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Forced Exposure New Releases for 7/21/2014

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New music is due from The Durutti Column, Noveller & Thisquietarmy, Hedvig Mollestad Trio, Lawrence English, and Soley, while old music is due from M.B./Maurizio Bianchi, Live Skull, Sun Ra Arkestra, and Muslimgauze.


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50WXTR 002EP

FJAAK: Don't Leave Me/Plan A 12" (50WXTR 002EP) 14.00
50 Weapons proudly presents a new artist signing -- FJAAK. FJAAK is a Berlin born and raised young trio with a futuristic mind and nostalgic feelings. They are both into analog machines and equipment as well as all kinds of digital toys. Though still very young, their hardware-only live sets are already legendary in their hometown of Berlin as well as in selected stops throughout Europe.



KORZYNSKI, ANDRZEJ: Secret Enigma CD (BMS 045CD) 11.50
2012 release. 22 rare and unreleased vintage tracks from the secret vaults of one of the most enigmatic composers in '60s/'70s/'80s European cinema. Originally recorded in the best studios in Poland, Italy and France for experimental film, political allegories, lost television shows, sound libraries and radio -- these tracks have been hidden behind the Iron Curtain on lost master tapes and film reels until now. Secret Enigma is the first ever dedicated anthology of this great composer's work. In artistic cinema Andrzej Korzy?ski's unique experiments with jazz, pop, rock, orchestral and electronic music make his name synonymous with the most praised (Andrzej Wajda) and the most provocative (Andrzej ?u?awski) Polish filmmakers (counting many more in between). As an early patron of the Polish New Wave and a key exponent of the development of conceptual Polish pop music, his expansive portfolio has remained commercially unreleased and untraveled (like many of the original socialist-era Polish-made films) and has yet to find its deserved place next to the work of Ennio Morricone, François de Roubaix and John Barry. Now enhanced by a renewed interest in vintage art house film and a subculture of open minded music collectors, many Easter European artists, such as Krzysztof Komeda (Poland), Zden?k Li?ka (Czechoslovakia) and now Andrzej Korzynski, have finally begun to earn their place alongside their Central European peers. For lovers of film music and experimental pop this debut anthology and appraisal of Andrzej Korzy?ski's work is well overdue, and is stylistically probably never more relevant.


VA: Man Chest Hair CD (BMS 046CD) 11.50
2012 release. 18 outbursts of unreleased testosterone from the 1970s Mancunian rock underground. Unissued studio demos and rare tracks of hard rock, hairy funk, heavy, prog from the toughest unknown rock groups of Greater Manchester, England. Man Chest Hair liberates these heroic outbursts of rare and unreleased Northern testosterone from Mancunian pop's awkward coming of age purple period. The hairy funk and hard rock foundations of Manc punk and metal laid down by the self-sufficient post-beat unsignables. Man Chest Hair documents the missing stink between The Hollies, The Hermits, Hamburg, Hannett and Hotlegs with a heavy emphasis on dirty drums and filthy fuzz from beneath the black rainclouds of Greater Manchester. Ahead of their time, under the radar and over the heads of the trembling music industry these glorious live action trailblazers crank the ignition of the eclectic Mancunian metal machine, engines blazing between 10cc and full throttle Motorheads. Man Chest Hair boasts the seldom recorded, unshaven sounds of the Mancunian "independent" industry from the future capital of "indie" music. Cruising via prog, psych, funk, glam and hard rock with no toilet breaks or refuels along the way. This is the sound of do-or-die DIY from beneath the rainy city sky documenting the trouble behind the stubble, the aftershave sting that followed and the good-humored bromantic chippy dinners that united Madchester before it was clinically diagnosed. "A sonic polaroid of plump 1970s Lancashire technology in action. Let's hear it for real men that built their own studios from denim, rock, wool & sweat." -- Graham Massey (808 State)


T.R.A.S.E.: Tape Recorder And Synthesiser Ensemble CD (BMS 050CD) 11.50
2013 release. Known amongst a small group of teenage friends as T.R.A.S.E. (Tape Recorder And Synthesiser Ensemble) this previously-unearthed and fully-formed electronic music project was spearheaded by a 16-year-old schoolboy as an extension of his woodwork, metalwork and science classes in 1981. Composed and recorded using a self-made synth, audio mixer and electronic percussion units, T.R.A.S.E. would bridge the gap between a love for sci-fi horror soundtracks, Gary Numan B-sides and an extracurricular hobby as a sound and lighting designer for school plays -- bequeathing a backstory as unique and unfathomable as the individualistic sonic results that he would finally commit to C90. Having successfully recorded his only solo album, Electronic Rock (which was never duplicated beyond his own demo copy), this early musical achievement by Andy Popplewell stands up as a rare self-initiated example of embryonic experimental electro pop and genuine outsider music, marking the early domestication of synthesizers and the dawn of electronic home recording studios with uninhibited results. Unhindered by adult concepts like self-consciousness, popular snobbery, fashion, pride and fear of failure (while funded by paper rounds and odd jobs in his Mancunian community), Andy, armed with the plans to the Chorosynth kit module, an old junk shop piano keyboard and some hand-me-down tools from his deceased dad, would fill an exercise book with plans, arrangements and self-penned new wave pop lyrics to fully realize the potential of his one-man synthetic symphony. Reaping the benefits of his own stenciled circuit boards and soldering iron skills (whilst occasionally enlisting the part time help of his younger brother on guitar), T.R.A.S.E.'s homemade technology pop continued to bloom right up until the very cusp of adolescence when careers officers and real life responsibilities saw the end of Andy's reel-to-reel multitracking, which is finally presented here for the first time since it was sung and played. This ambitious cross section of robotic funk and moody soundscape sequences gives instrumental nods to John Carpenter and Kraftwerk next to unpolished vocal drones worthy of a sedated Human League or Joy Division, all of whom shared radio dial digits amongst Giorgio Moroder, Tubeway Army and The Glitter Band as Popplewell's clearest unabashed influences. T.R.A.S.E.'s final hiatus was followed by Andy's working education in London under BBC employment as a trainee radio engineer (not far from the closed door of the Radiophonic Workshop) which has since led to a widespread reputation as one of the country's leading independent tape engineers/editors/archivists, indiscriminately splicing and baking vintage tapes for anyone in-between Alpha in Brussels and ZTT in London, and having worked with hundreds of reputable studios, pop stars and media companies throughout his career.


VA: Morgiana/The Cremator CD (BMS 051CD) 11.50
2013 release. Galvanizing its ongoing commitment to the lost music of the Czech New Wave cinema movement from the late 1960s and 1970s, B-Music presents a short series of soundtracks for films by the country's master of the macabre and the nation's first point of call for freakish fairytales and hallucinogenic horror, director Juraj Herz. Regarded as the final film of the Czech New Wave, Juraj Herz's Morgiana (alongside Valerie And Her Week Of Wonders) was made after the Prague Spring during Czech cinema's most scrutinized censorship era, deep in the throes of communism. Lubos Fiser's score for Morgiana visits darker hallucinogenic corners for this tale of two sisters seen through the perspective of giallo- esque "cat's eye" camera work revealing poison-induced hysteria fuelled by sibling rivalry and desperately twisted jealousy. Adopting his mysteriously macabre musical persona, the versatile Fiser interweaves chimes, harps and harpsichord with echoing flutes, lutes and piano, applying his signature orchestral tension and experimental percussion traits in the form of treated pianos, vibra-slaps, tape samples of striking matches and spring reverbs to this oblique heady selection. Drawing similarities with other stark monochrome thrillers, such as Roman Polanski's Repulsion, Herz's comparatively untraveled classic 1969 feature film, The Cremator, also used the apolitical subjects of fantasy and surrealist horror to evade the communist censors overzealous censorship. Herz's macabre depiction of Ladislav Fuks' fictional account of a local crematorium boss whose hallucinogenic obsession with the afterlife is boasted by a beguiling score and theme tune from the country's finest experimental soundtrack composer, Zden?k Liska. Featuring an ongoing partnership with studio conductor Frantisek Belfín and soprano singer Vlasta Soumarová Mlejnková, Liska puts his radical concrète and resampling techniques to one side in favor of celestial choral and orchestral arrangements; menacing giallo-esque tension and recurring rhythmical motifs of Eastern bells and chimes. From a country and era when isolated soundtrack music remained commercially-unreleased, these two scores have been rescued and remastered, featuring extensive liner notes by Andy Votel and Dan Bird.


EMERALD WEB: The Stargate Tapes CD (BMS 052CD) 11.50
2013 release. Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida-raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music. At the turn of the 1980s, Bob Stohl and Kat Epple embarked on a ten-year spiritual journey playing at planetariums and laser shows above the same Californian silicon city that devised the early computer music software, unifying their state-of-the-art modular synth soundscapes and organic compositions of flutes, bells and field recordings and furnishing a self-pressed cassette tapeography of inimitable Emerald Web music for their self-funded Stargate label. Having first communicated via the medium of music as flute players at a South Florida jam session, the future space music luminaries would be instrumental in assisting synthesizer companies via feedback and consultancy in developing instruments such as the Lyricon wind synth (favored by Suzanne Ciani and Bruno Spoerri) and various sponsored machines for Arp, Buchla, EML, Computone and Orchestron. Named after a laser show formation and combining influences from science fiction films, fantasy novels and a broad musical spectrum including Tangerine Dream, Vangelis, It's A Beautiful Day and Goro Yamaguchi, Bob and Kat would balance day jobs as synth programmers as well as TV and film soundtrackers under the moniker BobKat Productions (counting microscope nature documentarian Carl Sagan amongst their clients) with evening synthesizer shows at galleries, spiritual centers and even punk clubs. This compilation album comprises early tracks from Emerald Web's debut vinyl release and the four rare cassette-only albums on Stargate Records from 1979-1982. Taken from original master tapes and recorded using revolutionary and prototypal music technology, many of these tracks have never been on vinyl or CD until now.



MR RAOUL K: Still Living in Slavery - Part One 12" (BBM 001A-EP) 14.00
The next part of Mr Raoul K's album Still Living in Slavery, delivered in a picture sleeve that will hold all three records. The first side features all three chapters of "Dounougnan Magni" stretched over almost 18 minutes. Pure Afro funk bliss with beautiful keyboards played by Kuniyuki Takahashi. Vocals by Hamed Sosso. The flipside opens with the Mr Raoul K & Laolu version of "Sene Kela." A summery groover with a prominent balafon melody, a driving bass line and beautiful vocals by Sona Diabate. The record closes with two parts of "Enchained Tribe," featuring the sound of the "Water Kalebasse," a dried pumpkin filled with water.



DALHOUS: Will to Be Well CD (BLACKEST 007CD) 16.50
Will to Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double LP reflects writer-producer Marc Dall's continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The 15 tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dall's stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous' approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers, too. Will to Be Well arrives just one year on from the Edinburgh-based project's tenebrous debut, An Ambassador for Laing (BLACKEST 003CD/LP), which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it," while FACT called the LP a "wonderfully compelling head-scratcher... opaque, elusive ... and fascinating." Nonetheless, a notable shift in tone has occurred in the 14 months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will to Be Well it seems the light might just be winning. Pieces like "Transference" and "Her Mind Was a Blank" project a rapturous psychedelic intensity; "To Be Universal You Must Be Specific" and "Entertain the Idea" adopt the serene ambient register of recent Dalhous EP Visibility Is a Trap; while "Sensitised to This Area" goes about its business with an almost Balearic swagger. But light, too, can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the album's most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous' music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of "A Communion With These People" and the pagan drones of "Lovers of the Highlands" speak of Dall and his studio partner Alex Ander's deep connection to the rugged contours of their native Scottish landscape, while on "Four Daughters by Four Women" and "Thoughts Out of Season" convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will to Be Well is a less obviously eerie album than its predecessor, Dalhous' nose for the uncanny remains. A defining album from a major young artist.



STEREO EXPRESS (FEAT. SAKSO): Cirque De L'Amour CD (BUR 003CD) 17.00
With his debut album Cirque de L' Amour, Stereo Express shows his wealth of variety as well as his verve for thrilling vocals. After the seething "Intro," followed by "When I'm With You" and "La Vie En Rose," you step foot into the world of Stereo Express. "Freedom" reveals his pop affinity with inclusive, catchy vocals, a rolling bass and a divine electric guitar, and "Stranger" starts with a dominant kick drum. Produced together with label mates umami and U So Witty, "Stranger" is a longing, pulsing piece that develops a proper suction with its haunting synths. Sakso is Stereo Express' studio partner-in-crime and "Agoria" indicates with its floating character not only an impressive climax, but that this duo is simply a dream team. "All Over You" was made with the support of Sakso and Shimmy Timmy, and it's a prancing track that breathes a good dose of sex appeal and desire through a funky bass guitar. While the deep bass line of "Looking for Somebody" won't let any hip be unmoved, the wonderful vocal sample of Ciara's "Promise" evokes a delightful mood. After the good-humored "Nasty Groove," the last track "Cooking with Izolda" with its warm keys and voice of Serbian singer Izolda Barudzija provides a perfect conclusion. Cirque de L'Amour is a terrific debut that transports a gallant and courageous mood and a hedonistic and highly-emotional aura. With numerous guests such as Sakso, Timmy Shimmy, Ester Cattoir, umami and U So Witty, Stereo Express offers a versatile mix with many dancefloor grenades. In addition to the heart-wrenching grooves and the colorful melodies with piano, saxophone and strings, Stereo Express demonstrates his feel for impressive and sexy productions that constitute the charm of Cirque De L'Amour.



