” to the final drum crash of the title track, Funeral Mariachi delivers 11 well-crafted gems which display the refined studio production side of SCG shrouded in that otherworldly glow which has always separated the group from their contemporaries. Beyond the gorgeous folk and vocal styles which drive the album, there is a heavy retro Italian cinema influence, Arabic and Indonesian references, and a ghostly psychedelic moodiness throughout. Post-production and final mastering was completed by the Bishop Brothers after the untimely death of Charles Gocher in 2007 and the results will not disappoint followers of this impossible-to-describe unit. Funeral Mariachi provides a perfect introduction to the more melodic sector of the SCG universe surfacing, ironically, at the end of their career in the form of what someday should become one of the most beloved records they ever created. Limited one-time-only vinyl pressing housed in a beautiful, heavy-duty full-color gatefold jacket with the back cover photo taken during the last SCG photo session in 2006.
PIPS 013EP KIDKUT: ILove04/Lilt 12″ (PIPS 013EP) 11.00
“Adam Jackson AKA Kidkut has played a major part in Bristol’s music scene over recent years with his Immerse label releasing consistently outstanding music from the likes of Kontext, Benga, & Late to name but a few. Now Jackson is teaming up with leading imprint Apple Pips for the release of his own much awaited debut single. Apple Pips is the brainchild of Laurie Osborne AKA Appleblim who has made the label one of the most desirable dubstep/electronica imprints out there featuring music from Martyn, Ramadanman, Brackles, Instra:mental & more. Kidkut’s single kicks off with the pointedly titled ‘ILove04’, a percussive roller that combines elements of broken beat, UK Funky, & early dubstep, with snippets of garage vocals and intense twisted bass. The arrangement cuts and flows perfectly, chopping between rhythms and melodic parts with the breakdown giving a definite nod of the head to oldskool hardcore. The flipside sees Kidkut going totally tropical with the magnificent ‘Lilt’, a percussive workout built around intricate drums and rolling bass that underpin the euphoric summer inspired synth lines. Bringing to mind the stripped down work of Karizma, this is sure to go down well with the Funky heads; indeed Bok Bok is already supporting the tune.”
AREAL 056EP BASTEROID: Clavilux 12″ (AREAL 056EP) 12.00
The wipers are fighting hard against the heavy cloudburst. On the horizon, rising like neon-pink claviluxes, are Big Band evergreens. But what’s behind that field over there? That must be the source of this eerie glow. So finally, I stop the car. There is music on the radio while I’m fighting my way through the thicket. All of a sudden, the rain stops. What’s going on? The light starts flickering and seems to be everywhere, now.
ARG 032EP MALILONE: Gina 80/Lions And Pearls 12″ (ARG 032EP) 11.00
“Raised in the Parisian suburb with a background of multiple genres throughout her life : from rock and newwave to electronic music such as synth-pop, minimal techno, jungle, house, disco and ’90s hip hop, Malilone’s productions have helped express her influences and incorporate her emotion into the dubstep tempo we all love. Malilone production has seen support from producers like Matt-U, Von D and Bunzero as well as featuring in numerous DJ gigs from Paris to Berlin.”
AX 1002CD HELL PREACHERS INC.: Supreme Psychedelic Underground CD (AX 1002CD) 17.00
Long-rumored to be the work of the young Deep Purple, this 1968 psychedelic exploitation LP from Hell Preachers Inc. certainly features plenty of wah-wah and Hammond organ, and stands up as a fine set of acid-influenced jams in its own right. Only briefly released in Germany and the UK in its day, it makes its long-overdue return to circulation here.
AX 1003CD AORTA: Aorta CD (AX 1003CD) 17.00
As the Exception, this quartet were one of Chicago’s top mid-’60s bands. In 1968, they shook up their personnel, changed their name to Aorta and embraced psychedelia, issuing their debut album the following spring. An ambitious psychedelic suite, this 1969 release alternates between mellow and heavier sounds, with some intense fuzz guitar and sound effects, and stands as one of the best major label psych LPs of the late 1960s.
AX 1004CD DRUIDS OF STONEHENGE, THE: Creation CD (AX 1004CD) 17.00
This youthful quintet formed as a tough New York R&B act in 1965. By the time they made their sole album in 1967, they’d evolved into an impressive psych-influenced rock band, with a moody sound that has been described as “early Rolling Stones meets early Grateful Dead.” Their classic LP makes its long-overdue return to CD here, complete with explanatory notes, and is sure to appeal to fans of The Chocolate Watch Band, the Lollipop Shoppe and other seminal U.S. garage-punk acts. Includes a booklet featuring an extensive band history.
BAM 7001CD BLUES CREATION: Demon & Eleven Children CD (BAM 7001CD) 17.00
Japan’s Blues Creation was formed by guitarists Kazuo Takeda, Koh Eiryu and singer Fumio Nunoya, in early 1969, after the dissolution of their Group Sounds outfit The Bickies. Highly influenced by Cream and The Yardbirds, Takeda joined forces with school friends Takayuki Noji, Shinichi Tashiro, and lead singer Fumio Nunoya. Formerly vocalist with Taboo, a heavy band led by future Happy End guitarist Eiichi Otaki, Nunoya was also searching for an even heavier sound, and the results of the new American-influenced experiment were released in October 1969, as Blues Creation. Singer Fumio Nunoya soon found himself edged out of artistic decisions by the supremely confident Takeda, and thereafter left to form his own band, Dew. While searching around throughout 1970 for a new singer, guitarist Takeda heard the new, even more strung-out music of Led Zeppelin, Black Sabbath, Eric Clapton’s solo LP Clapton, and Leslie West’s Mountain, and decided he should take the opportunity to start again from scratch. Takeda enlisted bassist Masashi Saeki and drummer Akiyoshi Higuchi for the new line-up, and eschewed the previous cover’s style in favor of his own compositions. With the new Blues Creation fronted by singer Hiromi Osawa, Kazuo Takeda recorded what has come to be regarded as his masterpiece in the form of Demon & Eleven Children, originally released in 1971 on Denon. This album was recorded at the Japan Folk Jamboree, and is a full-on gem of a record, but Takeda was now widely-known as a true Japanese guitar hero, and — as ever — had set his sights higher and higher. He split Blues Creation the following year, leaving for London in late 1972. This sludge-y slab of big, loud, brain-busting heaviness sits at #17 on Julian Cope’s Japrocksampler top 50 list. Housed in a highly-collectable LP replica card wallet.
BAM 7002CD APRYL FOOL, THE: Apryl Fool CD (BAM 7002CD) 17.00
“The Apryl Fool was a very accomplished late-’60s band from Japan whose lone, self-titled 1969 album is a great mixture of hard psych and blues-rock. Their best-known track is probably ‘The Lost Mother Land, Pt. 1,’ which was featured on the Japanese volume of QDK’s Love, Peace And Poetry series, certainly one of the most crazed, over-the-top productions and performances in the entire series, with its massively phased and treated vocals and general menace. But that tune is really the anomaly on the album, despite the prevalence of monstrous fuzz guitar on a number of tracks. At their heart, The Apryl Fool seem to be a blues-rock band, although one that was clearly experimenting with the burgeoning psychedelic scene. Tracks like ‘Another Time,’ ‘Honky Tonk Jam,’ and Bob Dylan’s ‘Pledging My Time’ are pretty straight blues-rock, and ‘April Blues’ just adds some fuzz guitar to a boogie-woogie piano bit. The other tracks up the psych quotient considerably, like on ‘Tomorrow’s Child,’ with its Farfisa and wicked fuzz leads, or the aforementioned ‘The Lost Mother Land Pt. 1.’ There are additional crazy tape effects on ‘The Lost Mother Land Pt. 2.’ About half the tunes are in English and half in Japanese, but it’s all good stuff. Historical footnote: years later, bass player Haruomi Hosono would become a member of one of Japan’s most popular music groups ever, Yellow Magic Orchestra.” –Sean Westergaard, All Music Guide; Housed in a highly collectable limited edition LP replica card wallet. Includes 4 bonus tracks (The Floral singles).
BBM 1006EP MR RAOUL K (FEAT. WAREIKA): Le Triangle Peul 12″ (BBM 1006EP) 12.00
Three musicians teamed up to produce The Triangle Peul. In addition to the well known Mr Raoul K rollercoaster ride through moods from contemplation to euphoria, producing as part of a team with Wareika adds a new dimension of dialog to his work. The fun, the deep concentration and the energy that everyone felt is palpable. Unsurprisingly, “The Triangle Peul” comes in three different mixes including a drum-laden “Beatstramental” for those who still like to mix.
BC 002EP PHYLYPS: 1 12″ (BC 002EP) 10.00
2010 repress. “Diggin’ in the chords — legendary blueprint techno. The main tune uses the kind of chords we all do love since Inner City’s ‘Big Fun’ has been released. In addition the track has a sonic density which is considered as a trademark of the label. Backed by a powerful 909-groove this is one of the ultimate club anthems a DJ can’t fail with. The two versions on the B-side providing the space every sound contained needs to breathe.”
BASMATI 003EP ANANDA, GABRIEL: Charming & Alarming 12″ (BASMATI 003EP) 12.00
Organic stuff on the Basmati label from Gabriel Ananda. Tracks made by pure immersion. No plans, no blueprints. Just going with the flow, unleashing the inner Krautrock while staying true to the basics of techno. Inhale.
BASSHEAD 005EP DATSIK: 3 Fist Style 12″ (BASSHEAD 005EP) 11.00
“The Basshead label from Miami, Florida and keeps the focus on bass-heavy dancefloor music. He is a lone wolf, many enemies, his name is Datsik and with ‘Fist Style’ he drops Wu Tang meets twisted dubstep action. On the flip ‘Serum’ steps things up to 170 with a dirty jump up remix.”
BAO 025EP SAMUEL L. SESSION: The Man With The Case Remixes 12″ (BAO 025EP) 12.00
Be As One compiles a remixes pack of tracks from Samuel L. Session with some of the most genre-defining producers in dance music. Shlomi Aber reworks “Big Bad Drum” in a jazzier, dubbier vein. Damage is assured on the dancefloors. Reboot takes “The Soloist” and turns it into a hypnotic techno journey. Stacey Pullen reworks “Sections” to a new high. Finally, “The Soloist” gets remixed by SLS himself, and it’s turned into a new dancefloor groover.
BINE 025EP MARCONI UNION: Glassworks 12″ (BINE 025EP) 12.00
The heat of summer in an urban canyon’s night of fresh air. In Berlin. Or Manchester. Maybe in Budapest, even. It is warm, but not that close and hot anymore. A soft wind blows through the leaves and ripples the surface of the small puddles the rain left on the streets. With three reworkings of one of their tracks from the album 13, Marconi Union conjures such an atmosphere on this 12″, inviting you to (day-)dream or bob across the dancefloor.
BNR 050EP BOYS NOIZE: 1010/Yeah 12″ (BNR 050EP) 12.00
For the golden 50th anniversary of Boysnoize Records and in reminiscence of the very first BNR release, the master himself presents two new original tracks. One side brings you a real Boys Noize monster, the neoteric 303 acid-house track named “1010,” which immediately found love from all close BNR friends as well as on the dancefloors. On the flip, you get a gracious happy-50th wish, with the good-vibe/fun-house hymn, “Yeah.”
BPC 222EP NEGROT, AEREA: All I Wanna Do 12″ (BPC 222EP) 12.50
Berlin has become what New York was in 1981 and Aérea Negrot is the Eartha Kitt of the post-techno age. As part of Hercules & Love Affair, the Venezuelan disco diva has tackled issues of gender code through a four-four discourse. Now, she releases her first EP on BPitch. This is eclecticism as dirty and playful as you could possibly want. It’s as if ESG just wandered into Berghain by mistake. With remixes by Efdemin and tobias..
BB 056LP MOEBIUS & BEERBOHM: Double Cut LP (BB 056LP) 17.00
LP version. In 1984, two years after their first album collaboration, Strange Music, Dieter Moebius and Gerd Beerbohm issued their second LP, Double Cut. It bore the same distinctive hallmarks as its predecessor, but this time around, the two musicians had simplified matters significantly. This was not simplification due to a lack of inspiration, however, but a masterful concentration on what really counts in pop music: rhythm. Today, any discussion of German electronic pop music of the 1970s and 1980s takes for granted that the origins of a whole range of future music movements can be traced back to this period. German groups anticipated punk and were producing proto-techno and ambient music long before these had entered the genre pool as recognized categories. A number of the protagonists from that era would become enduring worldwide legends. Others, such as Moebius and Beerbohm, have thus far been limited to the shelves of certain enthusiasts. Yet, as a precursor of prescient future music, Double Cut is a perfect specimen. The centerpiece of the album, the 22-minute “Doppelschnitt,” can be tagged as proto-techno. Moebius and Beerbohm have grafted an endless stream of rhythmical electronic particles onto an ostinato bass and drum figure, fluttering to and fro like the lightest of shimmering veils. The utter and deliberate absence of any kind of melody makes it even easier to be carried away by rhythm to distant places. Double Cut is musical askesis of a formidably persuasive nature, avoiding energy-sapping meditative ballast and the anaemic contemplation of new sound academia. Double Cut is powerful, sensual pop music. Moebius never set foot in the studio with the aim of recording structured, premeditated compositions — he rather more resembled a child in a sandpit. Beerbohm was a congenial partner in this respect, as he and Moebius bounced artistic ideas back and forth, surprising each other time and again with their musical caprioles. Beerbohm’s contribution to the pair of albums cannot be regarded too highly. And Moebius, the brilliant spark, had once again proved shrewd in the extreme by enlisting Beerbohm to record two albums with him. Liner notes by Asmus Tietchens.