VASQUEZ, JUAN CARLOS: Collages Cassette (SAUNA 020CS) 9.50
The "Collages" are an acclaimed series of experiments conducted by sound artist and composer Juan Carlos Vasquez to prove the digital capabilities of tone expansion in a single acoustic instrument. The technique consists in recording original performances of several works by celebrated composers from the past (for solo instruments), and reinventing the audio files by deconstructing the pieces as a collage, using different and complex kinds of digital audio processes to create a post-modern electroacoustic version of the classical piece. As a result, the usual acoustic instrument timber is expanded into deep and rich atmospheres using the entire range of frequencies. The collages series are also a sonic application of British painter J.M.W. Turner's technique of using layers of colors and textures to turn everyday landscapes into powerful and expressive oneiric fantasies. Past versions were possible thanks to commissions by the Westminster and Chelsea Hospital/Museum (UK) in partnership with Royal College of Music (UK), the Arts Council through the Wiltshire Museum (UK), Polish Artists in London "PAiL" (UK), the Hilltown New Music Festival (Ireland) and the FEast 2013.


PAUL, ASHLEY: White Night Cassette (SAUNA 021CS) 9.50
White Night is a contemplative new collection of pieces from Ashley Paul. Using prepared guitar, green box, voice and reeds; her unique style lies somewhere between song, space, and dissonance, leaving the listener haunted in its closure. This cassette was recorded over the course of a year in four cities; Brooklyn, Boston, London and Orlando. Features contributions on two tracks from artists Eli Keszler (percussion) and Greg Kelley (trumpet).



NIGHTDRIVERS: The Easy Life EP 12" (CLAAP 018EP) 12.50
Nightdrivers are an amazing Italian production duo comprised of Niccolo Rufo aka Rufus and Martino Marini aka Mass Prod. Two of Italy's finest contemporary house producers, The Easy Life EP is a clear reflection of what sets these guys apart. Fresh, rolling house grooves composed with an old-school approach and a touch of their own class. Analog synths, drum machines and a Walkman are the key components to the raw and rich sound of their debut release.



C.O.M.A.: Clinik Organik Musak Anatomik CD (DESIRE 064CD) 15.50
Originally released in 1979, the mythic synth-punk lost classic C.O.M.A. album is available on CD for the first time, ever, including four unreleased tracks. Before becoming a French pop star with Charles De Goal, Patrick Blain was part of C.O.M.A., a synth-punk band that recorded only one album, chock full of ideas, which then dismantled shortly after. Originally released on Flamingo in 1979, Clinik Organik Musak Anatomik is now a much sought-after collector's item. Some will find similarities with Metal Urbain in their sound, especially on tracks like "Assaut," but C.O.M.A. is certainly weirder and mixes clangy punk guitar, proto-industrial synth, harmonica, and slapdash electronic drums. Each song is its own experiment. Inspired by bands like Devo, Wire, XTC, Kraftwerk, The Residents, and Magazine, C.O.M.A. were the screamers on the French side of the Atlantic Ocean. Housed in a digisleeve CD with an 8-page fold-out poster booklet with lyrics.


LIVE SKULL: Pusherman EP CD (DESIRE 086CD) 15.50
Recorded in 1986, the Pusherman EP is the final studio record released by the original Live Skull quartet of Mark C, Tom Paine, Marnie Greenholz and James Lo. Along with Sonic Youth and Swans, Live Skull was the face of New York's post-no wave "noise scene" during the 1980s, and the songs on the Pusherman EP are in many ways the culmination of that movement and the essence of what Live Skull was all about. Relentlessly fierce but with an unnerving ability to insinuate themselves in your brain, the songs on the Pusherman EP further refine Live Skull's pioneering strategy of threading unlikely hooks through mystifying interference patterns that subvert traditional rock in previously unheard ways. The EP would deserve its classic status if only for its free-associating version of "Pusherman" (a very curious hit on college radio back in '86), a thoroughly abstracted but weirdly faithful cover that re-imagines Curtis Mayfield's original through the cracked and filthy lens of Live Skull's crumbling East Village. Less than a year after this record's release, Live Skull would find itself in transition, eventually becoming a quintet with drummer Rich Hutchins and Thalia Zedek on vocals -- but the Pusherman EP stands in the minds of many fans and critics as not just the original line-up's final testament, but possibly its finest. In his much-quoted review for The New York Times, Robert Palmer declared, "With each new record, New York's Live Skull delivers a more concentrated brand of emotional intensity, a more ferociously disciplined sonic assault. Live Skull's music -- a high-wire act played for keeps, without a net -- is as challenging, as spiritually corrosive, and ultimately as transcendent as Albert Ayler's mid-'60s free jazz or the implacable drone-dance of the early Velvet Underground. It's one of the essential sounds of our time." Out of print for nearly 30 years, Live Skull's Pusherman EP has now been reissued on limited edition vinyl and (for the first time ever) on CD, complete with a lavish booklet including extensive liner notes by founding members Tom Paine and Mark C, and six extremely rare bonus tracks. This is the fourth release in Desire Records' Live Skull project, an ambitious eight-title series of reissues of the entire Live Skull catalog, personally overseen by Mark C and Tom Paine.


KELUAR: Keluar CD (DESIRE 102CD) 15.50
Keluar, based in Berlin, is a duo consisting of the electronic sounds of Sid Lamar and the voice and words of Zoè Zanias. Their debut EP, Ennoea, was released by Desire Records in July 2013, and was followed by a European tour spanning from London to Athens. Their second EP, Vitreum, is a summer 2014 release. This CD compiles both Ennoea and Vitreum EPs with two unreleased remixes by Soft Riot and Distel. Comes in a digipak with an 8-page booklet.


CANTU, D'MARC: Parisian Summer 12" (DESIRE 112EP) 16.50
Five new tracks by U.S. producer D'Marc Cantu between house (jack style), techno and acid. Floorfillers guaranteed. "The idea behind Parisian Summer came after I played the Weather Festival in Paris during the spring of 2013. 'Partydaze,' 'Svetlana' and 'MadDance' were all created ahead of my show at La Machine that weekend. All three of those tracks were made with the purpose of capturing that raw energy being given off by some of the best crowds I've ever witnessed. 'Irregular Bedfellows' is a nice counterbalance to the high-energy drive of the previous tracks and 'Uneven' bookends the whole EP." --D'Marc Cantu, May 2014


BEC 5161861

MR FLASH: Midnight Blue 12" (BEC 5161861) 12.50
First single from the album Sonic Crusader (BEC 5161720/BEC 5161721). Remixes by Jon Convex and Margot.


MB 001CD

BIANCHI, MAURIZIO: Colori CD (MB 001CD) 19.50
2014 repress. Originally released in 1998. EEs'T Records is a subdivision of Alga Marghen, to deal with Maurizio Bianchi's music. "The very first new recording from Maurizio Bianchi (MB) since his decision to quit the arena of sound in 1984. Yes, he's back, the world-wide recognized master of apocalyptic electronics has decided to come back to music, opening up a new phase for his creativity."

MB 002CD

M.B.: Symphony for a Genocide CD (MB 002CD) 19.50
2014 repress of these classic M.B. albums (M.B. = Maurizio Bianchi, for those of you who haven't been saved yet). These were first reissued in 1998 by EEs'T (a division of Alga Marghen) and are now back again. Symphony... was the first M.B. album, issued in 1981, at the gates of the industrial noise revolution (it was also reissued on CD in the U.S. on Hospital Productions). "ArcheoMB" is the title given to the complete reprint of old M.B. records and here is part 1. EEs'T Records and M.B. collaborated on this project, well understanding the value of these early works and their importance in the evolution of M.B. The sound has been improved for this digital edition from original master tapes and under the supervision of M.B. himself. All CDs feature the original artwork plus the complete historical documentation (liner notes, reviews, statements). Symphony... was first issued on the Sterile label in the UK in an edition of 200 copies. M.B.: electronics, effects, rhythms. Symphony... is the most extreme music you're ever likely to hear. There are seven tracks, all consisting of a never-changing hissing or clanking rhythm, electronic effects over the top and a wall of distortion somewhere in the middle. This is the sound of industrial music, not T.G. Maximum electronics! Three bonus tracks first issued on Bain Total's International Compilation 2 in 1980.

MB 003CD

M.B.: Menses CD (MB 003CD) 19.50
2014 repress, originally released in 1998. Reissue of the private LP edition of 300 copies from 1981; the pyramidal construction of these two "suites," with its intentionally brutal and grotesque deformations, elaborates on overflowing and apocalyptical collapse, dragging a completely dissolvent conception of the world and of the para-industrial sound. Bonus tracks: "Milan Bruits" from the Fix Planet! comp (Ata Tak) and the two tracks first issued on the very limited Nowhere to Play in 1981. Let M.B. be your executioner! The second in the "ArcheoMB" CD reissue series.

MB 004CD

M.B.: Neuro Habitat/Moerder Unter Uns CD (MB 004CD) 19.50
2014 repress, originally released in 1998. Reissue of a private LP, issued in an edition of 300 copies in 1982; a skeletal extremist project that will then transform into the "soundtrack" of a movie with the same title, edited and directed by Paul Hurst. It's the setting of the griable pre-apocalyptic fossilization, the supreme lapidation of the meanness which creates the myth. There are actual melodies present -- dense and dark that mutate into harsh electronic outbursts. The release also features "Plutoniumetrico" from the Fur Ilse Koch LP compilation. Third in the "ArcheoMB" CD reissue series.

MB 006CD

BIANCHI, MAURIZIO: Mectpyo Bakterium CD (MB 006CD) 19.50
2014 repress, originally released in 1998. First issued by the Mnemonists' label (Dys in the U.S.) in 1982. M.B.: proto-electronics, compositions, arrangements. Mektpyo Bakterium is a work furnished of implacable plastic exasperation. The icy oppression, the hallucinative electronic wounds, are a precious and singular fact in a technological society brought to the limit. The emotion is pushed into dangerous zones, and unusual zones, and unusual tensions -- free biological groans of extreme effectiveness. A vivid expression of a world in extinction! Bonus tracks: "Placenta," first issued on the 40 Days/40 Nights picture-disc LP in 1982, and the M.B. contribution to the International Friendship compilation LP from 1983. Fifth in the "ArcheoMB" CD reissue series.

MB 007CD

BIANCHI, MAURIZIO: First Day -- Last Day CD (MB 007CD) 19.50
2014 repress. Originally released in 1999. Released one year after M.B./Maurizio Bianchi decided to come back to the music arena with his very personal new sound exploration. Conceived in the same direction of the previous CD titled Colori, this new work found its basis in the revaluation of the events that started the Creation, when an intelligent and complex act of sublime love started our physical universe off, transposing them in the form of eight electronic compositions elaborated in a two-year work. A darker atmosphere marks the background sounds, giving to the whole program a more obscure and less "easy" impression, while the more melodic traces fluctuate without direction in an empty space. M.B. has always worked in a very direct way, following his true inspiration; he has devoted his music to the sincere listeners who will now immerse themselves in these sound waves and in the sea of primordial sonorities. The connection to his past recordings is to be found in this attitude and a reference to these feelings already existed in the early 1980s, as reported in some interviews and statements included in the full documentation of the ArcheoMB Boxset 2 (not a reference to the specific religious themes, but a more general idea of spiritual collapse and chancing). What could be interesting is to notice this continuity and consider the past and present works as a whole, of course, with a huge formal difference in the material sound approach.

MB 008CD

M.B.: Das Testament CD (MB 008CD) 19.50
2014 repress, originally released in 2000. The second batch of the complete M.B. reissue program continues, once again issued by EEs'T (in conjunction with Alga Marghen) as a series of five separate CDs, or altogether as a box set. The CDs have been mastered to digital under the supervision of Maurizio Bianchi himself; each CD features the original artwork, the complete documentation (liner notes, reviews, statements) as well as bonus tracks. Reissue of a private LP edition of 300 copies in 1983. M.B.: electronics, rhythms, neutronic effects. The two suites of Das Testament were recorded in 1982 and can be included among the most extreme and uncompromising M.B. recordings. Once more, maximum electronics. Bonus track for this CD edition: more than 30 minutes of M.B. live, recorded at Radio Popolare in Milan on 1/1/83. A unique event, the first and only M.B. concert and the only time he ever played as a synthesizer duo.


EM 1121CD

PIP PROUD: A Fraying Space CD (EM 1121CD) 20.00
Pip Proud, sui generis, could be considered an Australian outsider, with his untutored and uninhibited singing style, his primal guitar playing, his resolutely personal vision captured on recordings from 1967 to the early '70s -- except that, unlike most outsiders, he was loved and accepted, with two of his three album releases on a major label, with frequent television appearances and coverage in music magazines. Heralded in his native land though he was, he maintained a low profile from the early '70s, never made an impact overseas, and his recordings have been difficult to access. This collection has been selected by Proud's biographer David Nichols and will engender a new appreciation of Proud's music. Considered by some as a sort of Antipodean Syd Barrett, listeners will hear that Pip was clearing his own private and primal path, more poet than pop star, despite the media attention. Other than one Velvets-style band track, all songs here feature Pip solo, some with appealingly primitive overdubs. Fans of ramshackle, oddball, weirdo portastudio, lo-fi bedroom pop of the '80s, '90s and beyond, whether of the NZ, UK or U.S. varieties, will find a precursor here. CD includes with three bonus tracks and features a 20-page booklet with liner notes by David Nichols as well as Proud's lyrics.