BB 061CD TATARA: Maximum Brass CD (BB 061CD) 17.00
Forget everything you ever learned about big bands, jazz bands, wind sections and the like, for here come TÄTÄRÄ: a young and wild brass and woodwind ensemble, performing their favorite songs just the way they want to. From Oasis to Beck and Maxïmo Park. Made with heavy drums and rumbling bass, totally analog, naturally loud and raw: a contemporary counterpart to the creators of the Now Sound of the late 1960s — Quincy Jones, Bob Crewe, Claus Ogerman, et al., who opened up the hallowed world of big bands to groove and rock. A big band playing cover versions? You may well be thinking that Ray Conniff, Horst Jankowski, Bert Kaempfert and a number of others have already been there and done that, with undeniable success. But first of all, that was a long, long time ago and secondly, there are no strings (attached) to the TÄTÄRÄ sound. And let’s be honest, the music played today by James Last and the like is so smoothly polished, one begins to wonder, with all due respect, if human beings are involved at all. High time, then, for somebody to come along and deliver a hefty kick to the establishment’s rear end. The formative period of TÄTÄRÄ goes all the way back to 1988, when they first created a stir as a street marching band. Since then, the ensemble has been on a constant upward curve. Entrusted with the task of keeping the wild bunch on the right track is Anselm Kluge, a leading figure at Hamburg’s Musikhochschule, where he teaches the pop course. A number of the 15 piece TÄTÄRÄ collective have been recruited from the music college, in fact. TÄTÄRÄ only play their own arrangements, by the way, sometimes venturing into bastard pop territory (when two songs are fused into one), smuggling the James Bond theme into “Smells Like Teen Spirit,” for example, with such harmonious aplomb that one barely notices the seams. Or weaving “Seven Nation Army” into Maxïmo Park’s “Apply Some Pressure.” Some songs are speeded up, with “Wonderwall” reborn as an up-tempo tune in comparison to the Oasis original, while “Tainted Love” is transformed into a forceful brass stomper. Maximum Brass is entertainment of the highest order, full of surprises, ideas and clever arrangements. Feel-good factor guaranteed!
CIP 022LP COLLEY, JOE: Disasters Of Self 3LP BOX (CIP 022LP) 43.00
“After a handful of releases on C.I.P., ranging from full-length CD to one-sided 7″, my resolve solidified that Joe was a contemporary artist whose work deserved the focus, breadth, and depth of a multiple LP release. The all-new material in this collection includes fractured electronics, rich multi-level drones, digital bite, the sounds of decaying technology, analog twists and turns, and recording experiments and documents — plus some other aural surprises that I leave to the listener’s discretion as to whether they can be classified as ‘pleasant’ or ‘otherwise.'” Stylish box containing inserts with images/tracklists for each LP; hand-numbered, limited edition of 500 copies.
CH 083CD COOLIES: Master CD (CH 083CD) 15.50
In the beginning, there was South Auckland’s own Coolies, three teenage school chums Tina, Sjionel and Melissa, playing the kind of racket that might have caused Johnny Rotten himself to spin in his grave, had he actually been dead (might as well have been). Back then in the mid/late-’90s, the Coolies’ punk/rock’n’roll/was inspired, it must be pointed out, by nobody… nobody at all. Nonetheless, their signature was a sweet and swinging rah-rah sound (a rah-Ramones/rah-Ronettes car-crash). That, and a burning teenage desire to actually burn things down. The trio recorded a 10-song tape on a ghetto blaster… the tapes circulated Auckland’s oh-so-hip & scenester K Road and the Coolies built up a cult following amongst the crowd who were, er, not their peers at all. For a while, the band played support to virtually every decent touring band to come thru AK, and a bunch of terrible ones who deserve their fate languishing in obscurity. Eventually they got it together to release a self titled 7”, with timeless fucking hits “Madonnas The Bomb,” “Yr So 1960s,” “Go! Hot Metal” and “Pimpmobile.” Also around the turn of the century, Kill Rock Stars put a Coolies song on the Fields And Streams compilation which, at the time, was a big deal. So, not for the last time, the Coolies seized defeat from the jaws of victory and Melissa split. The Coolies either took the first of many breaks or just couldn’t be fucked carrying on. In 2004-ish, Tina & Sjionel recruited Fiona to “man” the drums — a real life drum machine. The Coolies ripped up the plans and returned with a fresh new sound for a new-era/new/no/wave — Sjionel switched it up with synths and samples, Tina stuck with basic blitzkrieg guitar & blah blah lyrics. With a new buzz, the Coolies set off to take on the world. Like lightning, they released a self-titled album (produced by nobody), and toured NZ, Australia + America with a bunch of bands (Erase Errata/Ariel Pink/Bobbyteens/Wives/Mika Miko/Weird War/Coachwhips/Deerhoof). Later, the trio put out a tour EP, Bless The Babies And The Mothers, which was well received in the SF region. They decided to recruit legend mate and drummer Stefan (of Pumice un-fame), and their first show was at Sjionel’s house with Calvin Johnson. This reinvigorated line-up was the perfect scenario band-wise… new/old attitude to music/underground noise staple/post-punk/oioioi like a Shangri-Las and Crass tea party. Master is a collection of Coolies at their finest — raw, lo-fi, annoying, brilliant, monumental, and totally necessary. An accumulation of material recorded and mixed by Stefan Neville reel-to-reel at random places around Auckland….mastered by Rachel Shearer (Lovely Midget) and loved by all.
CCO 047CD I’M NOT A GUN: Solace CD (CCO 047CD) 15.50
This is the fifth full-length album from I’m Not A Gun, a collaboration between John Tejada and Takeshi Nishimoto. John Tejada is one of the most prolific DJs and producers in the techno world. His remixes and DJ sets are well sought-after, his label Palette is pumping out 12″ after 12″ of quality electronic music. Takeshi Nishimoto, a classically-trained guitarist, has been a long-time member of the jazz/improv scene in Los Angeles. Born in Japan and now living in Berlin, Nishimoto is currently involved in many projects, ranging from soundtracks to gallery-based sound installations. His unique style of guitar-playing makes him both a sought-after collaborator and mentor for a broad range of musical projects. Solace is hands-down the duo’s best work to-date. With much more refined production skills and incredible songwriting, Solace embraces both a more upbeat approach and a shimmering love for pop anthems.
CLDUB 010EP GOLI & ASHBURNER: Field Of Vibrations 12″ (CLDUB 010EP) 11.00
“Clandestine Cultivations are proud to finally usher in our 10th vinyl release on the 10th year of this millennium, with another debut for a pair of artists sure to join the ranks of the many successes we have broken in the past. Goli and Ashburner have been making some pretty serious waves over the past 12 months. First reaching the ears of the masses through their definitive remix of Tempa T’s Next Hype, which managed to top the slew of remixes from established producers across the field and received heavy play from Plastician amongst others. They followed this up with their filthed out bootleg of Renegade Master which flew off the shelves ending up in many a DJ’s bag. After a host of gigs all over Europe and the UK, the duo are keen to show off the side of the sound they really wanted to be pushing all along. These 3 tracks are pretty far removed from the upfront nature of their previous output, with Field Of Vibrations seeing the duo refocus and refine their ample production talents into concentrated bass-weight, an atmospheric concoction that bears a much closer similarity to the seminal dubstep sound of 2006. Backed with Ashburner’s steppers special ‘Space Skank,’ and the dark and twisted bass mutations of ‘Lurkin’; this platter is, we feel, a welcome return to the core values of dubstep in a time when everything seems to be racing off in all directions. Big dread bass for your ribcage.”
CLR 030EP PFIRTER/FUNCTION VS. JEROME SYDENHAM: Mi Estudio/Two Ninety One 10″ (CLR 030EP) 12.00
This is the second 10″ release in the 10 Years CLR cycle. While all tracks have been mixed by Chris Liebing for the massive 12-track compilation, they appear first as singles. Every track is exclusively and specifically produced for this purpose. This second installment features exclusive tracks by Function vs. Jerome Sydenham and Pfirter. “Mi Estudio” is one of the biggest tunes, and it causes major damage on the dancefloor. “Two Ninety One” is a consciousness-altering, dynamic track.
CRM 065EP JONES, JAMIE: Summertime 12″ (CRM 065EP) 12.00
Three remixes of Jamie Jones’ track “Summertime (feat. Ost & Kjex)” from his debut artist album Don’t You Remember The Future (CRM 009CD). Remix artists include Rob Mello, Jones & James, and Sis.
“Since the late 70s, while in the widely neglected 39 Clocks, he made records that never sold and played gigs that few ever saw, Juergen Gleue has arguably been the most important exponent of electrified German sound. Phantom Payn Days was made in the mid to late 90s and has never been released. It’s his final LP and is overflowing with all the elements that romanticized, loner / stoner music claims, an encoded expression of highly private feelings, an ambiguous, emotional quotient, and a dark, murkily melodic vibe. It’s a record that first and foremost lives and breathes with an endless stream of great songs. But perhaps its most curious component is it’s amazingly prescient sound, a precursor to so many of today’s lo fi acts, all wrapped up in their San Francisco hair.”
DES 098EP PHONIQUE: Perfect Stranger 12″ (DES 098EP) 12.00
“Perfect Stranger” is taken from Phonique’s album Kissing Strangers (DES 015CD) and is a powerful, modern house cut reflecting the many eschews of Phonique’s intricate sound. Blending raw, soulful throw-downs with tight and crisp next-level production, perfect for those late-night moments when rave is the only option. Phonogenic & Sasse carefully craft an ear-tingling remix — ever so funky, clear and direct. Guti remixes “Perfect Stranger” into a roaring percussive journey, full of tumbling congas, dramatic fills and fx.
DETELE 015EP SAMUEL L. SESSION: Blue Ripple EP 12″ (DETELE 015EP) 12.00
Sweden’s veteran DJ & producer Samuel L. Session makes his first appearance on Detelefunk with the Blue Ripple EP, a gem of a single that keeps things deep, yet for the dancefloor, showing his unique blend of the techno and house genres. “Blue Ripple” is a groovy tech house extravaganza, teasing throughout with alluring strings. “Staccato” and “Odyssey” pick up the pace more and head for those late-night peak-time dancefloors with driving kicks and filtered stabs.
Those fine purveyors of funk-fueled electronics, Detroit Grand Pubahs are back with their fourth studio album. This time the crazed ringmaster, Paris The Black Fu, resides over the Madd Circus with his equally deranged side-kick, Mr. O, making sure that the animals are entertained and the kids are kept in check. Madd Circus sees the duo return to the booty, electro-pop and funk of their critically acclaimed debut and the skitzoid electro of Paris’ debut solo release The Mad Circus EP back in ’99 on Detroit indie label, Throw. As Paris himself states, “this album is a journey into the booty electro and pop contempo — almost funk but not quite so.” Did someone say dead elephants, tigers and horses? No, they’re not dead, just driven madd by the Ring Master FU and the freak-inhabited Mr O. >From the opening electro-pop of “Autotragik” and recent single “NUmb Deaf and Dumb,” (see video on the Pubahs are back on top of the electro form. The electro booty of “Zombies Playing Dead” fits well with the skittish, Drexciyan-style funk of the closing “Clone Mobile” while tracks such as “Mashed Potato” are pure, unrefined funk. “Breakfast In Bed” sees Barry White taking over as Paris declares that “there’s no reason to get out of bed cause the buffet is right here.” “Maybe I Do” and “Madd Circus” fire a droning rock workout and twisted drum n’ bass into the crazed big top and “Mysterious Sights” drops a bass-heavy dubstep sound into the travelling freakshow that can only be the Detroit Grand Pubah’s Madd Circus. Well-produced and still raw at the same time, Madd Circus is the best Detroit Grand Pubahs so far.
DIAL 053EP ISOLEE: The Fantastic Researches Of Yushin Maru 12″ (DIAL 053EP) 12.00
The Fantastic Researches Of Yushin Maru is one of those 12 inches Dial has been waiting patiently for and now Isolée is back from another journey into sound and space. Again, this is a psychoacoustic experience that takes over the contemporary dancefloor. Even the loopiest track will not feature a single second of repetition — room and structure are constantly changing until the pleasure becomes you. Nick Mauss created the cover artwork.