EM 1121LP

PIP PROUD: A Fraying Space LP (EM 1121LP) 23.50
LP version. Includes an innersleeve with liner notes and lyrics.

EM 1127CD

INRYO-FUEN: Early Works 1980-82 CD (EM 1127CD) 20.00
With this release, EM Records shine a light into the dark and yet strangely uplifting world of Inryo-fuen's early '80s wonderland: a surreal, adventurously analog, positively negative realm of freedom. Following the EM Records release of Inryo-fuen's enigmatic Ho-aku (EM 1125CD), Early Years 1980-82 collects the band's earliest recordings, originally released on flexi and vinyl, here re-edited, re-mixed and remastered. With enlightening notes by band member Jun Harada providing historical background and recording information, stressing their love of improvisation and their ongoing quest for liberation, this is a landmark release, offering a glimpse into a hitherto inaccessible netherworld of the Tokyo/Yokohama post-punk underground. The music here, all improvised, with many of the pieces recorded live, have an edge-of-the-world electricity, informed by the group's fascination with the Surrealist idea of Automatic Writing. The launch point is a brutalist, knuckle-dragging Conrad/Faust thug-riff featuring the hectoring rants of a stage-invading student activist, dramatically melded with the music by the sound engineer. From there we traverse manifold realms, variously propulsive and static, dense and pointillistic, threatening and whimsical, opaque and translucent. Inryo-fuen's searching use of the basic rock instrumentation of drums, bass and guitar is augmented with keyboards and, on one piece, acoustic instrumentation. No overdubs, no vocals. Only sound and freedom. Includes liner notes in English and Japanese, as well as photos.



HEAD BOGGLE: Serge Modular in Hi-Fi LP (EXP 027LP) 19.00
"Head Boggle returns to the vinyl format with what is perhaps his most refined and focused work to date. Serge Modular in Hi-Fi was recorded in early 2012 at the S.F. City College Electronic Music Lab utilizing a vintage pre-STS Serge Modular Synth system and was conceived as a pseudo aural 'cubist' sound piece with an intention to achieve pseudo 3D 'cubed' sound through discrete recording and mixing techniques. The only effects utilized were four or more analog delays being played real-time a la dub/reggae mixing techniques. The final selections were then sent to Kramer at Noise Miami for hi-fi correction and an aesthetic mastering treatment and then to Jeremy Bible for a final mastering treatment specifically for the vinyl format resulting in a sonically rich listening experience of hallucinatory synthesizer ragas. Derek Gedalecia has commanded the attention of the avant/noise underground as Head Boggle or nearly a decade now, showcasing his unpredictable live performances and omnivorous synth mastery in DIY venues across the country -- and on over 60 physical releases on labels like Baked Tapes, 905 Tapes, Spectrum Spools, and his own Greedmink imprint. The Head Boggle catalog speeds into the future as a continuing experiment with new equipment, compositional processes, and live performance tactics, as each release pushes the boundaries of his gear and his mind into more and more maniacal post-post-Subotnick free-for-alls."


TELECULT POWERS: Black Meditations LP (EXP 029LP) 19.00
"Telecult Powers, the candle burning duo of Witchbeam & Mr. Matthews, known for their ritualistic live shows and previous releases on Baked Tapes, Draft, Pizza Night and more, bestow upon us their album Black Meditations, a six part sonic meditation on the connections between man, myth & magic. Black Meditations taps into the world of folk magic, reaching out to the spirit world through sonic practice, with the duo praying at an altar of bizarre electronic instruments handcrafted by Mr. Matthews. Through this 'Hoodootronix' music Telecult Powers taps into the current in which the spirits of Atlantis, Rexino Mondo, In Search Of..., Dionysus cults, old witchy Hollywood, Mort Garson, Louise Huebner, Nik Raicevic, Bruce Haack, Bebe and Louis Barron, and Discordians draw from. Featuring guest appearances by Lala Ryan from Excepter, Rachel & Grant Evans, Kate McGuire, The Road Chief and liner notes by Carl Abrahamsson."



FLAHERTY & CHRIS CORSANO, PAUL: Low Cost Space Flights LP (FTR 152LP) 16.50
"It has been eight long years since we've had a new duo album by Paul Flaherty and Chris Corsano. The two have played together in other configurations, but we all know there has always been something special and telepathic about their duo collaborations. From the moment they began playing together late in the last century, Paul and Chris communicated in weird, deep ways. And so it is here. Low Cost Space Flights was recorded in June 2013, at Eric Gagne's 'Thing in the Spring Festival' in Peterborough, New Hampshire. And the duo wails through the three tracks. The room in which the performance happened has a nice natural echo, giving a sprongy edge to Flaherty's lateral sax runs, while Corsano's feverish percussion dives straight through every hoopsnake Paul rolls in his direction. No surprise. Chris is among the nimblest, most authoritatively athletic drummers to have graced the circles of fire music hell. And Flaherty remains, to my mind, a continuously under-rated player, largely because he's so rooted to his physical place in the universe that is New England. His style slips seamlessly from freak register space-squeedling to bar-walk honkery to a sort of chess player's motion-logic. Most of this set veers towards Paul's harder-blowing end of the spectrum and we say 'Halle-fuckin-lujah!' Leave the ballads to the bow ties, for now. Low Cost Space Flights reunites two great goddamn forces of the New England improv scene, and displays their playing at its hermetic, alloyed best. Beautiful Simon Bosse cover art. Great songs titles -- 'The Dog Paintings of George W. Bush,' etc. What's not to love? Besides lobsters, of course." --Byron Coley; Includes digital download code. Edition of 300.



The second installment from the freshly-launched FILM label comes from The Rhythm Odyssey And Knights Of Olde also known as Stevie Kotey and Dean Meredith. Together they created the powerful and bass heavy original "Intro Theme." Hotflush artist South London Ordnance delivers a darker approach to the track, while MUSK takes the track into the peak-time. Last but not least Uncanny Valley's Lounge 44 comes up with a decent deep house remix. 12" with printed deluxe sleeve and hologram artwork.



TARON-TREKKA: Yellow Magic EP 12" (FREUDE 067EP) 14.50
Taron-Trekka deliver pure house magic for the Freude Am Tanzen label. The producers from Berlin and Jena place the beat around deep and warm bass and add magically confusing vocals. Taron-Trekka aren't in the business of fireworks, breaks and drops and the like; rather, they've got an eye on something thrilling and uniquely hypnotizing that comes from a deep, groovy place. There is a fine texture that comes and goes, and perhaps a little more kick on the drum at the right moment, and that -- right there -- is where the magic happens.



HOT KNIVES: Hot Knives LP (GKL 001LP) 25.50
Got Kinda Lost Records -- named after the song by ex-Big Star founding member Chris Bell -- is the newest reissue imprint by the Guerssen Label Group. Curated by Jeremy Cargill (Assistant Editor for Ugly Things Magazine), the label's focus is archival and reissue work specializing in the realms of proto-punk, '70s pop/power pop, glam, psych, privately-pressed hard rock, and "out of time" treasures. Hot Knives were a late period folk-rock/power pop combo from latter '70s San Francisco -- and held two ex-Flamin' Groovies members in their ranks (guitarist Tim Lynch, and drummer Danny Mihm). Led by the hair-rising boy-girl sound from the Houpt siblings (Michael and Debra), and bolstered by the ringing, jangly guitars of Lynch/Houpt, and driving rhythm section of Mihm and bassist Ed Wilson, sparks flew when they united as a whole. This set collects the tracks from their late '70s singles, and a further batch of dynamite tracks pressed into wax (seeing vinyl release for the first time). As music journalist Jud Cost says in the extensive liner notes, "Hot Knives were a little too late for the '60s hippie trip and a little too hippie for the crash'n'burn punk rock brushfire of the mid-'70s," but their consistent songwriting and way with a hook should appeal to all with a "pop heart" beating in their chest, fans of '60s SF sounds, and folk-rock.



SLEEPY JOHN: Sleepy John LP (GUESS 133LP) 25.50
Monster psychedelic hard-rock and proto-prog sounds from the Northwest, 1970 -- never released at the time. Ultra-raw basement sound with devastating guitars and fantastic Hammond organ all around, sometimes sounding like a heavier version of Hunger. First unearthed by the great Rockadelic label in the '90s, Guerssen Records presents a new edition of this killer album. Remastered sound with a new cover design and an insert with photos and liner notes.


FRONT PAGE REVIEW: Mystic Soldiers LP (GUESS 134LP) 25.50
Definitive vinyl edition of this lost album from the Bosstown Sound scene. Front Page Review rubbed shoulders with bands like Eden's Children, Beacon Street Union and Strawberry Alarm Clock. With legendary producer Alan Lorber behind the controls, they recorded in 1968 a whole album for MGM which was never released at the time. Mystic Soldiers is a prime example of late '60s U.S. psychedelic rock, featuring a young Steve Cataldo (Saint Steven, Nervous Eaters) on songwriting/vocals. All the right ingredients are featured here: wah-fuzz guitars, organ, phasing, effects. Features master-tape sound, two bonus tracks, and a new cover design. Also includes unseen band photos and an insert with detailed liner notes by Jeremy Cargill (Got Kinda Lost/Ugly Things) telling the story of the band for the first time.


MCKAY: Into You (Take Two) LP (GUESS 135LP) 25.50
In 2013 Guerssen Records released the celebrated A New Light Shines (GUESS 117LP) by McKay, an album comprised of unreleased recordings by this master of rural psychedelic sounds. Into You (Take Two) includes previously-unreleased tracks recorded in 1975-1979 by the same cast of musicians who recorded Into You, the legendary first McKay private album. Laid-back, rural psychedelic rock with dreamy Neil Young/Beatles-esque vocal harmonies, raw, fuzzed-out guitars and a druggy atmosphere. Certainly the most psychedelic-sounding stuff McKay ever recorded! In 1995, the now-defunct OR label put out Into You (Take Two) as a limited 300 copies vinyl pressing. After many years out of print, Guerssen presents a new vinyl edition of this amazing album. Master tape sound. Includes an insert with liner notes and lyrics.



WENTINK, FRITS: Family Dinner EP 12" (HEIST 005EP) 14.00
Heist #5 brings you the trademark Frits Wentink sound you've come to love: catchy synth loops, distorted basses, and some funky-ass grooves. With "Shrewd," he throws in a few sexy female vocal snippets and a lovely arp, while "Ligament" flows along on a rough kick, an equally gritty vocal and a driving portamented pad that filters in and out. "Sauce" features Dutch singer Loes Jongerling and makes for a wonderful combination with her silky-soft voice and Frits' warehouse-style percussion." If I Was to Gravy You" follows up with the same rawness in the beats and a lovely sample.



SOFT AS SNOW: Glass Body 12" (HTH 022EP) 14.00
Norwegian duo Soft As Snow make experimental pop for the interplanetary set, echoing the sounds of minimal wave and early Warp releases. Their approach to music-making is hands-on; avoiding laptops in favor of analog synths, drum machines and samplers, mixed with idiosyncratic vocals and heavily-processed guitars. Glass Body, their debut 6-track EP, is cut to heavyweight 180 gram 12" vinyl by Matt Colton. Cover photos & design by Julie Born Schwartz. Remix by Asher Levitas.



SPACEMONKEY: The Karman Line CD (HUBRO 2543CD) 17.00
sPacemoNkey is the duo project of pianist Morten Qvenild and drummer Gard Nilssen. They enjoyed collaborating in Mathias Eick's band, and quickly decided to try playing together as a duo. During the past 10-15 years, Morten Qvenild has been one of the most creative, ground-breaking and innovative musicians in Norway. He has participated in bands including In The Country, Shining, Jaga Jazzist, Trinity, and Susanna And The Magical Orchestra. Gard Nilssen, on his part, is one of the most active and highly sought-after drummers in the business, having played with Bushman's Revenge, Astro Sonic, Puma, the Trondheim Jazz Orchestra and Susanne Sundfør's band. "Basically, I find the duo format extremely appealing, and have worked quite a bit together with singers. Working with a drummer gives me a wide scope and a lot of freedom to take the music in a number of different directions," says Qvenild. And he is taking advantage of this freedom with a vengeance in The Karman Line. This is spacy, stimulating and lovely music, full of surprises and exploring new soundscapes. sPacemoNkey's debut album, The Karman Line, is entirely improvisational, and was recorded at Propeller Studio in Oslo. "We used the studio as a tool in the process of discovering what we could accomplish with the duo. A lot of trial and error. A lot of discussions about our direction. During the process a band suddenly crystallized," says Qvenild. The album was later completed, produced and mixed at Duper Studio in Bergen together with Jørgen Træen. Morten Qvenild (hyperpiano, electronics and programming); Gard Nilssen (drums, gongs, bells, vibraphone and electronics).



ELEH: Circle Three: Full Moon at 35Hz LP (IMPREC 401LP) 25.50
Circle Three: Full Moon At 35hz is the third Circle piece from Eleh and the first to be released since 2010's Repose. Literal synthesis. Packaged in a heavy duty screen printed cover. #'d edition of 500. Audiophile quality LP cut at Dubplates + Mastering in Berlin. One per customer.



HERNDON, HOLLY: Body Sound 10" (IGR 004EP) 32.00
Infinite Greyscale presents a new long-form composition by Holly Herndon. "Body Sound" was composed by Herndon, in collaboration with choreographer and dancer Cuauhtemoc Peranda, and performed at Stanford University's Center for Computer Research in Music and Acoustics. In real time, Herndon restructured the sounds of the dancer's body to make an arrangement that is simultaneously rhythmic, fragmented, and incredibly physical. A dragged heel squeaks, his rolling torso sends tumbling shockwaves through the speakers, and each stomp of a foot is a blast of sub-bass. Herndon builds on this source material, taking time to bend the sounds into an abstract sculptural form, and creating a powerfully expressive document of experimental sound art. One-sided release in a limited edition of 300 copies.



BARROTT, MARK: Sketches from an Island 2LP (IFEEL 029LP) 34.00
Double LP version in gatefold sleeve; 180 gram heavy weight vinyl. Mark Barrott's Sketches from an Island compresses this Balearic heartbeat into nine warm gems which paint a picture of the island, the people, and the magnetic beauty that pulses through it. Recorded in Ibiza's northern hills using "weird percussion, some slide guitars and a few borrowed synths," it's a melodic and mysterious representation of a place seeped in a rich and rebellious history. Opening track "Baby Come Home" radiates with carefree tropical sounds and upbeat harmonies. The blues-soaked melodies of "Essene" perfectly navigates the tension between heart-bursting happiness and melancholy and "Go Berri Be Happy" is like Prefab Sprout gone to Ghana. Its color-smudged, hazy emotions swirl between Brian Eno, Penguin Café Orchestra and Compass Point vibes into a free-flowing cascade of live playing and synthesized sound, perfectly epitomized on the future classic "Formentera Headspace Blues." Barrott himself is a man of serious musical pedigree. He founded the highly-respected International Feel label back in 2008, after moving to Uruguay, where his A&Ring tempted the elusive DJ Harvey out of studio retirement for his genre-defying Locussolus project and he followed it with new work from artists like Quiet Village, Gatto Fritto and the Italian cosmic disco-don Daniele Baldelli. Since moving to Ibiza, he's continued producing and releasing music anonymously on his label as Rocha, Bepu N'Gali, Flights Of Fancy, Boys From Patagonia and The Young Gentlemen's Adventure Society. The releases covered house, Afrobeat and proper downtempo Balearic and quickly sold out. "Sketches is inspired by those weird, unique little oddities that would turn up on early José Padilla mix tapes that he'd sell in the Las Dalias hippy market, before he even went to the Café Del Mar," says Barrott. "It's influenced by living in Ibiza year-round, and by the feeling of what I think Balearic sounds like." It's warm and widescreen music for the days when you need musical sunshine. Or as Café Del Mar's José Padilla, says: "This is what I call Balearic."



MOGOROSI, TUMI: Project ELO CD (JMAN 069CD) 14.50
CD edition with two bonus tracks. Breathtaking contemporary spiritual jazz from South Africa. When Tumi Mogorosi composed this suite for jazz musicians and opera vocalists, he had never heard the previous successful attempts by Donald Byrd, Max Roach or Mary Lou Williams to combine these seemingly "unfriendly" aesthetics. Tumi, born in 1987 and already an accomplished drummer on the Jo'Burg scene, was at the time studying music at the Tshwane University of Pretoria where he became close friends with opera singers working on the same campus. So unlike some of his U.S. peers, Tumi's beliefs are not "religious." Surprisingly, Tumi's suite wasn't influenced by these great elders' masterpieces, but anyone who listens to this album will agree that the suite captures the soaring spirituality that made these experiments of the '60s the beloved classics that they are today. Tumi does not belong to any religious group. This album is neither a jazz mass like Mary Lou Williams' Black Christ of the Andes, nor a compilation of devotional pieces like Donald Byrd's Christo Redentor. Project ELO stands for Project Elohim, the angelic entities of the spiritual scriptures which are, in the drummer's philosophy, a symbol for accomplished human beings. The spirituality the album conveys is attuned to a 21st century syncretic, non-dogmatic vision infused with esotericism. Recorded live with no overdubs in two days by a group of friends, this album captures a moment of Eternity and will defy any idea you may have of what South African jazz is. Tumi's music transcends labels and styles. When composing or playing he is only concerned with being true to the primordial source of life, which cannot be confined to any genre.


KK 080CD

The National Jazz Trio Of Scotland is neither jazz nor a trio, although it is at least partly Scottish. Bill Wells has been part of the Scottish jazz scene since the late '80s, but has always enjoyed working with musicians in the indie sector, including stints as a collaborator and arranger with Isobel Campbell, Jad Fair, Kevin Ayers, Future Pilot AKA and Maher Shalal Hash Baz. He has also worked with German electronica artists Stefan Schneider and Barbara Morgenstern and recorded Lemondale, an experimental, pop-tinged collection recorded with an eclectic cast of local musicians in Japan in 2011. The National Jazz Trio Of Scotland consists of Wells on samples, with a trio of female vocalists: Aby Vulliamy, Kate Sugden and Lorna Gilfedder. Onstage, Aby plays viola, Kate marimba and other potential live players include Teenage Fanclub guitarist Norman Blake and Babe vocalist Gerard Black. The group's debut recording The National Jazz Trio Of Scotland's Christmas Album (KK 070LP), was released in late 2012, followed by Standards Vol. II (KK 074CD/LP) in 2013. Their new album is titled Standards Vol. III, although the description isn't strictly accurate. "Well, it's partly a nod towards the more standard way of songwriting, although structurally most of these songs aren't actually written in a similar way," says Wells. "To me the best ideas are strong melodies on interesting changes, going back to the classic songwriters. It's a pretty old fashioned idea and I don't think that it's the way that most people write these days when using computers." Wells' music had always been hallmarked by a directness and economy of musical line, and the fact that his pop music is pared down to just vocals and a lean musical accompaniment is, in fact, one of its strengths. Wells wrote all the songs on the album with the exception of The Beach Boys' "With Me Tonight" and the lyrics to "Surprising Word," written by Saya from the Japanese band, Tenniscoats, and "Trying to Escape You," written by Lorna Gilfedder. The material on Standards Vol. III hints at a diverse range of influences: the bossa nova of Antônio Carlos Jobim, the simple piano accompaniment of Brian Wilson, and the wider vocabulary of chord changes in the songs of Laura Nyro and in Todd Rundgren's earlier work. Wells also admits that some of his electronica may well be influenced by Stefan Schneider's work with Mapstation. And as he plays samples, Wells is keen that his soundworld avoids anything too generic, and that there is a little bit of grit in the mix. One of the most striking aspects of Standards Vol. III is its mix of pure-toned singing and cryptic, bittersweet, sometimes darkly humorous lyrics, as on the twinkly, music box-like "Unguarded Moment" with the lines, "Got me when I least expected/Found it where I didn't look/Hit me like a block of concrete on a hook." On "Alive and Well," rather than being metaphorical or a fanciful notion, the lines, "It's been the hottest summer that we've had for a while/The shower isn't working because of a broken tile," were an accurate summary of the facilities in the bathroom of Wells' Glasgow tenement home last year, where the album was recorded.

KK 081CD

DAKOTA SUITE & QUENTIN SIRJACQ: There Is Calm to Be Done CD (KK 081CD) 15.50
Following 2011's The Hearts of Empty (KK 059CD), Liverpool-based band Dakota Suite, led by Chris Hooson in collaboration with David Buxton, are back with another superb album on Karaoke Kalk. While Hearts of Empty was a distinctly jazzy instrumental album, There Is Calm to Be Done takes us further down a path of left-field songwriting and alternative pop. The album was produced together with Quentin Sirjacq, with whom Dakota Suite have already worked in the past, on Valissa (2010) and The Side of Her Inexhaustible Heart (2012). The most striking thing about the Dakota Suite sound is their immense instrumentation. While most songs are driven by the piano, they are adorned with all kinds of instruments to provide an overall timbre of great majesty. The presence of brass parts, woodwind, double bass and a wide array of instruments makes for a special sound. Rhythmically, the drum parts throughout the majority of There Is Calm to Be Done are played with brushes, which takes the edge off and adds a gentleness that only the swooshing of brushes can achieve. The use of lap steel on the opening number "This Is My Way of Saying That I Am Sorry" conjures up a definite country-rock feel. While the album is mainly song-based, there are vast instrumental passages strewn throughout the record and intermingled between songs. "Flat Seat" is one such instrumental tune with a decidedly filmic character; a lilting composition both mesmerizing and intriguing. Much of the album feels as if it could be film music, and each tune conjures a vivid image in the listener's mind to which the music plays the soundtrack. Hooson's vocals are striking both for their singing-style and lyrical content. "Dronning Maud Land," for example, begins with the humorous line "I seem to have grown myself a pair of old man's hands," but the delivery is somber and melancholy. "In the Stillness of This Night" is a powerful ballad that fuses the touching vocals and lyrical style that is so prevalent on the album with an evocative arrangement. "Committing to Uncertainty" is a somewhat darker composition, with the brass and woodwind orchestration building to a powerful crescendo. "Be My Love" stands out as a prime example of singer-songwriting, as it relies solely on acoustic guitar and vocals. It is an unspeakably tender song with a highly fragile yet resolute emotional lure. The penultimate title-track on the album, true to its name, is a delightfully calm tune. The record draws to a close with the minimally-orchestrated "I Miss the Dust," a very delicate instrumental that drifts away like leaves on a breeze. Dakota Suite's music has covered such diverse genres as lo-fi, folk-rock, electronic, ambient, and taken in elements of jazz and modern classical. There Is Calm to Be Done explores the art of songwriting while also venturing beyond, into new fields, to create something new and subtle.


KH 9018CD

HOT TUNA: Live at the Fillmore West, 3rd July 1971 2CD (KH 9018CD) 23.00
Taped on the final-ever Saturday night at the legendary Fillmore West on July 3rd, 1971, this superb set finds Jorma Kaukonen and Jack Casady opening for Quicksilver Messenger Service, with help from Papa John Creach on electric violin and Sammy Piazza on drums. Drawing on their lengthy experience as folk musicians before they formed Jefferson Airplane, it features their breathtaking musicianship and wonderfully intense jamming before a highly appreciative audience. Background notes and photos included.

KH 9019CD

COLD BLOOD: Live at the Fillmore West, 30th June 1971 CD (KH 9019CD) 17.00
Fronted by the outstanding vocals of Lydia Pense, Cold Blood played their own hybrid of funk, soul, R&B and underground rock. They came to prominence in 1970, when Janis Joplin recommended them to Bill Graham, who ran the legendary Fillmore West. Graham not only signed them to his own label, but enthusiastically promoted them at the Fillmore. This remarkable set was recorded on the venue's emotional final night, and finds the band at the peak of their powers. Taped on the last night of the Fillmore, June 30th, 1971. Background notes and photos included.



Chronicle, by The Durutti Column, is released on Kooky as a very limited, special and expanded version to acknowledge Vini Reilly's 60th year of his life; thus Chronicle LX XL. The partly autobiographical album was first commissioned for a performance in April 2011 at The Bridgewater Hall in Manchester. During this period, Vini and Poppy (his girlfriend of 9 years) parted company and it was a heartbroken Vini that went on to complete the production. Despite the breakup, Poppy had agreed to perform on piano that evening for two of the songs that she had written with Vini accompanying on guitar. Over the following three years, the artist has battled serious illness and has not played a full show since. It was -- and still is -- a very difficult time physically, mentally and emotionally for Vini Reilly. The compositions reflect a particular stage in Vini's recent life. At the Bridgewater Hall show, a pre-release limited edition CD was available for that evening only, with a note by Vini explaining the background to the new work. Chronicle began as an autobiographical project, marking particular moments in Vini's past. Although elements of this surfaced in the original Chronicle, events in his life while recording the album brought a new twist to the project. Bruce Mitchell (drums and percussion): "So there are two versions of Chronicle. We did a special edition for the gig at the Bridgewater Hall, where people could get the album as part of a premium ticket deal. In 2011, we premiered the music there, with all Vini's photographs up on the screen. That was the last gig, really. The following day, Phil Cleaver from Kooky said he'd got back home to find his emails full of requests from the audience to buy one. So they all sold out, immediately. But soon afterwards Vin became really ill." "It was a big, expensive recording, Chronicle. And Vin, despite being ill, did this further version. So there's Chronicle 1 and Chronicle 2. What I wanted Vini to do as a composer was something similar to Elgar's "Enigma Variations" -- a piece of music about certain people in a life. I wanted him to do this and link the music to photographs he'd taken over the years. Vin's a great photographer." However, Reilly remains The Durutti Column's indisputable leader, and had the last say. Bruce continues: "I didn't quite get what I wanted, because in the end, Vini wanted the album to be about his life at this point in time. We couldn't finish it for a while because Vin was in such a bad way. But now it's there. And we've got some very interesting, very powerful music on this." In a package that continues The Durutti Column's tradition of innovation, this record is only available in special packaging containing personal images from the artist's camera and photographic collection. Continuing the autobiographical theme, the packaging acknowledges previous releases through parts of its design. A foil blocked burgundy textured clamshell box will contain: a full-color saddle-stitched booklet with an introduction by Bruce Mitchell and a collage of photographs from Vini's own personal collection. It also includes a printed sandpaper insert, a map (randomly selected one of six) redrawn in "Obey the Time purple and yellow" showing a place of importance to the artist, a grey card certificate in a custom envelope, and two CDs in pochettes. Each box set will have a map and grey card certificate. There are no plans to release this in any other format at present and this will be strictly limited to 1,000 copies only; worldwide. Features: Caoilfhionn Rose Birley (piano & vocals), Jill Taylor (vocals), Billy Rance (vocals), Keir Stewart (guitar, piano, harmonica), Vin Reilly (vocals, guitar), and Bruce Mitchell (drums).