DIS 033CD THREE: Dark Days Coming CD (DIS 033CD) 11.00
“After recording the Egg Hunt songs in England, Ian MacKaye and Jeff Nelson (who had also played together in Minor Threat and Teen Idles) considered forming a new band. They played with Geoff Turner and Steve Niles of the recently disbanded Gray Matter. This line-up never got off the ground and Ian decided to leave and eventually formed Fugazi. The others carried on, and soon added another Gray Matter member, Mark Haggerty, and this line-up would become Three. Meanwhile, Steve had started his own comic book company, Arcane Comix, which he operated out of the apartment that he shared with Geoff on Swann Street in the Dupont Circle area of DC. It was this street that served as inspiration for the song of the same name, and the line ‘these berries smell like shit’ referred to the small fruits that dropped to the sidewalks from the Ginkgo trees on the block. Three did a few short tours, and recorded at Geoff’s home studio as well as Inner Ear. Things were looking up for them, but the band self-destructed shortly before releasing Dark Days Coming in November 1989. The 12″ LP featured songs from the Inner Ear recording while the CD also included 11 extra tracks from the band’s home recordings. Shortly after the demise of Three, Geoff, Mark and Steve joined again with Dante Ferrando and reunited Gray Matter. Several of the Three demos included on the ‘extra tracks’ later surfaced on Gray Matter’s album, Thog. Re-mastered from original tapes. Features newly updated artwork.”
DIS 033LP THREE: Dark Days Coming LP (DIS 033LP) 13.00
LP version.
DIS 092CD LUNGFISH: Pass And Stow CD (DIS 092CD) 11.00
“The Lungfish band, from Baltimore, Maryland, has been performing and releasing albums on the Dischord Records label for more than 20 years. Pass And Stow was the band’s fourth full-length album, released in 1993, and this recording marks the final appearance of original bass player John Chriest. Change was indeed in the air and Pass And Stow clearly documents the move from the band’s post-punk roots toward a more hypnotic and signature sound that was to revolve more around Daniel’s lyrical imagery with hints of the minimalist approach the band would adopt on later albums. Lungfish is now, as it often has been, quasi if not entirely defunct. However, since the release of the band’s last album in 2005, Feral Hymns, singer Daniel Higgs (who is also an accomplished visual artist) has embarked on a burgeoning solo career, releasing albums on Northern Liberties, Thrill Jockey and Holy Mountain and showing his artwork both in the States and The United Kingdom. Asa Osborne is currently recording and performing solo material under the name, The Zomes. Re-mastered from original tapes. Features new updated artwork.”
DIS 092LP LUNGFISH: Pass And Stow LP (DIS 092LP) 13.00
LP version.
DR 1054LP VA: Delaware Garage LP (DR 1054LP) 16.00
“Limited edition 1000 copies, 140 gram vinyl! Contains ’60s garage from Delaware, including Tree, State Of Mind, Ides, Nobles, Contemporaries, Johnny Neel & The Shapes Of Soul, Souls Of Britton, Larry Davis, Fabulous Pharaohs, etc.”
DR BOOK BROWN, DAVID L.: Jack Lonshein:Album Cover Design & Illustrations 1960s-1970s Book (DR BOOK) 16.00
“32 pages, full color glossy cover, glossy color pages. History of one of the all time great album cover artists. Jack Lonshein designed many of the early Mainstream covers as well as many other labels. Contains discography. Limited and signed, only 100 copies printed!”
DWAB 004CD FELDMAN, MORTON: Turfan Fragments CD (DWAB 004CD) 15.00
Originally released in 2001 by the Dog W/A Bone label, this release features these 2 long pieces: For Samuel Beckett and The Turfan Fragments. Performed by: The Orchestra of the S.E.M. Ensemble, with Petr Kotik, conductor. For Samuel Beckett and The Turfan Fragments are Morton Feldman’s only chamber orchestra compositions. Both were commissions: The Turfan Fragments by the Swiss-Italian Radio Orchestra in 1980, For Samuel Beckett by the Schönberg Ensemble, Amsterdam, in 1987. Both titles are descriptive and suggest how Feldman arrived at a particular concept for each piece. The Turfan Fragments is a succession of short sections, which could indeed be described as fragments. The title relates the composition to manuscripts from Turfan (the southwest region of present-day China), which are in the collection of the Preussischer Kulturbesitz in Berlin. These calligraphic remnants, going back to the 9th century, were brought to Germany before World War I and Feldman must have seen them while living in Berlin in 1971. In contrast, For Samuel Beckett is based on a single idea of several chord progressions unfolding continuously for almost an hour. In 1977, Beckett wrote a text for Feldman, to be used as the libretto for his opera Neither. Feldman’s description of Beckett’s writing most eloquently suggests what was on his mind when composing For Samuel Beckett: “here’s something peculiar about it [Beckett’s text]. I can’t catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you’re doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought.” Includes an 8-page booklet with liner notes from Petr Kotik and an extract from Morton Feldman from Give My Regards To Eighth Street (Exact Change). The Orchestra of the S.E.M. Ensemble; Petr Kotik, conductor.
DWAB 005CD S.E.M. ENSEMBLE: Spoken Music Concert At Paula Cooper Gallery CD (DWAB 005CD) 15.00
Originally issued on Dog W/A Bone in 2002. The S.E.M. Ensemble’s Spoken Music Concert took place on Tuesday, February 6, 1990, at the Paula Cooper Gallery in New York, then on Wooster Street in Soho. It was performed by members of the S.E.M. Ensemble: Petr Kotik (Director), Chris Nappi, Joseph Kubera, and Den Neill (sound mix); and four guests: John Cage, Dick Higgins, Jackson Mac Low, and Anne Tardos. “Empty Words,” written in 1973-1974, is arguably the most musical of John Cage’s texts. Made up of fragments from the journals of Henry David Thoreau, it consists of four parts. The first is a chance-derived mix of phrases, words, syllables, and single letters; subsequent parts each eliminate one of these textual elements from the mix. By the fourth part (performed here), there is nothing left but single letters. As the text becomes simpler and simpler, silences become more and more prominent. Includes a 12-page booklet with texts by Jackson Mac Low and James Pritchett.
DP 043EP OTHERS, THE: Off The Wall/Vertigo 909 12″ (DP 043EP) 11.50
“The Others continue to move forward with ever increasing strides with no sign of slowing down, these dubstep stalwarts stand out as true creative trailblazers. Having traveled the globe with their unique and varied DJ sets, taking in tours of Australia & New Zealand as well as countless dates all over the UK and Europe, clocking up releases on leading labels such the legendary Tempa and N-Type’s Wheel & Deal Records along the way.”
Let Your Feet Do The Talkin’ tells the story of buckdancing legend Thomas Maupin, who, at the age of 70, remains one of the greatest old-time dancers in America. The film presents a portrait of a man in the twilight of his life reflecting back on his legacy as a father, teacher, and artist. Numerous awards, trophies, and plaques lay stacked in a dresser in rural Tennessee where Thomas spends his weeks tending his garden, feeding the animals, and fixing the occasional lawn mower. However, on the weekends, Thomas travels all over the South performing anywhere there’s a band and some flat ground; be it giant stages, historic theatres, or crowded street corners, almost always accompanied by his grandson, Daniel. At the age of 16 years old, Daniel has become a prominent old-time banjo player who, with his quick wit, hot licks and uncanny showmanship, rarely finishes a song without a standing ovation. “Music is a way for us to communicate,” says Thomas, “he speaks with his banjo and I let my feet do the talkin’.” Even though Thomas and Daniel excel without each other, it’s apparent there is something more when they perform together; a magic and beauty that cannot be described with words, but comes across vividly on film. Framed between Thomas’ recovery from cancer and his acceptance of a nationally recognized award, this piece presents a deeply personal look at a folk icon. Even though the film’s narrative is rooted in an American tradition, Thomas’ experience transcends nationalities, ethnicities, and cultures and appeals to emotions that are universal; leaving the audience with not only the story of a man, but a greater understanding of the human condition. In spite of the heartaches and hardships he has encountered, Thomas has never stopped dancing, gaining him adoration, distinction, and most importantly, happiness. Let Your Feet Do The Talkin’ asks the question, “What drives us to perform?” and examines music’s ability to form and strengthen relationships and lift us above our circumstances. Directed by Stewart Copeland. 30-minute documentary with special features including deleted scenes, live performances, a dance workshop, Hear Your Banjo Play, (the 1947 documentary narrated by Pete Seeger with performances by Woody Guthrie and Sonny Terry), and Jennifer, a 2008 short film by Stewart Copeland. Housed in a digipak case, including a booklet with an introduction to buckdancing essay by Phil Jamison of Warren Wilson College and a list of all of Thomas Maupin’s first place awards in dancing. Program run time: 30min/Total run time 1 hour 49min. Stereo Audio; Color; Aspect Ratio: 16×9 letter-boxed; NTSC format, Region-Free.
ECHOCOL 012EP HESS (MIXED BY OMAR S), LUKE: Michigan Central Station EP 12″ (ECHOCOL 012EP) 12.00
Michigan Central Station built in 1913 for the Michigan Central Railroad, was Detroit, Michigan’s passenger rail depot from its opening in 1913 until the discontinuance of Amtrak service on January 6, 1988. At the time of its construction, it was the tallest rail station in the world. The building, located in the Corktown district of Detroit still stands today, though it remains unoccupied. Infrastructural restoration and city development are fundamental elements in Detroit’s recovery, and the recovery of cities worldwide. It is time for revival in our cities, but first, in our souls. The Michigan Central Station EP is a platform for this change. On teal-colored vinyl with a glossy insert of the station.
DEMEGO 014CS O’MALLEY, STEPHEN: Cocon & Oiseau de Nuit Cassette (DEMEGO 014CS) 12.50
Cassette release. Cocon & Oiseau de Nuit is a recently excavated long-form piece from 2006, 40+ minutes of minimalist guitar work relating to Stephen O’Malley’s (SunnO))), Khanate, etc.) work on Keep An Eye Out (Table of the Elements, 2009) & Salt (iDEAL Recordings, 2008). Pure guitar saturation and amplifier feedback is the name of the game here. A sub-shifter monster of a track. This release is the first in a series of 3 cassette releases that O’Malley will be releasing for Editions Mego. Edition of 250 copies. Running length: 40:44. Program repeats on both sides. Recorded November 2006, NYC 10025 Soma. Reamped through 2 x SUNN2000S w/Oekel custom cabinets/G12M speakers, JUN10 PARIS 75010, Turzi. Mastered AUG10 KÖLN 506070, Piethopraxis.
EDLX 010CD FIXMER, TERENCE: Comedy Of Menace CD (EDLX 010CD) 17.00
Electric Deluxe is proud to announce the release of Comedy Of Menace by France’s legendary Terence Fixmer, as the first artist album on the label since its launch in late 2008. This is Terence’s fourth album. He has already released two solo albums on DJ Hell’s Gigolo, the seminal Muscle Machine single-handedly spearheading a new style — techno body music. This was a unique combination of modern techno and the EBM of the founding fathers from Nitzer Ebb (whom Terence still has the Fixmer/McCarthy project with) and Front 242. His third album, Fiction Fiction was released on Terence Fixmer’s own imprint Planete Rouge in 2009 with a more deep ambience, almost cinematic, with palpable emotion and hypnotic rhythms. With releases on Music Man, Datapunk, and Novamute, he has helped to develop EBM since the early ’90s. With Comedy Of Menace, Terence Fixmer creates a true techno album, with an instantly recognizable, pure sound, a deep and dark atmosphere throughout. The album is in many ways hypnotizing and mental, yet keeps the energy and effectiveness for the dancefloor.
ESPDISK 1059CD TYLER, CHARLES: Eastern Man Alone CD (ESPDISK 1059CD) 13.00
“This 1967 recording by the avant-garde saxophonist — his second for ESP-Disk — features Tyler on alto sax with accompaniment from David Baker (cello), Brent McKesson (bass) and Kent Brinkley (bass). The album starts out with ‘Cha-Lacy’s Out East,’ which revisits a theme from his first album as leader (ESPDISK 1029CD). The proceedings are heady free-form avant-jazz, reaching into cosmic realms with its string-heavy backing providing soaring atmospheres. Tyler cut legendary records as a sideman to Albert Ayler (ESPDISK 1010LP Bells, ESPDISK 1020CD Spirits Rejoice), but as a leader, proves to be one of the most advanced, challenging, and exploratory players of the late ’60s avant-garde. Newly remastered with original artwork and liner notes by Clifford Allen.”
ESPDISK 4063CD MORRIS, JOE: Camera CD (ESPDISK 4063CD) 13.00
“The great improvising guitarist, Joe Morris, returns with Luther Gray on drums and adds the masterful string section of Katt Hernandez on violin and Junko Fujiwara Simons on cello for his follow up to 2009’s Colorfield (ESPDISK 4056CD). Drawing inspiration from the assembly of tones in film and photography, Morris leads his quartet in stopping time to highlight the value and unpredictable sensation that each moment offers and the pleasure in exploring the layers of experience and form contained within them.” “As improvising musicians we function somewhat like a camera, displaying the moment in sound.” — Joe Morris, July 2010
FIRE 152CD SMUDGE: Manilow CD (FIRE 152CD) 14.50
Australian legends Smudge promote the reissue of their classic debut Manilow (originally released on Domino in 1995). Released with new artwork and exclusive tracks as part of the ongoing Fire Records Embers Series which already includes classic ’80s and ’90s reissues by the likes of Spacemen 3, Teenage Fanclub, Bardo Pond, Close Lobsters, etc. Manilow (the blue edition!) includes a free, downloadable 14-track live album recorded in Cologne in 1994. Recognized as one of the most under-rated bands of the Australian underground, they retain a fiercely loyal fan base to this day. Mellow, straight-up guitar-centric indie-rock that somehow transcends time and place.