ATLAS SOUND: Let The Blind Lead Those Who Can See But Cannot Feel 2LP (KRANK 114LP) 19.00
2014 repress. "This is the first vinyl release for the acclaimed solo debut from Bradford Cox. To make the 4 sides of the album complete, there are six new songs added. Rest assured, these are not mere 'leftovers' from the mixing of the album. In fact, most of them were recorded after the album had already been completed. And two of the new tunes, 'It Rained' and 'Stained Glass Swan' are of such high quality that they would be considered centerpieces on most albums." Deluxe gatefold packaging.



VA: Country Funk Volume II 1967-1974 CD (LITA 116CD) 15.00
"In 2012, Country Funk 1969-1975 Volume I gathered together songs from a genre with no name. It's a genre created not from geography or shared ideology but a term applied retrospectively based solely on the feel of the songs: hip-swinging rhythms with bourbon on the breath. These were songs to make your cowboy boots itchy, written and performed by the likes of Bobbie Gentry, Johnny Jenkins and Link Wray. Songs that encompass the elation of gospel with the sexual thrust of the blues; country hoedown harmonies cut with inner city grit. Compiled from tracks dating from the late '60s to the mid '70s, Country Funk is the sound of country music blending with sounds and scenes from coast to coast, white America's heartland music blending with the melting pot as the nation assessed its identity in advance of its bicentennial year. The good news for the people who fell in love with the first volume of Country Funk is this: there's plenty more where that came from. Light in the Attic has followed up that first 16-track disc with a second volume, Country Funk Volume II 1967-1974, and a new set of loose-talking, lap steel-twanging tracks. In this volume you'll find household names like Willie Nelson, Townes Van Zandt, Kenny Rogers, Jackie DeShannon, JJ Cale, Bobby Darin, and Dolly Parton. You'll also find obscure artists like Bill Wilson, whose lost Ever Changing Minstrel album was produced by the feted Dylan producer Bob Johnston, and Thomas Jefferson Kaye, noted producer of Gene Clark's opus No Other. Gene Clark's here too, as half of Dillard & Clark, wringing raw emotion from The Beatles' 'Don't Let Me Down.' All of the individuals featured have a story to tell, whether it's that of the sidelined session musician, the fading star or the country upstart. There's Donnie Fritts ('Sumpin' Funky Goin' On'), whose roots stretch back to Muscle Shoals, Alabama, and who has played keyboard for Kris Kristofferson for decades. There's Canadian group Great Speckled Bird, who joined Janis Joplin and more on 1970's Festival Express tour. There's Hoyt Axton, who along with singing the harmonica-sucking ode to 'California Women,' also took a role in Gremlins. There's Jim Ford, who Sly Stone once described as 'the baddest white man on the planet.' And there's Billy Swan, who kicks proceedings off with a soul-stirring organ, a lazy kickdrum and his rockabilly vocals echoing like a croon into the Grand Canyon."



HOOD, ROBERT: Protein Valve (Re-Plants) 12" (MPM 021EP) 12.50
Robert Hood is back with new edits of "Protein Valve," originally released on M-Plant in 1994, the year of the label's inception. "Protein Valve" helped set the standard for his M-Plant label becoming synonymous with a stripped-down, tough and rhythmic raw sound that many artists still try to emulate. The original Protein Valve EP is a classic in the annals of techno, which still gets played today and sounds as fresh as it did some 20 years ago. Nevertheless, Robert Hood takes an introspective look back and delivers these three incredible new edits! Focusing on the bass elements, these fresh versions keep the M-Plant ethos at their core.



ROSCO AKA STERLING ROSWELL: The Call of the Cosmos CD (ROSCOM 001CD) 16.50
Any attempt to categorize Rosco aka Sterling Roswell, runs the risk of misrepresenting a true radical. Artist, musician, poet and producer, Roswell is all of these and more and over the years he has embraced a myriad of artistic forms to great effect. The band The Psychedelic SRB features a rotating collective of musicians, including the fantastic George Frakes (lead guitar), Syd Kemp (bass) and Tucker Nelson (drums), and not only bring the acclaimed album The Call of the Cosmos to the live stage but in the midst have created their own unique space age sound. Rough Trade "Album of the Month" and featuring the singles "Interplanetary Spaceliner," "Give Peace Another Chance" and "The Girl from Orbit," this record cements the elements which have infused Rosco's work since his days with Spacemen 3, his multi-instrumental driving force behind The Darkside and his innovative psychedelic soundscapes as a studio engineer and producer. The Call of the Cosmos stands testament to a new message for Interplanetary Peace and features a truly fitting tribute to the late, great front-man of The Seeds, Sky Sunlight Saxon. The song "Tripmaker" featured in the Dennis Hopper and Peter Fonda movie The Trip. Live appearances, both solo and with The Psychedelic SRB, always hold audiences spellbound and is the act to see in this new age of psychedelia. "Baudelaire once wrote, 'music excavates heaven.' Listen to this record and you might just have to agree." --Andrew Weatherall, MOJO; "Think Lee Hazelwood produced by Joe Meek -- perfectly realized and revealing a commercial side to Roswell previously unheard/viewed through the lens of Syd Barrett and Kevin Ayers." --Lois Wilson, MOJO; "Rosco uses his knowledge of the music, acid and crucial fundamentals of the genre to create a mini-masterpiece." --Kris Needs, Shindig; "A topside full of pulsing spectral tunes and a flipside like a '60s sci-fi soundtrack mixed with 'Echoes' of Pink Floyd. An otherworldly delight!" --Mark Ellen



COULTON, ALEX: Bleep Sequence/Tension 12" (MISTY 001EP) 16.50
Alex Coulton makes the deft first mark on Beneath's Mistry label, a new home for darker, techy UK riddims, with a necessary vinyl cut of his in-demand "Bleep Sequence" and the slick forward motion of "Tension." "Bleep Sequence" weighs up a definitive reduction of dark garage, dubbed techno and Yorkshire-style bleep 'n bass with plangent radar pings and body-scanning subs rolling from a spare, half-step swagger into dread techno momentum. "Tension" is a deadly new cut, well-known to UK underground circles, synching tribal drum cadence with wide, surging subs and diffuse dubbing to sound something like Pinch and 2562 paying tribute to Source Direct.



DEMDIKE STARE: Testpressing #005 12" (LOVE 096EP) 16.50
Demdike Stare return with the fifth installment in their ongoing research and development series -- a double-headed monster split between gnarly reductions on the A-side, and industrial-strength edits on the flip. "Procrastination" edges through grimey detritus and gunshot snares within a vast open space perfectly primed for that Demdike slow-build. "Past Majesty" offers up a feral take on some kind of cyber-industrial insanity, somewhere between Ministry and Powell -- with a denouement which should probably come with a public health warning attached to it. All we're saying is -- watch yr eardrums.



SOLEY: Kromantik CD (MORR 130CD) 20.00
Limited CD packaged in a 10" sleeve, including a full-size booklet with illustrations and sheet music for piano. Ever since the release of her 2011 debut album We Sink (MORR 107CD/LP), Sóley Stefánsdóttir, better known as Sóley and member of the band Seabear, has been wowing audiences around the globe, and after a quick parental leave, she's now back with the next surprise: instead of presenting another album of sepia-toned pop tunes, the bespectacled multi-instrumentalist from Iceland returns with an EP entitled Krómantík, a short, eerie, cinematic, almost voice-less set of piano tracks she originally composed for various art projects over a longer period of time. "I always wanted to do a piano album, ever since I was in the art academy," she explains. "I wrote a lot of music for piano back then, and I had so many long compositions that I included some short piano chapters, which I later realized could actually stand on their own. Some of the pieces on Krómantík were written while studying -- and the first track 'Stiklur,' for example, was originally part of a bigger composition for piano that I wrote. However, in the end I didn't use that many pieces from school, just because I liked doing new songs, and so a lot of them were written for a bigger art project I worked on during the summer after I finished We Sink." Sóley's take on instrumental piano music is a stunningly bleak and shadowy overture to her sophomore album, which she plans to release in 2015. Get your gloves out ... here's Krómantík in her own words: "Krómantík is a piano album that was mostly composed and recorded the summer of 2011. The album includes eight piano songs, some shorter than others. In the night or when it's cold and rainy outside, sit in a chair in your living room and listen. If you feel like it, move a little. Imagine a little out-of-tune piano in one corner, then imagine old hands. Those old hands have a story to tell. Those hands are almost unreal but it's hard to tell only by listening. Those hands will play until Krómantík fades into silence and your closed eyes slowly start seeing something much deeper and darker."


SOLEY: Kromantik 10" (MORR 130EP) 23.00
10" version. Includes an 8-paged full size booklet with illustrations and sheet music for piano.


OT 009EP

JAMES, JASPER: Sneaky 12" (OT 009EP) 14.00
A very talented DJ and producer, Jasper James is at the forefront of the current generation of Glaswegian dance ambassadors. He has received lots of props from Skream, amongst many others, and Twitch was delighted to have the opportunity to release his first record. On his debut EP, Jasper unleashes three cuts of his signature bump n' grind atmospheric house music, all swinging drums and heavy bass lines. The EP is rounded off with a remix by his dad DJ Harri with the help of another Glasgow (via South Africa) stalwart, Esa, as Hillhead Young Team.



The Masse Box comprises the album Masse and the three remix EPs from DIN, Dettmann/Wiedemann and Henrik Schwarz in one set. It contains the CD in a 6-panel digipak and three 12" vinyl singles in three separate covers. The CD and vinyl are housed in a luxurious case made from 800 g/m2 carton with a matte foil lamination and a partial UV spot gloss decoration. The box is released as a limited edition of 500. The CD: A whole evening of contemporary dance which has been set up by three different choreographers is in need of three different sound producers. That's the set-up of Masse, the sound underlying the gesamtkunstwerk (trans. the entirely of a work of art). Masse as a whole event has been triggered by renowned state ensemble Staatsballett Berlin and Club Berghain right in the center of the German capital. Plus, there's even more to it: The Staatsballett and Berghain access new territory by staging Masse at the huge "Halle am Berghain," a former combined heat and power station next to the club. The painter Norbert Bisky was chosen to create the stage design. At the core of the dance night lies a triptych made out of pure sound: the music of Henrik Schwarz, Dettmann/Wiedemann and DIN was taken as the starting point for developing the choreographies. Henrik Schwarz opens his suite with "Unknown Touch," a dense exposition made from acoustic guitars and pizzicato strings floating in the atmosphere. The subsequent tracks let the bass lines wander amongst throbbing electrified guitars, both characterized by their clearly structured arrangements. Creating a narrative break, a synthesizer cuts into the groovy moves of "But Then I'm Different," accompanied by a sighing violin. To top things off in the final track of "Balletsuite #1 -- Masse," a dreamy and summing-up house piano is aired. The solo piano ends with a quiet closing sequence slowing down the keys more and more to a final silent crescendo. Marcel Dettmann & Frank Wiedemann are also close associates of the Ostgut Ton family and are in charge of the second part, "Menuett." Theirs is a 25-minute-long sonic-triptych: "Accelerando" sounds like two space observation centers having a chat, while "Martellato" juggles the filters until the polyrhythm somehow transforms into a circling movement. A syncopated beat and some shrewd filters bring light into "Spiritoso" -- like fundamental electronic research into sound. DIN are Efdemin (Phillip Sollmann) & Marcel Fengler, who created this new alias for Masse. Similar to Dettmann/Wiedemann, the Berlin musicians utilize ever new parts of their machine park to create musical abstractions. Out of the humming virginal cosmos of "Creation" and "Variation," mid-range bass drums take shape until they poke a rattling rhythm pattern. In a similar way, "Oscillation" first takes a bath in the primeval soup until the drums of an unheard-of tribe are arranged by an invisible hand to engineer a gentle, flowing movement. This progression becomes more delicate in "Division" and "Generation," until it unwinds at the stage of "Conclusion" to fade out as a nocturne with an urban touch. Given the different aesthetics of the producers that built Masse, it's an uncanny pleasure to hear how its music as a whole shapes a fine sonic entity.


DIN: Masse Remixes I 12" (OSTGUT 077EP) 14.00
May 2013 saw the premiere of the choreographic piece "Masse": a coproduction between Berghain and the Staatsballett Berlin. At the venue Halle am Berghain, several producers worked in collaboration with different choreographers exploring the various meanings of the subject "Masse" (trans. "mass"). Now, a year after the critically-acclaimed stage production, DIN deliver two of their tracks remixed for the club. On "Euphorium," DIN transform the elegantly floating composition "Oscillation" from the choreographed piece into a 4/4 track. "Aetas" remains more bare without being too abstract. There's deep bass and there are sharp highs as well, but what happens in between meanders in unforeseeable directions.