FIRE 153CD SMUDGE: Real McCoy Wrong Sinatra CD (FIRE 153CD) 14.50
Australian legends Smudge promote the reissue of their third album Real McCoy Wrong Sinatra (originally released on Warner in 1998). Includes new artwork and exclusive tracks as part of the ongoing Fire Records Embers Series. The Australian slacker-pop trio were thrust onto the world stage in the early ’90s in recognition of singer-songwriter Tom Morgan’s co-authorship of material on The Lemonheads’ breakthrough 1992 album It’s A Shame About Ray. Championed by John Peel and NME, the band hit the festival circuit and rode The Lemonheads-wave, who continued to cover and co-write songs with the prolific Tom Morgan, including tracks such as “Big Gay Heart” and “Outdoor Type.” Recognized as one of the most under-rated bands of the Australian underground, they retain a fiercely loyal fan base to this day. Real McCoy has a higher production value than Manilow, but none of the group’s fierce energy abates, with more driving rhythms and chiming guitar-wash. Includes two bonus demo tracks.
FOR 027LP BURNT HILLS: The Moon Of The Sky LP (FOR 027LP) 21.00
“‘Finally! After two years of waiting and warming up, The Moon of the Sky sees the light. This fantastic jam was recorded live on concert on May 5th 2008 at the Helderberg House in Albany (upstate New York) and it’s a pearl of psychedelic rock, full of stoned guitar layers. The line-up of the astounding band for this gig features four guitarists (Jackson, Erik, Johnny, Paula), electric bass (Eric H), drums (Phil), and of course Llana on the xylophone. Who knows what these folks do, knows what kind of trippy trembling sound walls they can build up with their good cosmic vibes. Classic ‘Burnt Hills’ style at its best. The band has been jamming in the same basement for ten years every Monday night, hosting an incredible number of touring bands to sit in and share life, fun and music with them. Try the full experience to believe. Respect!’ – Troglosound. Reissue of the Troglosound CDR. Artwork by Virginia Genta. Silkscreened covers. Numbered edition of 99 copies.” One-sided release.
FMK 004EP FORMAT:B: Dog Tag 12″ (FMK 004EP) 12.00
When dogs meet they don’t just lick each other’s ears but also put on a silver “Dog Tag.” Seeing as the three-legged four-leggers Jakob and Franziskus aren’t that happy being alone and are often seen dancing over the dog grounds wagging their tails, they have decided to share their bowl with Sébastien Léger, the French production bulldog who always has a couple of remix Scooby-snacks lying around somewhere. Only The Lady And The Tramp is more romantic than that.
FOUND 023EP PORTELA, RONAN: Cheronca EP 12″ (FOUND 023EP) 12.00
Argentina’s Ronan Portela continues to enthrall with his super-powerful tech-house bombs. Throughout 2009-2010, tracks from his first Foundsound EP as well as his remix of Barem’s track “Heyday” have been consistently played/charted by Richie Hawtin, Josh Wink, Barem, Martinez, D’julz, Mathias Kaden, Format:B, Tiefschwarz, Someone Else, and the list goes on and on. This is his second EP on Foundsound, and by far, his strongest release to date.
HIGH 082CD CLARK, TOM: Pressure Points CD (HIGH 082CD) 17.00
This is the third full-length album from Berlin’s Tom Clark. Good music can sometimes be as effective as acupuncture. You just have to find the right point and with a tiny needle, it’s possible to trigger an amazing result. Tom Clark’s Pressure Points is just such an album, knowing exactly the right places to exert pressure and thereby leading listeners by invisible threads into a truly hypnotic and pleasurable experience. It has been some time in the making, for there has been a lot to do, but the time has proven well worth it. This is not a club album, as he says, Pressure Points shows something of Clark’s other side, and of his musical background. It is a confident and complex, but perfectly coordinated album that reflects Tom Clark’s artistic development and is oriented to the sound of his DJ sets: groovy, deep and full of class. Twelve tracks ranging from downbeat journeys into minimal house, pushing at all the right points of its listeners. The tracks move slowly but constantly forward and enter into your body like a subtle herbal medicine. We can hear that Tom Clark is not interested in an immediate and superficial reaction from his dancers. Here he finds a more relaxed and more permanent effect. You don’t have to listen actively, the feeling is automatic. There is no escape. You could call Clark’s sound melancholic or anxious, and it’s entirely fascinating, especially the tracks with Wareika singer Florian Schirmacher, which emphasize the full, holistic effect. Pressure Points is a timeless and universal album that will reveal more and more on every listen. This is music that gives its audience exactly what they need.
HUBRO 2500CD SPLASHGIRL: Arbor CD (HUBRO 2500CD) 17.00
The second album from young Norwegians Splashgirl see them re-inventing themselves from a piano trio in the European jazz tradition to a “band” in a more boundary-less musical landscape someplace between ambient, experimental rock, jazz, and contemporary music. It is still improvised acoustic music, but it definitely sounds quite different. The music on Arbor takes a more minimalistic and defined collective approach where the use of long, sustained sounds binds together a broad palette of string and percussion instruments. The band mentions Eric Satie, Earth, Morton Feldman, and Oren Ambarchi as important references. Repetition and duration play a major role on Arbor as the music unfolds slowly and leaves a lot of room for a focus on details. Splashgirl play improvised music that doesn’t sound improvised. This time they wanted to have a more collective approach to the music, and by improvising, they have found sounds and song-ideas that they have developed further during the recording sessions. Arbor also features contributions by pedal steel guitarist Anders Hofstad Sørås, and singer/songwriter/sound artist Lasse Passage, two musicians with whom Splashgirl have been working closely with for some time now. Splashgirl was formed in 2004 on an initiative from pianist Andreas Stensland Løwe. He, Jo Berger Myhre and Andreas Lønmo Knudsrød had known each other since high school, and had played together in several other bands. Arbor was recorded in an old tree house called Biermannsgården in Oslo, and mixed by Ingar Hunskaar before pre-mastered to analog tape by Lasse Passage.
HUBRO 2501CD EILERTSEN, MATS: Radio Yonder CD (HUBRO 2501CD) 17.00
This is an exciting new album from Norwegian bass player Mats Eilertsen’s new quartet featuring a superb cast of musicians. Radio Yonder is his best and maybe most accessible album to-date. The title takes as its subject the dichotomy of “here” and “there,” and the space in between, or “yonder.” Yonder is between “here” and “there.” Yonder is a state of mind of a place neither here nor there or in-between, and is as hard to grasp as the location of the rainbow. Radio Yonder is the muse the creative artist searches to find and tune into, never truly knowing if his artistic antennas will be able pick up the tender signals flowing around out in the ether. The new quartet Mats has put together for this album comprises some of the greatest voices on the Scandinavian and international jazz scene today, with the wonderful, mesmerizing sound of sax maestro Tore Brunborg stirred into guitarist Thomas Dahl’s electric brew, combusted by the dazzling and inspiring supportive rhythm-works and percussive sounds from young Finnish drum wizard Olavi Louhivuori, all firmly rooted and wheeled by composer and bandleader bassist Mats Eilertsen. The quartet is both dynamic and playful. All members are equal and shine through the whole album. The music is melodic, energetic and has a strong lyrical vein. Radio Yonder also showcases Mats Eilertsen as a solid and inventive songwriter. All the material on the disc is written by Eilertsen except “Hunting High And Low” by Norwegian pop group A-ha. Members include: Tore Brunborg (saxophone), Thomas Dahl (guitar), Olavi Louhivuori (drums), Mats Eilertsen (double bass).
HUBRO 2502CD LABFIELD: Collab CD (HUBRO 2502CD) 17.00
Slow-floating improvised acoustic drone rich in details performed live by the masterly duo Labfield and guests Ståle Storløkken (Supersilent), Mariam Wallentin (Wildbirds & Peacedrums) and Giuseppe Ielasi. The two powerful tracks that make up Labfield’s second album were recorded at Kongsberg Jazz Festival and at Musikkhögskolan in Stockholm in 2008. Swedish guitarist David Stackenäs and Norwegian percussionist Ingar Zach are well-known names in the European improvisation scene. Ingar Zach, now based in Spain, has been a key figure in Norwegian improvised music for the last 10 years. Together with guitar player Ivar Grydeland, he founded the prolific improvised music label, Sofa. Zach has played with Derek Bailey, Jon Balke’s Magnetic North Orchestra, Huntsville and Sidsel Endresen, among others. Stackenäs is one of Sweden’s most merited guitarists with an impressive body of work behind him. Stackenäs and Zach previously worked together in the now-defunct three-piece Tri-Dim, with saxophonist Håkon Kornstad. Stackenäs and Zach decided to work on as a duo, but now with a radically different musical agenda. The musicians themselves describe Labfield as a musical laboratory. Labfield are: David Stackenäs (acoustic guitars, preparations and low budget electronics) and Ingar Zach (prepared bass drum, gongs, percussion, sruti boxes and drone commander).
HYPE 018EP EL_TXEF_A: She Kissed Me First 12″ (HYPE 018EP) 12.00
Alex Jones and Cedric Maison’s Hypercolour re-asserts its big brother status with “She Kissed Me First” from Spanish producer El_Txef_A. Backed with remixes from Holger Zilske and Minilogue, “She Kissed Me First” is a superb slice of feel-good house with a smiley Balearic vibe. Zilske’s version retains the soul of the original but adds a touch of drunken funk. Minilogue approach things from a more radical angle, turning in a slo-mo, heavily dubbed-out rework.
IMMER 003EP DON DISCO/LOSOUL: Swing Ibero/Nuin 12″ (IMMER 003EP) 12.00
Peter Kremeier belongs to the most influential heavy-hitters of German house history. “Swing Ibero” was initially released in 1997 as a B-side of the Chunky Planetz EP on the Research label. Still acting under his Don Disco moniker, what starts off as a relaxed, deep abstract house groove turns into an ecstatic flanger-fest. As Losoul, he took a trip into the depths of his archives and discovered “Nuin.” It’s rather incomprehensible why this jewel never got to see a proper release.
JOLLY 001EP DJ KAOS: Horny Morning Loop 12″ (JOLLY 001EP) 12.00
Horny Morning Loop by DJ Kaos features mixes by Eric Duncan and Till Von Sein & Aera. The first mix comes from Till Von Sein, who is well known for his production and DJ skills. The other mix is by Eric Duncan, who is part of Rub n’ Tug & Still Going, and who has remixed several artists under the aliases Dr. Dunks and Keep It Cheap.
KOM 193LP FIELD, THE: Yesterday And Today 2LP+CD (KOM 193LP) 18.00
2010 repress on vinyl. Gatefold, double vinyl version (with free CD of the same content included) of the highly-anticipated second full-length release by Axel Willner aka The Field for the Kompakt label.
JCP 20226LP VULCAN: Meet Your Ghost 2LP (JCP 20226LP) 29.00
“Two discs of raw, distorted, overblown fuzzed-out sludge rock by the eccentric and enigmatic small town, self-proclaimed son of an intergalactic space traveler who claims to have been visited years ago by the guitar-playing ghost of Jimi Hendrix. Disc one is the first-ever authorized reissue of the original Meet Your Ghost album which was originally recorded in the late ’70s. It’s been restored and re-mastered here. Disc two is a collection of 11 previously unreleased tracks that were recorded before the original Ghost album These tracks had literally been lost for more than eight years. These new tracks have also been restored and re-mastered and contain almost every kind of guitar effect, feedback and sound imaginable, not to mention Vulcan’s eerie ‘alien message’ and spooky backward masking effects. A very heavy and raw bit of garage rock with some bizarre psychedelic effects. One of a kind! This double album is housed in a spectacularly re-designed psychedelic gatefold cover with lots of never-before-seen photos of the reclusive Vulcan. Also includes a separate insert of a mind-blowing interview with Vulcan himself! Limited to 600 hand-numbered copies.”
Repressed. Conrad Schnitzler’s Zug is one of the most important and one of the first electronic minimalist works that was published in the 1970s. Almost simultaneously with Kraftwerk’s groundbreaking Autobahn, “Zug” appeared on the legendary The Red Cassette (1973). The Wire magazine wrote about Zug: “Kraftwerk might have used similar methods to create rhythm but three decades on, it still sounds like the future.” As an original member of Tangerine Dream (1969-1970) and a founding member of Kluster, Conrad Schnitzler is a creator of milestones in the history of electronic popular music. This release is rounded off with remixes by Con (1978) fan Stefan Betke aka Pole and Borngräber & Strüver. Pole and Kassian Troyer (Radian) have mastered the record, so the best quality is guaranteed.