DETTMANN/WIEDEMANN: Masse Remixes II 12" (OSTGUT 078EP) 14.00
May 2013 saw the premiere of the choreography "Masse": a coproduction between Berghain and the Staatsballett Berlin. At the venue "Halle am Berghain" several producers worked in collaboration with different choreographers exploring the various meanings of the subject "Masse" (trans. "mass"). Now, a year after the critically-acclaimed stage production, Marcel Dettmann and Frank Wiedemann deliver two of their tracks remixed for the club. There's a swift introduction of a bass drum on "Spiritoso": the syncopated, gently upward-drifting original seeks the sheltering darkness of an enclosed space. "Martellato" heads for lift-off, the descending flight ending inside a soft net.


SCHWARZ, HENRIK: Masse Remixes III 12" (OSTGUT 079EP) 14.00
May 2013 saw the premiere of the choreography "Masse": a coproduction between Berghain and the Staatsballett Berlin. At the venue "Halle am Berghain" several producers worked in collaboration with different choreographers exploring the various meanings of the subject "Masse" (trans. "mass"). Now, a year after the critically-acclaimed stage production, Henrik Schwarz delivers two of their tracks remixed for the club. On "Lockstep," the Berlin house maestro transforms his material from the "Masse" soundtrack into a missile for the floor and uses fine tuning of the filters to full effect. The pop hit "Unknown Touch" receives a healthy shot of vivacity for the floor mix.



PATTERN REPEAT: PR 00/7 12" (PATTERN 007EP) 14.00
Kenneth Christiansen and Dennis Bøg present Pattern Repeat part 7. After a little break, Pattern Repeat is back with a new EP. This time Pattern Repeat delivers two very powerful techno tracks with heavy chords and dubby elements. Kenneth also runs the labels Echocord and Echocord Colour, and Dennis is known from his Baum label, and his Resoe releases. It's still all about dub-techno but with a heavy metallic sound that defines the project Pattern Repeat. Both tracks are perfect for the peak-time hour. Pressed on red colored vinyl.



Maayan Nidam teams up with her alter-ego Laverne Radix and delivers a 4-track split 12", including a remix by mister Boo Williams.



KOETT & WELLBECK: Queensboro Bridge EP 12" (PROTEZ 034EP) 14.00
Another debut on Pro-Tez Records in their limited to 300 copies pressing series. The Koett & Wellbeck three-track EP features effortlessly smooth and grooving cuts, ranging from emotional square bass and pads on "5," Detroit-dedicated beatdown-filtered piano business on "Queensboro Bridge," and a really classy late-night shakedown entitled "Selected Time."



TUMULT HANDS: Tumult Hands EP 12" (RECOG 034EP) 14.00
Recognition Recordings proudly presents a new project on the label, Tumult Hands aka Jacek Sienkiewicz and Jurek Przezdziecki. Recognition 034 brings two tracks, created in equal parts by meticulous work and spontaneous studio improvisation. "Tumult Hands" is a 10- minute odyssey into the realm of low frequencies -- merciless groove carries subsequent waves of bass -- swelling, disappearing and reverberating with cosmic echoes, while other sounds culminate in industrial noises. "Glow Box" on the other hand, is an effective club tool for uncompromising DJs -- bringing an answer to many questions about the future of minimal techno.



POOLEY, IAN: Chord Memory 2014 12" (REJ 034EP) 12.50
Ian Pooley stormed the techno scene back in 1996 when his classic "Chord Memory" was first released on Force Inc. This powerful track left both Joris Voorn and Edwin Oosterwal awe-inspired, and they are proud to finally re-release it on their label Rejected. Especially for this release, Ian created a stellar new mix next to the re-mastered original. And renowned producer Reggy Van Oers' remix goes even further in this dynamic advance. A classic, revamped tune that will send every fist in the air, this EP package demands attention, as it is the evolution of the successful original and is the epitome of good music.


RM 460CD

ENGLISH, LAWRENCE: Wilderness of Mirrors CD (RM 460CD) 16.50
Wilderness of Mirrors is the new album from Lawrence English. This album has been two years in the making and the first album created since the release of his 2011 ode to J.A. Baker's novel, The Peregrine. It is English's most tectonic auditory offering to date, an unrelenting passage of colliding waves of harmony and dynamic live instrumentation. The phrase, "wilderness of mirrors," draws its root from T.S. Eliot's elegant poem "Gerontion." During the Cold War, the phrase became associated with campaigns of miscommunication carried out by opposing state intelligence agencies. Within the context of the record, the phrase acted as a metaphor for a process of iteration that sat at the compositional core of the LP. Buried in each final piece, like an unheard whisper, is a singularity that was slowly reflected back upon itself in a flood of compositional feedback. Erasure through auditory burial. Wilderness of Mirrors also reflects English's interests in extreme dynamics and densities, something evidenced in his live performances of the past half decade. The album's overriding aesthetic of harmonic distortion reveals his ongoing explorations into the potentials of dense sonics. The album is moreover a reflection on the current exploitation of the ideals of the wilderness of mirrors, retuned and refocused from the politics of the state, to the politics of the modern multiplex. The amorphous and entangled nature of the modern world is one where thoughtless information prevails in an environment starved of applied wisdom. Wilderness of Mirrors is a stab at those living spectres (human and otherwise) that haunt our seemingly frail commitments to being humane. "We face constant, unsettled change," English notes, "It's not merely an issue of the changes taking place around us, but the speed at which these changes are occurring. We bear witness to the retraction of a great many social conditions and contracts that have previously assisted us in being more humane than the generations that precede us. We are seeing this ideal of betterment eroded here in Australia and abroad, too. This record is me yelling into what seems to be an ever-growing black abyss. I wonder if my voice will reflect off something?" Wilderness of Mirrors is reflection upon reflection, a pure white-out of absolute aurality. Some lesser-known facts about Lawrence English: he is a lightning strike survivor, he has swum in Antarctic waters (rescuing field recording equipment), he has photographed every bed he has slept in on tour since the early 2000s, he has stood at the site of an atomic blast (obviously not during the explosion), he maintains the Room40 label family, he was once described in concert as "Moses, parting waves," he is a strong advocate for the profundity of listening, and he lives with three humans, a dog and two fine black Australorps.

RM 460LP

ENGLISH, LAWRENCE: Wilderness of Mirrors LP (RM 460LP) 23.00
LP version. Wilderness of Mirrors is the new album from Lawrence English. This album has been two years in the making and the first album created since the release of his 2011 ode to J.A. Baker's novel, The Peregrine. It is English's most tectonic auditory offering to date, an unrelenting passage of colliding waves of harmony and dynamic live instrumentation. The phrase, "wilderness of mirrors," draws its root from T.S. Eliot's elegant poem "Gerontion." During the Cold War, the phrase became associated with campaigns of miscommunication carried out by opposing state intelligence agencies. Within the context of the record, the phrase acted as a metaphor for a process of iteration that sat at the compositional core of the LP. Buried in each final piece, like an unheard whisper, is a singularity that was slowly reflected back upon itself in a flood of compositional feedback. Erasure through auditory burial. Wilderness of Mirrors also reflects English's interests in extreme dynamics and densities, something evidenced in his live performances of the past half decade. The album's overriding aesthetic of harmonic distortion reveals his ongoing explorations into the potentials of dense sonics. The album is moreover a reflection on the current exploitation of the ideals of the wilderness of mirrors, retuned and refocused from the politics of the state, to the politics of the modern multiplex. The amorphous and entangled nature of the modern world is one where thoughtless information prevails in an environment starved of applied wisdom. Wilderness of Mirrors is a stab at those living spectres (human and otherwise) that haunt our seemingly frail commitments to being humane. "We face constant, unsettled change," English notes, "It's not merely an issue of the changes taking place around us, but the speed at which these changes are occurring. We bear witness to the retraction of a great many social conditions and contracts that have previously assisted us in being more humane than the generations that precede us. We are seeing this ideal of betterment eroded here in Australia and abroad, too. This record is me yelling into what seems to be an ever-growing black abyss. I wonder if my voice will reflect off something?" Wilderness of Mirrors is reflection upon reflection, a pure white-out of absolute aurality. Some lesser-known facts about Lawrence English: he is a lightning strike survivor, he has swum in Antarctic waters (rescuing field recording equipment), he has photographed every bed he has slept in on tour since the early 2000s, he has stood at the site of an atomic blast (obviously not during the explosion), he maintains the Room40 label family, he was once described in concert as "Moses, parting waves," he is a strong advocate for the profundity of listening, and he lives with three humans, a dog and two fine black Australorps.



SHINING: Shining 2CD (RACD 111CD) 21.00
Shining have gone through a radical transition after starting out as a post-bop jazz quartet before ending up as the uncompromising "black jazz" metal band we know today, all under the determined leadership of composer and multi-instrumentalist Jørgen Munkeby. Still only 33 years old, Jørgen joined Jaga Jazzist at the tender age of 14, so it's fair to say he has accomplished a lot for his age. Shining have gone through a number of members since the first album back in 2001, the only mainstay to this day apart from Munkeby being drummer Torstein Lofthus (also of Elephant9). This 2CD release collects the two albums they did for Rune Grammofon -- In the Kingdom of Kitsch You Will Be a Monster (2005) and Grindstone (2007). They very much represent a period of transition and are considered their most original and musically exciting albums, where they freely move between complex riffing, free jazz, filmic soundscapes and modern composition, with references to everything from The Mars Volta and Slayer via King Crimson and Mahavishnu Orchestra to Henry Cow, This Heat, Ornette Coleman, Ligeti and Messiaen.

RCD 2157CD

HEDVIG MOLLESTAD TRIO: Enfant Terrible CD (RCD 2157CD) 17.00
Why was David Fricke, Senior Editor at Rolling Stone, seen wearing a huge grin on his face at 2014's SXSW festival in Austin, Texas? Well, he happened to be digging the pummeling, ecstatic vision of Norway's Hedvig Mollestad Trio at the time. Double-tracked with a ghostly haze of background fuzz, Hedvig's lightning-rod guitar blazes a trail that comes in the wake of the heaviest guitar giants -- there's Hendrix, Black Sabbath's Tony Iommi and Led Zep's Jimmy Page swirling around the cauldron, but also the exploratory, disciplined free-play of Pete Cosey, John McLaughlin and Carlos Santana buzzing out of her fingertips. Born in the Norwegian town of Ålesund in the early '80s, Hedvig Mollestad Thomassen has been steeped in the guitar since fooling around with her mother's nylon-string acoustic at the age of 10. Together with drummer Ivar Loe Bjørnstad and bassist Ellen Brekken, and recording with an 8-track tape machine, her Trio turn the full force of heavy rock and electric jazz to demonic purposes. It can be sledgehammer sludge, stoned to a crawl as on "Arigato, Bitch." Or it's nimble as a phantom on "Rastapopoulos," a dizzying churn that's named after the archvillain of Hergé's Tintin cartoons. And for the Mollestad Trio at its intuitive, ESP-connected finest, check "Liquid Bridges." "Laughing John" gestures towards the great Mahavishnu Orchestra guitarist as well as a music teacher, named Jon, who heavily influenced Hedvig's development. The album's fine balance between looseness and control follows a year of world touring, and tracks reflect such odd venues as "La Boule Noire," a former Portuguese disco in Paris whose walls are studded with bullets from a gangland shootout. Enfant Terrible follows the Trio's previous Rune Grammofon releases, the Spellemann (Norwegian Grammy) nominated All of Them Witches (RCD 2141CD/ RLP 3141LP) and Shoot! (RCD 2115CD/ RLP 3115LP) and, like label-mates Bushman's Revenge, Elephant9 and Grand General, represent a thrilling new progressive wave of Norwegian avant-rock/free-metal energy. Don't be fooled by the deceptively innocent portrait of Hedvig herself on the front cover -- a rare example of designer Kim Hiorthøy working with classic black and white photography, and an unusual departure from Rune Grammofon's familiar digipacks. Enfants terribles are a disturbance of the peace. But the regular enfants terribles make changes, they are creative, they force you to think differently. This Enfant Terrible is one of those.

RCD 2158CD

FIRE! ORCHESTRA: Enter CD (RCD 2158CD) 17.00
It can't be easy gathering 28 of Northern Europe's finest jazz and improvising musicians in one place at the same time, which is why Sweden's Fire! Orchestra has been one of the continent's best-kept secrets so far. After playing rare shows a handful of times a year, this incredible mass ensemble is getting ready to unleash its full power with Enter, its first studio recording. This isn't jazz: this is Nordic dynamite. Fire! originated as the trio of Swedish improv masters Mats Gusfasson (sax), Johan Berthling (bass) and Andreas Werliin (drums). None of them are what you could call jazz purists; they all play in many different groups and contexts, including The Thing (Gustafsson), experimental folk-electronica outfit Tape (Berthling), and skewed pop unit Wildbirds And Peacedrums (Werliin). Around 2011, the idea sprang up to expand a massive orchestra around the core trio, featuring the cream of Scandinavian jazz, improvisation and avant-rock players and vocalists. Key contributions come from keyboardists Sten Sandell, trumpeter Goran Kajfes (Oddjob, Subtropic Arkestra, Nordic Music Prize winner 2012), drummers Raymond Strid (GUSH, Barry Guy, Martin Küchen Ensemble) and Johan Holmegard (Dungen, The Amazing), guitarist David Stackenäs, electronicist Joachim Nordwall (Skull Defekts, iDEAL Records) and Fender Rhodes player Martin Hederos (Soundtrack Of Our Lives), to name just a few. Adding a crucial, soulful presence are the three vocalists Mariam Wallentin (Wildbirds And Peacedrums), Ethiopian singer Sofie Jernberg and Simon Ohlsson (Silverbullit). But Fire! Orchestra is a collective effort, with Gustafsson directing a tight, disciplined ensemble that enjoys its moments let off the leash. Following 2013's live debut Exit! (RCD 2138CD/RLP 3159LP), Enter is Fire! Orchestra's first time in the studio, and might surprise you with its slow, treacle-y funk dynamics, running through a kaleidoscope of moods, rhythms, and textures. Muscular rock rhythms flesh out texts written by singer Mariam Wallentin, inspired by the legendary free jazz saxophonist Joe McPhee, and sung in soured blues moans by the Orchestra's three-headed vocal team. Recalling the righteous big-band jazz of the late '60s by figures such as Charlie Haden, Sun Ra, Mike Westbrook and Chris McGregor, there are also echoes of Matana Roberts' recent jazz tapestries and the steamy psych-funk of Brightblack Morning Light. "Part Two" opens on a groove ripped from The Beatles' psychedelic classic "Tomorrow Never Knows." Using collective riffing at its finest, this is an epic suite that undergoes constant scene-shifts between relentlessly building rhythms, rising in emotional intensity as the furnace is stoked. Enter is about following your instincts, having the courage to step forwards into the unknown when the door is open. Death might be an exit, but it's also an entrance -- to a new, unimaginable state of being. The music acts out this cyclical pattern of living and dying, entering and exiting, and the finale winds down to the same reflective, introspective keyboard motif as it started with.

RCD 2159CD

The best improvisers are the ones that seem to invent and uninvent their instruments right in front of your eyes and ears. Swedish pianist Sten Sandell and Norwegian drummer Paal Nilssen-Love are two musical champions with a long experience of doing exactly that. Jacana, the latest in Rune Grammofon's occasional series of unusual duo combinations, features the pair's sparkly improvised set captured at the 2013 Kongsberg Jazz Festival in southern Norway. Sten and Paal have been working together since forming a trio with Swedish bassist Johan Berthling (Fire!, Tape, etc.) in 1999, but this duet marks the start of a new chapter in their relationship. Jacana's three tracks find the players flying close to the limits of their comfort zones, sometimes resembling the strange formality of Asian court music. It's savage and ritualistic, spiky yet flowing, arrhythmic but surging with understated pulses. Sandell breaks into vocal overtones on "Kauri" like some tranced-out Mongolian shaman. He pokes around in the guts of Nilssen-Love's rough surgical cuts and, at the start of the track "Jacana" itself, pulls out some ear-bogglingly rubbery notes from his piano's deep innards. At the end of "Curvature" they break off from their instruments and simply clap for a while. Two men getting down to the essentials of what humans can do with wood, strings and skin. Sten Sandell is one of Swedish jazz's most distinguished elder statesmen, having worked unrelentingly since the mid-'80s. As well as his own trio and numerous international collaborations, his keyboard skills have been heard in groups such as GUSH, Guschwachs, Sven-Åke Johanssen Quintet, Townhouse Orchestra, and most recently, Mats Gustafsson's Fire! Orchestra. He has also composed music and sound art for installations, intermedia works, radio plays, theater and film. Paal Nilssen-Love is one of the most intense drummers working on the planet right now. In theory, he's based in Oslo, but there's a huge global demand for his percussive threshing machine. He's often travelling on a relentless round of musical projects and festival appearances -- notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise-artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher, and others. This duo is planned as an ongoing project, and offers some of the most refreshingly challenging music coming out of Scandinavia today. Jacana is another fine mess they've gotten themselves into. Sten Sandell (piano, voice); Paal Nilssen-Love (drums, percussion).



PITTS & THE CHEATERS, VIC: The Lost Tapes CD (SSR 034CD) 15.00
"For almost 45 years a complete album by Vic Pitts & the Cheaters has been forgotten, waiting until now to be released. In the late 1960s, Vic Pitts & the Cheaters were one of Milwaukee's top R&B bands. They had their own TV show (for 3 years), played some of the city's biggest clubs, and backed up big name acts. Between 1969 and 1970 they recorded over a dozen songs with producer Andre Williams at Chess' Ter-Mar Studios in Chicago. The results show why they were such a popular live act; some tracks reveal their roots as James Brown fanatics, others relate the happening sounds of Sly & the Family Stone and Chicago's first record. Highlights include an early instrumental version of their sought after 'Loose Boodie,' a funky cover of Herbie Mann's 'Comin' Home Baby,' and a soulful reimagining of Neil Young's 'Down by the River,' among many others. But, as misfortune would have it, the album never saw the light of day. Secret Stash proudly presents the first issue of these previously unreleased soulful and funky tapes. Culled from interviews with Vic Pitts and several members of the band we have put together a CD with 8 page booklet filled with photos and liner notes."


PITTS & THE CHEATERS, VIC: The Lost Tapes LP (SSR 034LP) 18.00
LP version. Gatefold sleeve. Includes download code.



COBB, ALEX: Marigold and Cable LP (SHELTER 040LP) 21.00
Marigold and Cable marks an indelible new phase in the trajectory of Alex Cobb's solo recordings and prior missives as Taiga Remains. The album's four compositions are streamlined and focused, finding a balance between studied contours and compositional intuition. Shades of early Stars of the Lid and Kevin Drumm's lambent drones are apt starting points, but Cobb routes them through a live set up without the aid of loops or synthesizers. Marigold and Cable is heavy with meaning and intent, but buoyant and almost tender in execution, allowing filtered harmonies and veiled melodies to waver and sparkle amid clouded atmospherics. On "Rain at the Fete," Cobb wrings his guitar through processing that transforms the instrument into shadowy piano notes and smudged choral works. Later, Maxwell Croy of EN weaves koto lines throughout "Oversong" to stunning effect. The album was recorded during late spring in coastal southern California, in which cool temperatures and overcast skies belie the region's usual warmth and sunshine. Cobb uses this weather pattern to inform Marigold and Cable, an album that is perhaps the signal accomplishment in his lengthy resume. Mastered by James Plotkin, pressed on 180 gram black vinyl, in a limited edition of 500 copies worldwide.


Reveries is the first collaborative effort of Noveller & Thisquietarmy, two critically-acclaimed lonesome composers welcoming us on an expanded guitar-based journey. Noveller is the solo project of Brooklyn-based composer Sarah Lipstate while Thisquietarmy is Eric Quach, unstoppable globe-trotting musician from Montreal. Both use the guitar as their main instrument, creating some of the most impressive, hypnotic, and richly-textured electric guitar works from the past years. Empty architecture, luminosity, rocks and deserted zones. Somewhere between Antonioni's Zabriskie Point and Tarkovsky's Stalker, there is a walk, a wait and an epiphany. It happened. You were not there. You just read it. Or maybe it's the synopsis of it. It's written on the back cover of a corny paperback that girl with the golden cap lost in the train you were just in. She was in a hurry. You'll never know its end, you just have to stick to the rocks and to the music. Tomorrow is another day and tonight might be the night. Recorded in January 2013 at Electric Blue Studios in Brooklyn, this new album finds Sarah & Eric in their most luminous and aerial state, writing together layers of blissful drones, resulting in a highly meditative and emotional four-part piece. Pressed on white vinyl in an edition of 500 copies worldwide.



HHY & THE MACUMBAS: Throat Permission Cut LP (SILO 001LP) 25.00
Silo is a new label curated by composer, producer and sound alchemists Raz Mesinai and Jonathan Uliel Saldanha, with the goal of releasing some of the most important underground sonic experiments and productions from Porto, Portugal. After meeting a decade ago, Mesinai and Saldanha both found a like-minded interest in the sonic properties of underground spaces, which led to the film Tunnel Vision (directed by Mesinai with an original score by Saldanha). Hailed as a "21st century cult classic" by composer and film enthusiast John Zorn, who later released the film on his own imprint; Tzadik, DVD Series (2013). The label's first release is from HHY & The Macumbas, an ensemble comprised of electric bass, brass, percussion, electronics and outboard gear, written and dubbed by producer, HHY. Comprised of an ever-mutating ensemble of musicians from the Portuguese underground music scene, The Macumbas range from four to ten players on stage, presenting frantic and enigmatic live shows which bring to mind the film works of Kenneth Anger, the cross-continental dubbing of Adrian Sherwood, as well as the raw, trance-inducing rhythms of Haiti and North Africa. The Macumbas' feverish skull-cave dub sound is now embedded into the vinyl grooves of their much-anticipated debut record, Throat Permission Cut.



ORANG-UTAN: Orang-Utan LP (SOMM 014LP) 25.50
Orang-Utan were in fact a London-based band called Hunter, featuring vocalist Terry "Nobby" Clarke (of psych-pop legends Jason Crest), guitar player Mick Clarke, drummer and songwriter Jeff Seopardi and bass player Paul Roberts. They recorded their sole album in 1971 at DeLane Lea studios. In a bizarre twist of events, their producers/managers ran with the tapes to the U.S., where they placed the album on Bell Records under a new band name: Orang-Utan, without telling any of the band members. A lost classic of blazing, early hard rock with minor psychedelic hangover vibes, a twin-guitar attack, and waves of fuzz/wah, along with powerful vocals. Think Leaf Hound, Budgie, Bang, Sir Lord Baltimore, Hard Stuff. First-ever legit reissue done in co-operation with the original band members. Includes an insert with rare photos and liner notes by Jeremy Cargill (Ugly Things/Got Kinda Lost), telling the bizarre story of the band for the first time.



MUSLIMGAUZE: Deceiver Vol. 3 & 4 2CD (ARCHIVE 012CD) 25.50
The original 2CD Deceiver from 1996 is a seminal release in Bryn Jones' sprawling discography, one of the first major ones to really pivot into the noisier/more abrasive side of Jones' sound as Muslimgauze. From its epic, vinyl-side-long title-track down to terse, rhythmic snippets like "A Parsee View," Deceiver set out many of the avenues that Muslimgauze would continue to explore before Jones' death in 1999. Since then, Staalplaat has continued to release the massive back-log of Jones' work, with the nine-disc set Box of Silk and Dogs seeing the release of a third volume of Deceiver. Now, for the first time, that third volume gets a standalone release, paired with the last of the Deceiver tapes. From the brutally curtailed loops and distorted beats of "100 Great Turks" to the hypnotically layered percussion and voice duet of "Opulent Baku Cube," to the oddly funky broken beat of "Maharajaganjinna," volume 3 of Deceiver remains an essential listen, one that time has only rendered more contemporary. On this two-disc reissue it is accompanied by the 11 unused remixes that make up Deceiver vol. 4. The second disc here features several intriguing shorter mixes of "Deceiver" itself that emphasize different sides of the track's sound, as well as several other mixes that take Jones' sound in fascinating new directions. The burbling fourth mix sounds like nothing less than the cousin of some of Astral Social Club's friendlier material, and several tracks such as the seventh mix are so quiet and patient they're the closest Muslimgauze ever came to ambient music. The combination makes for a fitting companion to the original Deceiver and a surprisingly good introduction to Jones' work: volume 3 boasts some stellar examples of one of Jones' primary styles as Muslimgauze, and volume 4 gives the curious listener some idea of just how wide-ranging his work could be. Muslimgauze archive series volume twelve. Limited edition of 500.


MUSLIMGAUZE: Un-used Re-mix's 1994-1995 CD (ARCHIVE 028CD) 19.50
"We do not work on a release, a piece is done at a time. A CD is drawn from various tracks which can span a few days, weeks or a month, or a day, each release is different." --Bryn Jones, Grinding Into Emptiness interview, 1998Not only has Muslimgauze's work survived the death of Bryn Jones, so have his working methods; with so much worthwhile material still in the vaults and much of it having little in the way of information or context left by the artist upon his untimely passing, recent reissues and new releases have seen Staalplaat going largely by the way the working tapes were originally organized. Here we have an excellent example of the perils and rewards of that approach; eight mixes, just over an hour, of some of the dubbiest, most spacious material Jones ever put to tape. The tracks collected on Un-used Re-Mix's 1994-1995, the newest release in Staalplaat's Muslimgauze archive series, are too good to leave collecting dust, but Jones never got around to organizing or even titling them (except, perhaps, inside of his own head). The truly diligent might be able to track down the source for some of these tracks after hours poring over the rest of Muslimgauze's vast discography, but no such trainspotting is needed to appreciate the smeared, haunting vocal and hand percussion of the third track, or the ominously rattling, echoing sixth track, or the heavy organ overlay that brings the last track as close to shoegaze as Muslimgauze ever came. So much of Jones' work evokes the sounds and atmospheres of the Middle East, India, and other points further south than his own Manchester environs; the remixes here bring a bit of that northern chill into the veins of these productions, resulting in an album that sometimes feels like Muslimgauze venturing into outer space. Without the political context that Jones no doubt intended for these tracks, we're left only with the actual sound, a sound that continues to retain its power and striking individuality. Muslimgauze archive series volume 28. Limited edition of 500.



VA: Slow Grind Fever Volume 2 LP (STAGO 050LP) 23.00
Stag-O-Lee presents the second volume in their series collecting slow-grind, swing, and sleaze tracks. Volume 2 was compiled by Richie1250, founder of the Slow Grind Fever club night, Melbourne's only slow dance party. Features tracks from: Bobby Beck, Barbara McNair, Helen Grayco, Sylvie Mora, Nina Simone, Big Maybelle, Scatman Crothers, Lorrie Collins, Bobby Rebel, Johnny Carroll, Dick Penner, Santo & Johnny, Lee Hazlewood With Duane Eddy And His Orchestra, and Eddie Miller And His Band.