MEAN 016EP PCB: Deft EP 12″ (MEAN 016EP) 12.00
For this artist debut on Meanwhile, Pendle Coven Breakers have made a three-tracker shaking off any opaque guises, reveling in a deep intimacy with the music of early Prescription or original Harmony Park vibrations. Long-term mutual admiration and artistic relations with pioneers such as Anthony “Shake” Shakir, Mike Huckaby, David Moufang/Move D and contemporaries DJ Woody, Andy Stott, and Claro Intelecto have all bounced off and resonated with this artist’s boundless invention and spirit of generosity.
MEAN 018EP CONFORCE: Love & Hate EP 12″ (MEAN 018EP) 12.00
“Love Hate” pretty well defines what’s best in futuristik Motor City techno-soul-house music — the sheer drama of this track as it ripples and swells shapes it for those who care: dense and modern, pressed deep in a new era for the physical medium. Generations of fans from Model 500 and Shakir should love this. Heady stuff that comes highly recommended! Cut at D&M.
MEAN 019EP MURMUR: Fume EP 12″ (MEAN 019EP) 12.00
First new tracks from Murmur since 2008, backed with a mix from MLZ under his PCB guise. “Tangle” is house music for bubblers — one for those who know how to build a true dance music session from the ground up. Murmur give the machines a thorough going-over on the title cut “Fume,” ever so restrained and beatless. Miles Whittaker and Gary Howell’s mix is a beautiful, controlled and yet understated rub. For fans of Uzuri, Convextion, Horizontal Ground, etc.
MLTD 039EP SOLEAD: Wander EP 12″ (MLTD 039EP) 12.00
Big room Ibiza vibes abound on this killer EP from Solead. On “Musica,” tumbling beats and a mélange of Cuban pianos, horns and flutes play over very robust rhythms to create an atmospheric big room builder. “Wander” keeps the pace going, this time with more expansive vocals and some ridiculously catchy whistling. Okain sexes things up a bit on his remix, and “Slip Into” is a tough club track with serious energy.
MINUS 095EP HEARTTHROB & TROY PIERCE: Square One 12″ (MINUS 095EP) 11.00
Square One marks a return to a long-standing collaboration between Troy Pierce and label mate Jesse Siminski aka Heartthrob. The three detail-oriented tracks wind their way through tense, angular synths, solid drum programming, droning sound spheres and dissonant cords. Humorous, upfront, and chaotic at times, these productions are not afraid to stand apart and cause a full-on freak-out.
MOJUBA 015EP STEREOCITI: Cosmoride 12″ (MOJUBA 015EP) 14.00
Stereociti returns to Mojuba with some fresh, sweet tunes. “Cosmoride” catches the vibe of Stereociti’s first release but takes it on a deep, cosmic trip to make you and the universe dance. The other side’s track “Tsukayga” is that kind of song which you will surely hear on a sunny Sunday afternoon at one of your favorite outdoor clubbing locations.
MONKEY 005EP MODESELEKTOR: Modeselektion Vol. 01 #2 12″ (MONKEY 005EP) 12.00
Accompanied by about a dozen ambitious events worldwide, Modeselektor proudly present the kick-off for their new series of Modeselektions, an invitation to friends and artists they admire and consider like-minded. Constantly in search of the next new beat, Modeselektor focus their first installment mainly on the progression of dubstep’s offsprings and related or unrelated but similar-sounding techno producers in London, Berlin or elsewhere. Featuring 2562, Shed, and SBTRKT.
MOOD 092EP PENNER + MUDER: Let The Music Play 12″ (MOOD 092EP) 12.00
Taken from their album Same Monkeys Different Zoo (MOOD 012CD), here are three single cuts by Nils Penner and John Muder. “Let The Music Play” is already a hot-rodded missile in the DJ boxes of Sascha Funke, Dave DK and Sasse. “Time Has Come” is a deep vocal-driven track to nail the floor, with a punctuated vocal hook and filtered synth lines, building into a real late-night chugger.
Mule Electronic proudly announces the first mix CD from Sebastian Mullaert of Minilogue. Swedish duo Minilogue have released on highly-acclaimed labels such as Cocoon, Wagon Repair, and Mule Electronic and they have become one of the best techno artists in the world. Minilogue have two sides to their work: dance-oriented music and ambient music. As a result, Mullaert has collected moodier and slower tracks for CD1, while CD2 features a peak-time selection. There are also many exclusive new songs here, including Mullaert’s first solo production and the first collaborative track between Minilogue and Koss. This mix CD is mixed live without a computer — the seamless computer mix is sometimes good for home listening, but this live mix definitely has more soul and emotion. CD1 kicks off with Sebastian’s own track and he mixed in his favorite psychedelic ambient house, such as the new release from Donato Dozzy and his friend KAB and The Mole. CD2 is faster and boasts a more pumping, clubby sound. Other artists include: Claudio Fabrianesi, Leftover, Roger Gerressen, El Txef A, STL, Darko Esser, Black Jazz Consortium, Gunnar Jonsson, The Machine, Âme, Joe Claussell, Oleg Poliakov, Jerome Sydenham & Dennis Ferrer, Rejected, Cobblestone Jazz, Mike Dehnert, Marlon D, Samuel L. Session, Argy, The Black Dog, Daniel Mehlhart, NSI, Cio D’or and XDB.
MULE 072EP FOOG: Open Your Eyes 12″ (MULE 072EP) 12.00
Foog is a project by Japanese veteran producer Yukihiro Fukutomi and “Open Your Eyes” is a cover version of Marshall Jefferson’s house classic. Has received support from Michael Mayer and Ewan Pearson, amongst others. This 12″ illustrates a modern approach to Chicago house music.
MUSIQ 051EP KUNIYUKI: Set Me Free 12″ (MUSIQ 051EP) 12.00
“Fourth single cut from the latest Kuniyuki album Walking In The Naked City. A side, ‘Set Me Free’ was the most clubby tune on the album. Kuniyuki edited it a bit dirty and more funky. This track is for fans of Francois Kevorkian and Villalobos. B side, original version of ‘Strom’ was a classical ambient house track with female vocals. Kuniyuki made it instrumental and added stronger beats. This new version calls to mind the early production of blaze or Danny Tenaglia. Both tracks are deep and emotional and lovely DJ tools. It’s real deep house.”
19 014EP TEELOO: Habitant 12″ (19 014EP) 12.00
Canada’s No19 Music presents material from Teeloo, featuring stand-out remixes from Ripperton and Nitin. Teeloo has made a name for himself with his eclectic DJ and production style, playing opening sets for the likes of Richie Hawtin, Sneak and Green Velvet. “Habitant” is a brilliant slice of future-retro cinematic excellence while “Esso” is a journey into deep, hypnotic house music. Ripperton’s mix draws the heart and soul from the original and blends it into a forceful slice of brooding tech-edged house.
ORN 014EP FURSTENBERG, MARKO: New World EP 12″ (ORN 014EP) 14.00
Marko Fürstenberg presents some melodic, atmospheric, jacking techno for Ornaments.
ORN 015EP TOH, TIM: No Trace 12″ (ORN 015EP) 14.00
Tim Toh enters the Ornaments family with a nice, deep and soulful summer groover with vocals by his sisters Lisa and Jasmina. Everybody wants sisters like that. On side B, you will find a space-dubby remix trip from Manuel Tur.
ORN 016EP THABO: The Machines 12″ (ORN 016EP) 14.00
Vinyl only! Thabo and Foster (both members of Soultourist/Drumpoet Community) bring you some deep Detroit stuff for the next episode of Ornaments.
OSMUK 010EP KRYPTIC MINDS: Follow Me VIP/Rubberman 12″ (OSMUK 010EP) 11.00
“Kryptic Minds don’t mess about, with yet another huge release on Osiris. ‘Follow Me VIP’ is hypnotising dubstep at its finest. On the flip ‘Rubberman’ is deep and nasty in equal measures. DJ support from: Youngsta, Skream, Distance & N-Type.”
PCD 72002CD MCCRAE, GWEN: Lay It On Me CD (PCD 72002CD) 16.00
“Gwen McCrae has consistently been making great records since the late ’60s, debuting on Columbia with her first R&B hit ‘Lead Me On’. She moved to Cat Records and scored big with ‘Rockin’ Chair’, the oft-sampled ‘90% Of Me Is You’ and ‘Damn Right It’s Good’. A move to Atlantic where she was personally signed by the legendary Ahmet Ertegun brought such classics as ‘Keep The Fire Burning’, ‘Funky Sensation’ and ‘All This Love That I’m Giving’. Gwen’s roots lie in deep and southern soul and this collection of 11 classics from the Columbia vaults brings together her five singles for the label, plus one unreleased gem in Clarence Reid’s ‘Lovin’ In The Lay-A-Way’. Originally recorded between 1970 and 1972, they were released at a time when Gwen was pretty much one of the only African Americans on the Columbia label and before the company became a powerhouse for R&B with major hits on PIR and Epic Records. Lay It On Me is classic soul at its best. Much of it was recorded at American Group Studios and features the Memphis Horns on many tracks.” Includes a 16-page full-color booklet with essay and rare photos.
PAN 012LP WISHART, TREVOR: Fanfare & Contrapunctus/Imago LP (PAN 012LP) 31.00
“Vinyl issue of two very important works by this early British sound poet and electronic composer, compiling one of Trevor Wishart’s first ever pieces ‘Fanfare & Contrapunctus’ (from 1976) and one of his latest, ‘Imago’ (from 2002), documenting a modern approach in composition and an extremely unique progress in sound manipulation and music technology. ‘Fanfare & Contrapunctus’ (1976): ‘These two short pieces were made at the newly opened electronic studio at the Sydney Conservatorium, before the advent of music computer technology. The source material derives from free improvisations by Trevor Wishart and Martin Mayes using ‘soft trumpets’, pop-guns, French Horn and virtuoso eating noises, plus recordings of birdsong and other environmental sources.’ ‘Imago’ (2002) ‘…the universe in a grain of sand…’ ”Imago’ is a piece of magical sound metamorphosis in which the single ‘clink’ of two whisky glasses gradually metamorphoses into a multitude of other sounds, eventually alluding to the sounds of birdsong, a junkyard gamelan, the ocean and the human voice, but never entirely abandoning its links to this minimal source. The piece was made using sound transformation software written by the composer, available through the Composers Desktop Project, and the original source sound was taken from Jonty Harrison’s ‘et ainsi de suite’.’ The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly- lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.”
PAN 013LP WHITMAN, KEITH FULLERTON: Disingenuity b/w Disingenuousness LP (PAN 013LP) 31.00
“Keith Fullerton Whitman bursts back with his first full length record in four years, Disingenuity b/w Disingenuousness, comprising of two pieces of forward thinking electronic music with a deep exploration into the analogue sound. Live and studio recordings of the past two years (Cambridge-New York-Toronto) were used as source material, which were then realized into two longform compositions. Using a Musique Concrète approach of deconstructed sounds (ala Pietro Grossi, Costin Miereanu, Basil Kirchin, Dub Taylor, etc), Disingenuity b/w Disingenuousness encompasses various reference points from François Bayle, Jacques Lejeune, Richard Pinhas & Heldon to the minimal textures of Basic Channel / Chain Reaction axis… Both tape-collage pieces which derived from an hour-long improvisation based around a setup involving a tape of chance field-recordings (a helicopter, walking on snow, children) bounced to a mono nagra tape machine, which is covered in contact mic’s that translate not just the sound coming from the speakers, but the actual mechanical ‘interface’ of the unit into control voltage & triggers that drive a modular synth that’s processing said audio using the classic electronic music toolkit (i.e. ring modulation, panning VCA’s, filters, etc). The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Bill Kouligas.”
PERMVAC 070EP ZUCKERHUT: Zuckerhut Remixes 12″ (PERMVAC 070EP) 12.00
Permanent Vacation present the long-awaited “Zuckerhut” remixes. The original was released last year on the first 12″ by label owners Tom Bioly and Benjamin Fröhlich. For this 12″ they asked TBD and John Talabot for a remix. TBD added some nice chants and their trademark noisy breakdown and transformed the original into a perfect percussive carnival/block-party jam — already big with Tim Sweeney and Prins Thomas, whereas Talabot lets the sun in with a samba-influenced house smasher.
PFR 026CD VA: Shaping Elements: Poker Flat Recordings Volume 8 2CD (PFR 026CD) 17.00
Poker Flat pulls in the reigns once again with the 8th installment of their ongoing compilation and mix series. This eight-times-tremendous double pack comes with 10 unmissable, unmixed tracks on CD 1 celebrating the best of the recent catalog — including hot new exclusives from Steve Bug, Patrick Chardronnet and D’Julz. On the bonus CD, Jay Tripwire delivers a scintillating mix featuring 2 more exclusives — from Donnacha Costello and Tripwire himself with Katherine Larr respectively — and segues together a whole host of other recent Poker Flat essentials. Besides the 6 brand-new, exclusive tracks by Steve Bug, Patrick Chardronnet, D’Julz, Donnacha Costello, Jay Tripwire & Katherine Larr and Benny Rodrigues — this compilation also contains the best 12″ tracks and mixes from the current Poker Flat season by Martin Landsky, Berkson & What, David Durango, Lawrence, Joris Voorn, Wighnomy Brothers, Vincenzo, Steve Bug, Daryl Stay and Sycophant Slags (Adultnapper & Mr. C.). All the tracks on CD1 appear unmixed in full length. Jay Tripwire is the DJ “responsible for some of the most exciting underground house music to come out of North America in recent years.” (DJ Magazine). That said, he’s still got his finger directly on the pulse of the underground. This is poetically and dutifully proven in this 22 track, 80 minute mix. The mix perfectly blends some of the newest Poker Flat cuts like Adultnapper’s “Gold And Forgetting,” Sven Tasnadi’s “Tell Me Again,” Donnacha Costello’s “Stretching Time” or David Durango’s “Starlight” with classic Poker Flat tracks and mixes from Richie Hawtin, Jeff Samuel, Freestyle Man or ADJD in a refreshing manner. Most of these tracks appear on CD for the first time. 2 CDs for the price of 1 CD, packed in a luxury slipcase. Other artists include: Paris The Black Fu, Russ Gabriel, John Tejada & Arian Leviste, Ed Davenport, Simon Flower, and 8 Channels.
PSIEP 001EP DYGAS, MARGARET: How Do You Do? 12″ (PSIEP 001EP) 12.00
Two tracks taken from Margaret Dygas’ debut full-length How Do You Do? (PSCD 001CD). Includes album track “Pg. 21” plus a remix of “Hidden From View” by NSI. Limited edition. Production by NSI (Tobias Freund and Max Loderbauer.
OBJEKT 001LP HANDGJORT: Handgjort 2LP (OBJEKT 001LP) 63.00
Deluxe double LP version. Featuring entire bonus LP with previously-unreleased live material — including 25 minutes exclusive to this release, not featured on the CD — recorded at the Festivals at Gärdet in 1970 and 1971. Includes handmade cover art (handmade paintings, a paper strip on the front cover cut by hand, and handglued covers and inner sleeves) and a comprehensive 16-page booklet telling the complete unheard story of this underground band. Edition of 600 numbered copies.
DRUNK 018EP SUPERISK: Find Your Way 12″ (DRUNK 018EP) 11.00
“Punch Drunk broadcasts two transmissions direct from the murky depths of the Bristol underground. Debut 12″ from respected underground stalwart Superisk conjures Shaolin-indebted psychedelic visions of pathways through austere times. Mensah turns up the heat on the flipside, reimagining the original’s melodics & infecting them with his signature robust high energy funk.”
RAMP 035EP DUNBAR, MAXMILLION: Girls Dream 12″ (RAMP 035EP) 13.00
“Maxmillion Dunbar drops a preview of his upcoming Cool Water LP for RAMP, with ‘Girls Dream’ and 2 non album cuts. Pressed on unspeakably limited blue marbled vinyl, get this quick before it’s gone!”
R-N 122CD SENKING: Pong 2CD (R-N 122CD) 21.00
Pong — referring to the classic video game — is the fifth release from Cologne-based Senking for Raster-Noton, moving his focus towards stretched dubstep rhythms. To these slow motion grooves, he adds shredded melodies, sub-basses and echoes, which create an atmosphere like an Angelo Badalamenti soundtrack known from David Lynch’s movies. His electronic sound aesthetic reflects rather an organic texture than a machine-made algorithm. In the tradition of former dub producers, he generates his tracks while playing, and therefore they appear to be momentary. They are aware of the club, but do not want to serve it. At Berlin’s CTM 2010, Senking proved that Pong can be massive onstage as well. A CD data disc including 3D interpretations of the classic video game Pong by the visual artists and software producers of audio/media tool Almost Sync is included in a Mac and Windows version.
REL 3001CD COMFORTABLE CHAIR, THE: The Comfortable Chair CD (REL 3001CD) 17.00
Best-known for having been discovered and produced by members of The Doors, this Californian septet made some of the finest psychedelic pop/rock of the late 1960s, and stand up well alongside better-known contemporaries such as Jefferson Airplane, It’s A Beautiful Day, Sweetwater and The Peanut Butter Conspiracy. Their sole album was first issued in late 1968, and though they were acclaimed at the time as “an extraordinarily relaxed and relaxing bunch to listen to,” they split when it failed to sell.
REL 3002CD UGLY CUSTARD: Ugly Custard CD (REL 3002CD) 17.00
Recorded in London under an assumed name by legendary session musicians including Alan Parker, Roger Coulam, Herbie Flowers and Clem Cattini, and released with different artwork in Germany and Spain in 1970, before creeping out in the UK the following year, this cult classic is as enigmatic as they come. A moody blend of Hammond organ, distorted electric guitar and funky rhythms, it’s also a lost treasure for beat diggers everywhere.
REL 3003CD MONUMENT: The First Monument CD (REL 3003CD) 17.00
Though it described itself as “haunting, eerie, mystical, even at times a little frightening to those outside the shadowy half-world of the occult,” this was, in fact, the product of a drunken overnight jam in London by cult underground hard rockers Zior, held in the summer of 1971. A tough collection of organ and guitar-fuelled rockers, it’s sure to appeal to fans of other early ’70s British proto-metallers such as Black Sabbath, Deep Purple, High Tide, Leaf Hound and others.
REL 3004CD RAW MATERIAL: Raw Material CD (REL 3004CD) 17.00
This London-based quintet’s ambitious and highly entertaining debut touches on psychedelia, progressive rock, jazz and pop, with imaginative arrangements and superb musicianship. Issued on the tiny Evolution label in the autumn of 1970, it sank without trace, with original copies now changing hands for several hundred pounds. It makes its long-awaited return to CD here, including biographical notes. Features 4 bonus tracks from their two UK singles, not on the original album.
BTR 056CD O’BRIEN & JAKE, JUSTEN: Time Will Tell CD (BTR 056CD) 18.00
The greatest album in the history of North Dakota is Justen O’Brien & Jake’s Time Will Tell (1978). Bootlegged twice already, Riverman Music presents the first artist-approved reissue of this mysterious, deep, UFO-inspired masterpiece. Featuring crystal-clear sound, the originally-intended cover art in a gorgeous gatefold cover, in-depth liner notes by Douglas Mcgowan (Yoga Records), and never-before-seen photos capturing the mystique of this long-gone psych/prog/lounge classic, even longtime fans will need to check back in with Justen O’Brien’s unique vision of the cosmos. A truly MAJOR left-field rediscovery on par with Bobb Trimble, Jade Stone And Luv, or DR Hooker. A lot of questions remain. Was Justen O’Brien in fact abducted by aliens? Where did he go after this record was finished? Why did one of the greatest rare record dealers in the world insist he’s seen a second Justen O’Brien album? And most importantly, how good does a record have to be to get reviewed on Pitchfork without the help of a high-powered publicist?
ROAR 020LP ROTATE THE COMPLETOR: Rotate The Completors: Completed Rotations Of The… LP (ROAR 020LP) 14.00
“When one thinks of the musical centers of New Zealand, the city of Tauranga doesn’t have as celebrated a history as Dunedin, Auckland or Christchurch. Which is apt, in a way, as the artist known to us only as Rotate The Completor makes music that sounds unconnected to any scene in NZ or elsewhere. A chance encounter with an enthusiastic passerby while busking on the streets led to the receipt of a home-recorded cassette, which caught the ears of the outsider music community, although any attempts at personal correspondence with its creator from his new admirers went ignored. Armed with a guitar, kick-drum, and vocal stylings which wouldn’t sound out of place on an early Residents record, Rotate The Completors: Completed Rotations Of The… is the sound of a one-man band playing at a carnival that’s gone off the rails. RTC’s other- / inner-wordly songs are a strangely addicting brew of low-fi bedroom pop, proggy loner folk and bouncy children’s music, with such lyrical concerns as beer-stealing cantaloupes, dead albino hedgehogs, and emphatic denials of insanity. Roaratorio is proud to present Rotate The Completors: Completed Rotations Of The…, newly mastered for vinyl, to a wider audience for the first time. Download coupon included.”
MR 009EP DJ NAUGHTY: Goosebumps 12″ (MR 009EP) 11.00
“Goosebumps EP feat remixes from Jamie George (Wonderful Day vocalist) and Bristol dubstep don Gemmy. This is DJ Naughty’s second release on the Kicks & Snares. Deep subs driven Funky with lustrous bass offset by hard snares and synched to dubby organ stabs to help hone your Marcus Nasty look.”
RC 025EP REYF & EIDNER: Love & Pain Sunshine & Rain 12″ (RC 025EP) 12.00
Reyf (aka Suedmilch) & Eidner collaborate with some real musicians to discover the borders of jazz, dub, house and techno to make their own smoky interpretations.
RRY 040EP ELON: Encounters 12″ (RRY 040EP) 12.00
This is Elon’s first 12″ on Rrygular. “Encounters” is catchy from the very first beat, pushing ahead in a detailed and sophisticated way despite the rough sound. The intelligent use of the resonant, wave-like pad in its different variations gets the listener to discover different aspects of the groove. “Morph” features layered sounds woven into floating, atmospheric snippets. Accompanied by wheezing, breathing and moaning, the track meanders through a forest of psychopathic horror synths and thunderous percussion.
RCD 2101CD PHONOPHANI: Kreken CD (RCD 2101CD) 17.00
Phonophani is multi-instrumentalist, digital electronics expert, programmer and instrument builder Espen Sommer Eide. Born in 1972 in Oslo, Sommer Eide has been playing music in one form or another since childhood; for over a decade his priority has been computer music and combinations of digital and organic elements. In 1998 he released his first album Phonophani on the Biophon label run by Geir Jenssen (aka Biosphere). Genetic Engineering (RCD 2016CD), Oak Or Rock (RCD 2038CD) and a reissue of his debut album have all been released by Rune Grammofon to critical acclaim. It´s difficult to place Phonophani in today’s musical landscape, Espen himself said about Oak Or Rock that it was all about rediscovering the great mystery of music through dissecting the sound of ordinary or “real” instruments such as cello, vibraphone, guitars and the human voice and dissolving melodies into their elementary particles. While he has previously been turning his attention to other cultures and traditions, with Kreken he has now tuned his ears to Norway’s own traditional folk music and instruments, its melodic content and special tuning systems, all treated electronically in one way or another. This is also reflected in the titles, all being names of places in Norway, quite exotic even to Norwegian ears. This release also comes as a limited (250 copies) and numbered package including the CD and a 10″ vinyl record with two longer tracks not available elsewhere. Artists featured on this album include: Espen Sommer Eide (instruments, samples, programming), Jenny Hval, Haco and Agnethe Christensen (vocals), David Grubbs (guitar), and Sigbjørn Apeland (harmonium).
RB 025EP MARK E: Nobody Else 12″ (RB 025EP) 12.00
Mark E complements the Running Back label again with some original productions. Starting out with “Nobody Else,” Mark puts love on top of love. Unfortunately for you — and good for us — you have to fetch a second copy to go back and forth with the weighty bonus beats. Flip side: “The Wolf” is a murky trip into classic cavernous house music with a bottom-heavy ruffneck sound and an attention-drawing siren.
RH 111CD WILHITE PRESENTS, RICK: Vibes New&Rare Music CD (RH 111CD) 17.00
Rick Wilhite and his Vibes New&Rare Music record store have been a main source in Detroit for over 17 years. His store is the place to go for many Detroiters looking for new soulful, electronic music, and as a DJ and promoter, Rick has been holding it down for years. Next to that, he is also mostly known for his affiliation with Three Chairs (together with Kenny Dixon Jr. & Theo Parrish) and for his solo recordings under his The Godson pseudonym. Now it’s time for Rick to get his peers and friends in the mix for his first compilation, aptly-titled Vibes New&Rare Music. This compilation CD contains exclusive tracks and features only the best of Chicago and Detroit electronic music. All tracks are new and exclusive. Featuring the cream of the crop of the Chicago and Detroit house scene, all the usual suspects are present here as well as some new cats with some of their best work. Besides household names like Theo Parrish, Glenn Underground, Marcellus Pittman and Rick himself (as The Godson), new names like Ricardo Miranda, Derwyn Hall and Marc King (more or less) debut on this release. Man-of-the-moment Kyle Hall is also featured with two tracks he did when he was only 15, and Vincent Halliburton is here also, known for his material on Ferris Park. The bonus here has to be the very special Urban Tribe line up: Carl Craig, Kenny Dixon, Anthony “Shake” Shakir and original tribester Sherard Ingram. A special treat, indeed. This an essential purchase for those who are into anything house and/or Detroit and Chicago.
SLICES 310DVD SLICES: The Electronic Music Magazine Issue 3-10 DVD (SLICES 310DVD) 0.01
Slices is a free DVD magazine out of Germany, focusing on the contemporary electronic music scene. It can be added to orders at no cost. Limited stock. Features: Moderat, Kasper Bjorke, Wareika, Coma, Mock & Toof, Holy Ghost!, Kidkanevil; tech talk: Monolake; label feature: Soul Jazz Records; videos: Jahcoozi, Siriusmo, Tombo Feat. Schad Privat, Mock & Toof. Format: PAL 16:9. Running time: 126 minutes.
SRSCD 3618CD HANDGJORT: Handgjort CD (SRSCD 3618CD) 31.00
Handgjort (trans. “Handmade”) recorded a legendary album in 1970 released by Silence Records. All covers were hand-painted by the band members. The music is moody underground folk with Eastern influences. The album sold very poorly and is a serious collector’s item today. The original band members were: Marcus Brandelius aka Greg Fitzpatrick (esraj and vocals), Guy Öhrström (acoustic guitar), Stig Arne Karlsson (sitar), and Theo Greyerz (tablas). After over three years of preparation, Handgjort is reissued, released as a coproduction from Silence and Psykofon records. This is an exclusive replica, with hand-painted covers by the band members once again! The original album was remastered from the master tapes without digitalization. The previously-unreleased bonus tracks were all recorded live at the festivals at Gärdet in 1970 and 1971. Strictly limited edition of 600 copies done with the full cooperation of the band. CD includes a 32-page booklet telling the complete, uncensored story of Handgjort, featuring unique photos and lots of reproductions of original Handgjort hand-painted covers. The CD also includes one exclusive bonus track, “Greg’s Recitation,” not featured on the LP version.
BZS 069EP SOFT CELL: Sleezy City/Tainted Dub 12″ (BZS 069EP) 10.00
“Garage classics!”
SMR 006EP GEIOM/HEADHUNTER & INVISIBLE: Luna/Lovedup 12″ (SMR 006EP) 12.00
Soul Motive flex out on a funkier house tip with mutations from Headhunter & Invisible and Geiom. It’s probably the first time we’ve heard Headhunter on an explicitly housed vibe with “Lovedup,” albeit at a dubstep tempo. Geiom lays out a merry fusion of melodica, Latin horns and smooth, rolling house with the requisite amount of sub to keep bassheads happy.
SMR 007EP BASHMORE, JULIO: Batak Groove/Around 12″ (SMR 007EP) 12.00
Soul Motive presents some bespoke bruk beats and Afro-housing with tropical flexes guaranteed. Julio Bashmore’s “Batak Groove” resolves around a flowing broken beat, tooled out of an Indonesian-feeling motif, inventively colliding with mighty sub-bass propulsion to killer effect. “Around” sets up stall in prime Afro-house territory, deftly realigned with fresh 2010 vibes. Impressive 12″ from the on-point Soul Motive crew — highly recommended.
ARCHIVE 015CD MUSLIMGAUZE: Lazhareem Ul Leper CD (ARCHIVE 015CD) 19.00
“All tracks written, played and recorded by Muslimgauze 1995.” “Most of what is on the disc is previously unreleased. There are some touchstones, like material from Silknoose and Izlamaphobia, but they are just that — touchstones. I think Muslimgauze fans will be pleased with this release when they hear how different it is. Some pretty cool stuff and only some of it is familiar.” — Ibrahim Khider
SFV 009EP AREA: Tangled In 12″ (SFV 009EP) 12.00
Chicago-based Area’s first artist release on Steadfast fuses genres and eras into distinctive, driving productions. The vocal-driven A-side features bass swagger, heavy syncopation, and spacious dub darkness. The original version is a slow-building, trippy, club-oriented joint. The “Bonus Level” version twists the claustrophobic atmosphere with a Chicago-bred bass line-driven jack beat. There is also a sensational remix of Echologist’s “Dirt.” The release concludes with a beatless version of “Tangled In,” focusing on the textures and vocals from the original.
SVT 051CD KOLETZKI & FRAN, OLIVER: Arrow And Bow CD EP (SVT 051CD) 7.00
2 song CD single release. Berlin-based techno/house DJ/producer Oliver Koletzki presents the first single release from his album Lovestoned — which also features his girlfriend, singer Fran. “Arrow And Bow” is a thrilling trip into ’80s pop sounds: synthesizers and clap snares that will move heads and toes, and of course, Fran’s beautiful voice. “Strandbar Berlin” has been modified into an airy acoustic version with a guitar and a piano, almost sounding like chansons from the 1930s — in a very good way.
SVT 051EP KOLETZKI & FRAN, OLIVER: Arrow And Bow 12″ (SVT 051EP) 12.00
Berlin-based techno/house DJ/producer Oliver Koletzki presents “Arrow And Bow,” a track off of his forthcoming album Lovestoned, which also features his girlfriend, singer Fran. “Arrow And Bow” is a thrilling trip into ’80s pop sounds: synthesizers and clap snares that will move heads and toes, and of course, Fran’s beautiful voice. Featuring remixes by Marek Hemann, Channel X and Koletzki’s very own version.
STH 2245CD BLACC, ALOE: Good Things CD (STH 2245CD) 15.00
“Good Things marks a shift in methodology from personal to political for Aloe Blacc, who refers to the project as his report on present conditions — the misappropriation of wealth, pillaging of resources, a universal lack of compassion, and the struggle to survive. Ethereal production from Truth & Soul’s Leon Michels and Jeff Silverman mask a foreboding undercurrent in which Aloe crafts lyrics both thoughtful and thought-provoking. Nowhere is this more evident than on lead single, ‘I Need A Dollar’ — chosen by HBO as the theme music for the series How To Make It In America. The first-generation American offspring of Panamanian parents, Aloe has become what writer and activist Amiri Baraka once said of John Coltrane: He is a singular ‘scope of feeling… a more fixed traveler’ who has found cohesion in art and life. The path from his debut Shine Through in 2006 to Good Things is akin to the maturation of Marvin Gaye between That’s The Way Love Is and the ‘What’s Going On’ masterwork that followed. Aloe has never purported to be any heir to Gaye, but musically, Good Things and What’s Going On are companion pieces as both albums establish a character for the artists that sets them apart from the sea of performers making very vivid and discernible — yet normative and conformist — statements about who they are and what they do. Good Things is a definitive declaration that places Aloe directly in the framework of modern soul.”
SUBHUMAN 001EP NUMBERNIN6: Garbage/Hunt You Down 12″ (SUBHUMAN 001EP) 11.00
“Essential, essential, essential! Wreaking havoc globally, NumberNin6’s rich schizophrenic sound enjoys support by international dubstep titans including Skream, Rusko, N-Type, Plastician, and Bassnectar, as well as BBC Radio 1 DJ’s Mistjam and Annie Mac. NumberNin6 (aka Nishant Parikh) whose production began in trance scene, is a master of dichotomy who meticulously fuses stark contrasts — aggressive vs. mellow, darkness vs. light — into dancefloor napalm. ‘Garbage’ intros with menacing lyrics and a series of warning bass stabs that evoke a grimey ghetto scenario. After the drop, all hell breaks loose with a wicked NumberNin6 signature bassline and cracking snares. This is an absolute dubstep anthem and has done its fair share of destruction worldwide. For real. Coming with a literal double A-side, ‘Hunt You Down’ begins with a haunting flute melody that winds its way up the mountain, then unloads with a massive barrage of machine gun bass stabs guaranteed to cause speaker damage and crowd destruction.”
SF 061LP GROUP INERANE: Guitars From Agadez Vol. 3 (Music Of Niger) LP (SF 061LP) 22.00
Volume 3 of the now legendary Guitars From Agadez series is finally here. Group Inerane’s sophomore LP is the latest missive from the now sound of Niger’s Tuareg guitar scene. Led by guitar hero Bibi Ahmed, this new incarnation introduces another legend on second guitar, one Koudede Maman. Koudede is considered to be a cornerstone of the second wave of the Tuareg guitar lineage, while Tinariwen and Abdulla Oumbadougo are the godfathers of the scene and Group Inerane and Bombino are the third and most current incarnation of the Tuareg’s voice for hope and equality. Koudede’s addition to Group Inerane’s line-up arises from unfortunate circumstances — Adi Mohammed, Inerane’s original second guitarist, was shot dead in the endlessly festering rebellion battles. This new line-up is testament that the music of the Tuareg will not be stopped. The sound represented on this LP is the apex of the trance stun guitar style that this scene has perfected. This is rock music as played with Saharan modes. There is a propulsive entropy to these songs that is infectious and narcotic! Two guitars, bass and drums chug along on a hypnotic choogle that rivals both the Magic Band’s early ’70s marathon workouts and The Velvet Underground’s drone on tracks like “Sister Ray.” This is music made from revolution and its message of hope and validation of equality of the Tuareg way of life is unstoppable. Recorded by Hisham Mayet on location in Niger’s capital Niamey in 2010 as travel to Agadez was forbidden by the military Junta that had just overthrown then President Mamadou Tandja. This limited edition LP comes in a beautiful full-color gatefold jacket with photos of the musicians and liner notes by Hisham Mayet.
SUBWAYDS 001EP VA: Destination 2×12″ (SUBWAYDS 001EP) 19.00
“Subway Recordings has been a steady force within the dubstep scene the last 3 years.. Not only as a label but also as one of the most forward thinking party crews on the Dutch scene. Some of the leading Dubstep names have passed through Subway first before becoming the new rockstars of today. By flexing its sides from deep to hardcore they have been showing how far the word dubstep bends into multiple angles.. After releasing quality tunes like ‘Missed Calls’, ‘Unknown Suspect’ & especially last year’s hotly tipped ‘Seeeriousss’ it’s certain that this label knows quality when they hear it. And this Destination compilation has the word quality written alllll over it.. Ranging from mutant funky/dubstep to garage combined with some of the grittiest & darkest sounds dubstep has to offer. Subway once again shows what dubstep is all about. Not clinging to styles or focusing on sub genres, this compilation is all about ‘dubstep’ in every sense of the word.” Tracks from Noah D, Akkachar & Taz Buckfaster, TRG & Matt-U and DJ Madd.
DUBK 012CD DUBKASM: Transform I – Remixed CD (DUBK 012CD) 15.50
Dubkasm gather up Bristol’s best dubstep producers to remix tracks from their highly-acclaimed 2009 album Transform I (DUBK 001CD/LP). Dubkasm comprise childhood friends Digistep and DJ Stryda, who kicked off their dub project in the mid-’90s before going on to launch their Sufferah’s Choice label in ’03 in order to showcase their studio productions. 2009’s Transform I album was a culmination of their work so far, collecting tracks from their previous 12″s and including vocal turns from Dub Judah, Levi Roots and Afrikan Simba. They’ve also issued a dub version of the entire record by the name of Transformed In Dub. Transform I – Remixed completes the trilogy of releases, and Dubkasm have decided to keep things Bristolian for the remix CD, inviting Pinch, Peverelist, Appleblim & Gatekeeper, Headhunter, Guido, Gemmy, RSD, Hyetal, Forsaken and Jakes to offer up versions of their material. Although most of the remixes could be classified as dubstep of some kind, all of them remain deeply rooted in the reggae source material, ranging from the vocodered digidub of Gemmy’s “City Walls” to Peverelist’s delayed minimalist take on “Strictly Ital.”
SFR 023EP VA: How Can You Sleep At Night? 12″ (SFR 023EP) 12.00
How Can You Sleep At Night? showcases three tracks from a choice collective of producers. “In Our Own City” sees Varoslav team up with David K for a trippy, druggy warehouse steamer with its array of drums and wildly-pitched, classic a cappella. Guti, Soul Clap, Le Loup, Greg Paulus, Shaun Reeves and Tanner Ross all lend their talents as Soldiers With Limits on the fantastically future/retro “Get Paid, Get Laid,” which sports a neverending James Brown breakdown. Also features a track by David Ellesmere.
SFR 024EP CURTISS, LEE: And We All Fall Down 12″ (SFR 024EP) 12.00
This is Detroit-native Lee Curtiss’ debut on Supplement Facts Records. This EP has been one of the most hotly-anticipated from the Israeli label and is set to become the soundtrack to the last echoes of summer. “I Can Hear You Arthur” is a tribute to Arthur Russell. With waves of sound that build and cascade, accompanied by pillow-talk, this track is eight minutes of rhythmic, warm grooves. “Labor Of Love” is a hip-grinder, featuring the intimate vocals of Stephanie Selvaggio.
TR 189EP SCHWEFELGELB: Alle Sterne 7″ (TR 189EP) 7.00
A radio edit and a GhettosexXx remix of two tracks off of Schwefelgelb’s Das Ende Vom Kreis (TR 188CD/LP) album.
TR 192LP LATE CALL, THE: You Already Have A Home LP (TR 192LP) 17.00
LP version, featuring an extra vinyl-only track. This is the second full-length release by The Late Call aka Stockholm singer/songwriter Johannes Mayer (The Cedar). Throughout the record there is an energy which remains a driving force, all the way through to its gratifying end. You Already Have A Home comes as a marked contrast to the acclaimed debut Leaving Notes on which Johannes Mayer was given the opportunity to cut his teeth with an album of beautiful songs exercised in the art of restraint. On his sophomore record, he has put together an album full of punctuation marks, giving a completely new perspective to the introverted nature of Leaving Notes. This record features a stronger emphasis on percussion and strings with old pianos and brass thrown in for good measure. The result is a collection of songs that have been arranged with great love and attention to detail. However, you will not find any form of musical overload or effect-fireworks in any of the songs. You Already Have A Home, in evolutionary terms, could be described as the missing link between Kings Of Convenience and Bon Iver. The situation in the studio reflects life’s circumstances which The Late Call describe on this record: the attempt to build your life, the struggles, the set-backs and the belief in a rewarding and positive end. You Already Have A Home arrives with an impressive clarity and sharp observation, combining a beautiful interaction of lyrical content and melody with a simplicity that demonstrates how much this artist has developed as a songwriter and musician. The album was recorded and co-produced by Tapete stable-mate John Roger Olsson (The Grand Opening) in his Stockholm studio. Furthermore, the album features collaborations with, among others, Ylva Ceder (who Johannes Mayer toured with in December 2009), bass player Patric Thorman and Maria Eriksson (The Concretes).
TEC 040EP PINCH/DARQWAN: The Boxer 12″ (TEC 040EP) 11.00
Pinch is back with a heavy-hitting, dancefloor-punishing beast of a track, “The Boxer.” Ethereal sounds emerge from another dimension as a filtered conga pattern charges up, leading us to the punchline… POW! It’s a full fist in the jaw. Flip for darkside garage legend Darqwan’s version as he mangles the original into something that sounds like metal being torn apart by big machines. Huge support from Skream, Mala, Joker, Distance, Plastician, Mary-Anne Hobbs, Ramadanman, Appleblim, and many more.
TO 081CD JECK, PHILIP: An Ark For The Listener CD (TO 081CD) 14.50
This is Philip Jeck’s sixth solo album for Touch. Philip Jeck works with old records and record players salvaged from junk shops, turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art, not the gimmick. Philip Jeck writes: “A version of An Ark For The Listener was first performed at Kings Place London on February 24, 2010. It is a meditation on verse 33 of ‘The Wreck Of The Deutchsland,’ Gerard Manley Hopkins’ poem about the drowning on December 7, 1875 of five Franciscan nuns exiled from Germany. This CD version was recorded at home in Liverpool and used extracts from live performances over the last 12 months. The ‘coda:’ tracks are remixes of 2 pieces from Suite: Live In Liverpool. ‘Chime, Chime (Re-rung)’ was originally made for Musicworks magazine (#104, Summer 09) and ‘All That’s Allowed (Remix)’ is previously unreleased. All tracks were made using Fidelity record players, Casio SK1 keyboards, Sony mini-disc recorders, Behringer mixers, Ibanez bass guitar, Boss delay pedal and Zoom bass effects pedal.”
TRAPEZ 113EP DILL, ROLAND M.: Casino Capitalism 12″ (TRAPEZ 113EP) 12.00
Roland M. Dill is a techno architect and “Casino Capitalism” is a hell of a funk monster — a cool, elegant odyssey changing angles of perspective and dynamics. “The Hierarchy Of Peeps And Booms” is a slacker of a track. The bass line is almost disco and sounds like mosquitoes on a mission to dart into your skin. The remix of “Hash Browns” by Patrick Lindsey is a body mover with down-pitched vocals — deep techno of the most advanced kind.
TRAUM 130EP FAIRMONT: 3 Cities EP 12″ (TRAUM 130EP) 12.00
Fairmont returns to Traum with 4 great tracks. “3 Cities” is a sonic track that opens with an arpeggiator sequence, leading to indistinguishable, inflammable vocals by Jacob Fairley himself. With “Supercluster,” a dramatic and mighty electro epic is put into gear. “They Live In The Moon” recaptures the spirit of ’60s psychedelia and is a unique blend of past and present electronics. “Mercury” could be have been written by Terry Riley or other ’70s minimalist composers.
TRIANGLE 001EP BALAM ACAB: See Birds 12″ (TRIANGLE 001EP) 12.00
Repressed & way hotter than Christine O’Donnell’s witchcraft ass. The inaugural release from emerging Brooklyn-based label Tri Angle, Balam Acab’s See Birds EP presents an optimistic yet haunting glimpse of a droning future. See Birds is the product of 19 year-old solo producer Alec Koone. Founded by Robin Carolan of 20 Jazz Funk Greats and distributed by the renowned Kompakt label, Tri Angle will continue with releases by oOoOO, Creep, Nowa Huta, Stalker, and more. “He isolates and distorts bits of source material (say, vocal loops or beat fragments) and smears them together in new arrangements. The results are remarkably seamless. Take opener ‘See Birds (Moon)’, where a scratchy drone meets heavy, blown-out beats and a chorus of layered vocals. The way he puts them together, a new natural rhythm for these sounds emerges and it becomes hard to imagine them in any other order… a heck of an impressive first step.” — Pitchfork (8.0)
TRIANGLE 002EP oOoOO: oOoOO 12″ (TRIANGLE 002EP) 12.50
This is the self-titled debut EP from San Francisco-based artist oOoOO (pronounced “oh”). oOoOO heralds a new era of shrouded pop music, approaching territories untraveled with an inimitable melodic touch. Founded by Robin Carolan of 20 Jazz Funk Greats and distributed by the renowned Kompakt label. Includes a remix by Vision Of Trees.
US 038CD E.M.A.K.: A Synthetic History Of E.M.A.K. 1982-88 CD (US 038CD) 18.00
“Soul Jazz/Universal Sound are releasing this stunning new compilation of underground German electronice experimentalists, E.M.A.K., Cologne’s synth-core/minimal-wave/Deutsche electronische group who made a stunning set of radical records in the 1980s (as featured on Soul Jazz’s Deutsche Electronische Musik). Joining the dots between German electronic experimentalists such as Cluster, Conrad Schnitzler, Tangerine Dream, the synth-core/minimal-wave of Germany’s electronic New Wave such as D.A.F. (itself influenced by UK groups Cabaret Voltaire, Human League and The Normal) and with hints of the cosmic disco of Giorgio Moroder and Daniel Baldelli, Cologne’s E.M.A.K. remain one of electronic music’s best-kept secrets. After featuring on Soul Jazz Records’ Deutsche Electronische Musik compilation, Universal Sound follow through with this collection complete with exclusive text and photos. This is a compilation from a series of super-rare private press titles released in Germany in the 1980s. Comes in Soul Jazz special box edition CD.”
UY 037EP TODD, EMERSON: Fools Gold 12″ (UY 037EP) 12.00
This is Emerson Todd’s first release on Upon You. Born in New Zealand but living in Australia, his track “Eureka” goes back to the days of the Australian gold rush. But the other side of the coin isn’t made of cheap tin, either. “Counter Point” keeps on digging, looking for buried acoustic treasure and “Vertigo” shimmers mystically. If you listen closely to “Eureka” and “Counter Point,” you will find some great vocals by Mey.
VDI 006EP DEUTSCHMANN, OLIVER: Himmel Und Erde EP 12″ (VDI 006EP) 12.00
Vidab and Falkplatz label boss Oliver Deutschmann puts out a nice groover with old school Chicago touches and a sprinkle of Berlin’s sound to spice it up.
WP 043 WAX POETICS: #43 September/October 2010 MAG (WP 043) 9.99
The Reggae issue. On the covers, front: Augustus Pablo, back: Gregory Isaacs. Contents: Editor’s Letter, Re:Discovery (Alton Ellis, Vicious, The Gayletts, Zen Bow, Sugar Minott), Island Records, Greensleeves Records, Record Rundown (David Rodigan), U.K. Dub Jockeys, Chris Blackwell, Sugar Minott, Beres Hammond, Bob Andy, Panama’s Reggae en Español, Analog Out. 112 pages, full color, high gloss.
“Pat Maherr is probably best known for his explorations into fetishistic industrial ambience under the Indignant Senility moniker, but cassette hoarders will know that the Oregon-based producer runs a syrup-laced sideline in half-speed rap. Through a handful of tapes, Maherr’s DJ Screw-influenced sound has already bagged him something of a cult following, but Bubblethug, his sophomore ‘album proper’ truly takes things further into the abyss, melting his signature pulse into a dark, viscous tar. Pitch shifting rap tracks might not be a new idea at this point (hell, it’s practically a mainstream practice in Houston), but Maherr takes this as just an entry point — slicing and stretching his chosen joints into a buzzing symphony of stutters, noise and chewed-up cassette tape. The resulting pieces are thick, heavy and pummeling — a demonic mid-point between punk and rap that mercifully avoids ska. The distant skeletons of the original songs are all but dissolved as the beats decompose noisily around them, dissolving choruses and crushing the life out of guest emcees. Links to lo-fi music, hypnogogic pop and psychedelic music will no doubt be made, but Bubblethug is defiantly hip-hop from beginning to end. There’s a beat, there’s a rapper and with the help of Maherr’s spread of tape machines and filters he’s taking the genre to places it rarely gets to go. It might only tentatively balance on the ‘elements’ … but when rap’s got no other place to go, all that’s left is to travel deep down into the annals of unacceptability.”
Gatefold 2LP version.
WEIRD 057CD LIL B: Rain In England CD (WEIRD 057CD) 12.00
“Just who is Lil B? The Based God has scored so many Youtube hits and crammed so many full length albums under his belt it can be hard for youngbloods to get a handle on what this rap savant is all about. Is he the internet sensation with a hundred girls on his dick? Or could he be the leading light of a new hip hop underground, one that has finally wrenched itself from the grubby backpacks and the cynicism of the mid 1990s? He’s both, and with Rain in England the story gets even more mysterious and far more incomprehensible. Those already up to speed on B’s molasses-beats and stream-of-consciousness (‘based’) flow will think they got him pegged. Internet hype and heavy tunes — battle raps and copious interviews. He’s the anti-Drake — all ill-mannered, hungry and mercilessly lo-fidelity, and unafraid to make a beef over Twitter. Rain in England shows an antithesis to this character, a tempered side to his ADD report card. Part new-age ambient and part hip hop, the record is uncharacteristically fluid, with B’s singular rhymes falling perfectly into a bed of syrupy electronics. B never falls into the trap of allowing himself to get too abstractedly wordy, yet we always retain the sense that he’s not your typical street rapper. He’s young, but there are stories to be told, and those stories are heard through the frosted glass of burned synthesizer melodies and disintegrating pads. Singular, disturbing and certain to polarize listeners, Rain In England is an album destined for a new breed of rap fans. Lil B may just be the genre’s brightest young hope; what exactly that genre is, only time will tell.” — John Twells
WEIRD 057LP LIL B: Rain In England 2LP (WEIRD 057LP) 25.00
2LP version in in wide-spine jacket with 18×24″ poster insert.
WHITEBOX 006CD ARKHONIA: Trails/Traces CD (WHITEBOX 006CD) 14.50
Arkhonia is one-half of a UK collaborative project under the name of jz-arkh, and it is, indeed, a peculiar animal. It is a deep, deep listening experience which plunges the listener further into states of subconscious unrest — time slows down or stops, as the listener slowly slips into a narcoleptic state through the slow decline into computer noise, or sound events which unfold with no discernable pattern or meaning. But rather than offering a monotonous serial drone, these tracks create an overall landscape, alternately dank and warm to the point of humidity, and cold, stark and sparse, all eventually dissipating into nothingness as the album closes, reprising the pulses and washes of its opening. This is a collection of drone-based, slow-moving progressions, all realized without the use of any live instrumentation, or any trained musical ear. Small fragments of sound have been stretched, edited, filtered, reduced and manipulated to create an often barren and solitary sonic landscape. The source materials have been either expanded from a limited input, broken down and transformed into something entirely distinct from its origin, or transmuted into a bold and dark shadow of its former self — all collated into one seamless sequence. These tracks have been very consciously constructed, with edits and segments extracted from outputted “drift studies” (with a knowing nod to both La Monte Young and Brian Eno) that often run for an hour or so, and then dissected for key musical components. These explorations focus on ideas of musical “events and non-events”; subdued harmonic monotones and stasis contrasting with huge dynamic surges of processed tones — insistent, at times bordering on the subsonic, and tonally identifiable as Arkhonia’s distinctly digital sound signature.
WND 005EP CLAIRVOYANTS, THE: Modern Day Slavery – Spectral Band Replication 12″ (WND 005EP) 12.00
The Clairvoyants’ “Modern Day Slavery” has become something of an anthem, what with many of London’s grime and funky producers rediscovering the delights of kinked minimal techno, “dubbage” and house music: cats like Scratcha DVA, Circle Crew, Wonder, and many more, leading forwards into dance music with that all-important bump and swing. Wonder comes correct with a wobble-based dubstep reworking, but it’s all about the tech-swing and deadly flow of the original — killer!
WET 1014EP CHACONA, NICK: Slice Of Life 12″ (WET 1014EP) 12.00
Nick Chacona makes his stunning solo debut on Wurst, and “Slice Of Life” is the culmination of the past decade’s worth of his most excellent musical output. Taking in elements from both disco and house, the song fits quite neatly between the two genres, with its slow-burning groove, rich synth textures, and a soaring, ecstatic synth solo to end all synth solos. Name In Lights bring up the BPM on their remix, turning Nick’s number into an all-out disco-rock jam.
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