VA: Savage Rhythm: Swingin' Dance Floor Sounds to Blow Your Top 2LP (STAGO 053LP) 26.50
Double LP version. 180 gram vinyl, housed in a gatefold sleeve. New musical styles don't appear overnight. Rock and roll didn't explode out of a vacuum and Elvis wasn't the Big Bang (more like the start of rapid inflationary expansion). Before Elvis, there was a massively diverse R&B scene in the States, which today's record buyer is currently enjoying the discovery of through a wealth of compilations and reissue 7"s. In turn, this music was a development of the sound that came before it, with many of the key players having been instrumental in the swing bands of the '30s and early '40s. Savage Rhythm is a compilation of this fantastic music, documenting the direct lineage from the jazz and swing of the '30s through to a more R&B-ready sound of the early '40s, signposting the way ahead for what was to become jump blues and eventually rock and roll. Compiled by Brighton (UK) DJ, music-lover and vinyl junkie Shamblin Sexton, Savage Rhythm is put together to make the party swing hard. As much a ticket to the good times as a history lesson, Savage Rhythm delivers both with urbane style and swagger. With original artwork by graphic designer Chris Sick, this compilation will be a must-have for the vintage kids & R&B heads, as well as the electro-swing DJs and club-goers. Savage Rhythm swings a hefty punch of serious, quality music that is as vibrant and essentially vital today as it was 75 years ago.


SR 389CD

WOLFF, CHRISTIAN: Pianist: Pieces 3CD (SR 389CD) 19.50
3CD set housed in a digipak. As a body of repertoire, these works are remarkable for their freshness of musical thought and energy (John Cage considered Wolff to be the most "musical" of the experimental composers). Wolff uniquely blends experimental concerns with classical tendencies. In these pieces not only are older composers referenced (Ives, Schumann) but Wolff's love of clarity of line and transparency of texture betrays an empathy with Webern, Haydn and Bach. This aesthetic is, however, combined with a tendency toward discontinuity and fragmentation, isolated sounds and silence, and, perhaps most significantly, indeterminacy of notation. Notational techniques which appear in some or all of the works featured here include: "tablature" notations which prescribe which fingers to play but not which notes; notes without specified duration; notes which may be played in any clef and octave; the omission of any indications as to tempo, dynamics and articulation; and Wolff's characteristic "wedge," which means a pause or breath of any length. Christian Wolff was born in Nice, France, to the German literary publishers Helen and Kurt Wolff, who had published works by Franz Kafka, Robert Musil, and Walter Benjamin. After relocating to the U.S. in 1941, they helped to found Pantheon Books with other European intellectuals who had fled Europe during the rise of fascism. The Wolffs published a series of notable English translations of European literature, mostly, as well as an edition of the I Ching that came to greatly impress John Cage after Wolff had given him a copy. Wolff became an American citizen in 1946. When he was 16, his piano teacher Grete Sultan sent him for lessons in composition to the new music composer John Cage. Wolff soon became a close associate of Cage and his artistic circle, which included the fellow composers Earle Brown and Morton Feldman, the pianist David Tudor, and the dancer and choreographer Merce Cunningham. Cage relates several anecdotes about Wolff in his one-minute "Indeterminacy" pieces. Philip Thomas (b. 1972, North Devon) specializes in performing new and experimental music, including both notated and improvised music. He places much emphasis on each concert being a unique event, designing imaginative programs that provoke and suggest connections. He is particularly drawn to the experimental music of John Cage, Morton Feldman and Christian Wolff, and composers who broadly work within a post-Cageian aesthetic. In recent years he has been particularly associated with the music of Christian Wolff, giving the world premiere of his "Small Preludes" in 2009, the UK premiere of "Long Piano (Peace March 11)," having co-edited and contributed to the first major study of Wolff's music, Changing the System: The Music of Christian Wolff, published by Ashgate Publications in 2010.

SR 393CD

VA: Inside Out Music: Musics in the Margin 3 CD (SR 393CD) 15.50
Sub Rosa presents the third volume of Musics in the Margin, a series devoted to outsider music and its variations. An utterly fascinating collection of music, you'll find yourself reasoning out your listening experience in unique ways. Sub Rosa's hope is to pay tribute to these outstanding creators with a large body of work containing personal visions of their world: from Aidan Walsh, the self-proclaimed "Master of the Universe," to Dion McGregor, who had a peculiar talent that manifested in his sleep, to Speedy, the man who sings faster than his Tourette Syndrome. Other artists include: Cosmic Dennis Greenidge, Pneumershonic, L'oreille interne, Robert Alberg, and Steve Wallis.


SF 045CD

VA: 1970's Algerian Proto-Rai Underground CD (SF 045CD) 15.00
This is a new 2014 digipak designed CD repress of the limited LP pressing which sold out almost immediately when released in 2008. This is Raï music from Algeria as you've not heard it before. In the early 1970s, a new group of singers and musicians were operating on the northwest coast, and what they pioneered was a sound that eventually reached worldwide status by the end of the decade; however, their names are relatively unknown to this day outside Algeria. This crucial and defining period of the development of Raï is criminally ignored and overlooked by Algerian music historians and Raï fans. Due to censorship and government-controlled music diffusion, this scene and lyrical style was forced underground and banned from broadcasts, yet slowly built a small following around the seaside cabarets of Wahran (Oran). This period witnessed the rise of artists such as Groupe El Azhar ("The Flowers" group) and Messaoud Bellemou, who can comfortably be considered the Godfather of the modern Raï sound. His group, L'Orchestre Bellemou, rewrote a heritage of centuries by using modern instruments and especially the trumpet, which became, during the 1970s, the backbone of the Wahrani genre. Reinterpreting the gasba melodies on trumpet, Bellemou backed singers such as Boutaiba Sghir and Sheikh Benfissa who carried on the lyrical tradition of their forefathers singing about daily preoccupations and problems as well as love affairs, alcohol, or simply owning an automobile! Toward the late 1970s, Cheb Zergui brought a newer ingredient: an electric guitar with a wah-wah pedal. Thankfully, the late 1960s saw the development of vinyl pressing in Algeria. This new industry allowed many small artists including the Wahrani "scene" to record and release singles documenting their repertoire. This compilation is a selection of this proto-Raï scene's vinyl 45s. CD booklet features photos of the musicians & informative liner notes by the man who compiled it, Hicham Chadly.



TENDER GAMES: Tender Games CD (SUOL 010CD) 15.50
Tender Games is the brand-new project between BBC Radio 1 future star Marlon Hoffstadt and HRRSN, head of the Berlin-based Well Done! imprint. Both established producers in their own right, they've shifted their sonic palette away from house-based sounds to create an LP that has all the makings of a future soul classic. Oozing with rich harmonies and warm grooves, the Tender Games sound is much more indebted to the UK club scene than to the darker, heavier timbres their hometown Berlin is associated with. By deliberately going against the city's status-quo of technoid bleeps-and-squeaks, this album represents not just an artistic expression but a mission statement of sorts. The duo's disparate influences have come together to create a distinctive new sound; Hoffstadt's house leanings are prominent, while HRRSN has drawn from garage, blues and even folk. The album came together over the space of a year or so in the enviably decked-out studio of fellow Suolmates Chopstick & Johnjon, and features a wealth of guest vocalists and live instrumentation courtesy of HRRSN. The finished result sounds lush, organic, and most of all, fresh. "Your Perception" makes the album's cultural alignments quite clear, kicking things off with a classic British 2-step garage beat, vocal chops and a searing synth lead which sets the tone for the rest of the LP. On "Lost," the listener is eased in with a delicate Rhodes motif, before breaking into HRRSN's soulful croon in its majestic glory for the first time. "Make Believe" ups the tempo with inspiring vocal performances from Yvy Coe and Stee Downes, the latter of which is better known as the voice behind Lovebirds' now-seminal underground classic "Want You in My Soul." "Want It All"'s bumping house beat takes things out of the lounge and firmly into dancefloor territory, with New Jersey chord stabs and swung garage drums. After reaching a steadily controlled crescendo, "In Her Bed" slams on the brakes for an unexpected, all-out blues ballad, complete with a delicately smoky vocal performance from Miss Natnat. The stripped-back bedtime lull of the album's opening single "In a Mess" again features HRRSN's haunting vocal performance, along with twinkling, lustrous Rhodes piano chords and a warm bass line. "City Lights" carries itself with a spacious lope and hot-blooded sensual swagger, with impassioned lyrical content which makes for heady listening. The album is rounded off by the whomping bass of "Freak in the Sheets," underpinned by the vocal talents of Forrest. All in all, while comparisons to the likes of Disclosure and their ilk may be expected, the myriad of different styles demonstrates a versatility that gives Tender Games a sound all of their own.


CHOPSTICK & JOHNJON: Run Slowly 12" (SUOL 055EP) 12.00
Suol label-bosses Chopstick & Johnjon return with the second single from their LP Twelve (SUOL 005LP/SUOL 009CD). The album's opener, "Run Slowly" is an intensely soulful track which bridges the gap between electronic and acoustic instrumentation. Densely-layered guitar and string harmonics dovetail alongside Chris James' mournful vocals to create a rich listening experience. André Lodemann's interpretation retains the melodic elements but injects it with space. Few Nolder's slightly harder interpretation has a tougher bass line and brittle synth stabs, but melts away into a delicately beautiful breakdown. Quarion's remix leaves the vocals intact and is a late-night excursion comprised of an ominous arpeggiated synth and muffled chords.



VA: African Gems LP (SWP 044LP) 21.00
LP version. 8 tracks. 140 gram vinyl pressed by Pallas. This is some of the best traditional African music ever recorded. The music is the star -- of course -- then comes the wonderful musicians who performed it, but it was the recordists who make it possible for us to listen to the genius in African music captured on these magnificent tracks. After having released the 22-CD series "Historical Recordings by Hugh Tracey," it is time to pay homage to some who came after him. Thanks to Charles Duvelle, Jos Gansemans, Benoit Quersin, and David Fanshawe, for these great recordings. Over 73 minutes of magic. Each track is a gem. There is nothing coincidental in this music: it is based on a deep understanding of interconnectivity -- consequently also of time and space -- and has been developed over many centuries. Yet it sounds so modern! Each track has its own swing, and this danceable quality is a profound thing: it is participatory, revitalizing, communal, relaxing, healing.


TRACEY, HUGH: Congo Guitars 1952 & 1957 LP (SWP 045LP) 21.00
This is the famous Katanga guitar sound, as recorded by Hugh Tracey, based on the traditional likembe lamellaphone music of the various Luba peoples and their neighbors, who went to work in the mines and, as a result of this urbanization, embraced "modernism" by buying guitars. Plus three rumba tracks from Stanleyville (Kisangani), where there was a laid-back atmosphere with white and black people dancing together in a flourishing nightlife, exceptional for the Belgian Congo. A compilation of tracks from the CDs SWP 015: Origins of Guitar Music, SWP 011: Kanyok and Luba, SWP 034: The Very Best of Hugh Tracey, except two tracks not previously released by SWP. This LP is a 140 gram pressing by Pallas.


TRACEY, HUGH: Congo Traditional 1952 & 1957 LP (SWP 046LP) 21.00
Music from another world! This collection of magnificent recordings merely touches on the richness and diversity of the traditional musics of the Congo, as found by Hugh Tracey in the 1950s. In the ensemble tracks we can hear his hand-held microphone technique, as he moves around with his one mike to highlight one instrument after the other -- a kind of instant mixing. But how many of these musical traditions have been lost since they were captured on tape -- urbanization and satellite TV have taken their toll. We are lucky to have these recordings, but they especially are a gift to the peoples involved, for the legacy as played by their forebears belongs to them. A compilation of tracks from the CDs SWP 009: On the Edge of the Ituri Forest, SWP 011: Kanyok and Luba, SWP 016: Forest Music. This LP is a 140 gram pressing by Pallas.



PARRISH, THEO: 71st and Exchange Used to Be... 12" (SSTTTPLC1) 21.00
Repressed; stupidly limited the first time around. "Three tracker. Super limited."



KENNEDY, INIGO: Cathedral 12" (TOKEN 027EP) 12.50
2014 repress. Token presents a new three-tracker from Inigo Kennedy. Title-track "Cathedral" has you floating under its arches at a sheer height above the heads of its worshipers, while "Chamber" takes you back down straight to the center of the dancefloor. Closing the EP is the graceful "Accordion," which could be the soundtrack to a lucid dream -- dark, refined and oh-so magnetic.


RODHAD: Spomeniks EP 12" (TOKEN 030EP) 12.50
2014 repress. Rødhåd is one of Berlin's most promising and talked-about artists. With EPs on Dystopian (the label he helms with friends) and one remix on Semantica, that's quite an achievement. Spomeniks EP is his first release outside of Dystopian but preserves his deep, powerful, and melancholic style. Apart from a rising producer and prolific DJ, Rødhåd is a very down-to-earth guy with a strong vision and an open mind. Definitely a match with anything Token stands for.


2014 repress. In 2007, Token was born with the release of Inigo Kennedy's Identify Yourself. Since then, each of his EPs has been a milestone in the label's growth and this new three-tracker promises to be no different. After his widely-acclaimed Cathedral and Emitter/Collector, Inigo reveals his third EP for 2013: three no-nonsense tracks in his distinctive style: dark, refined and so very magnetic. Busiest year for Token so far, and it's not over yet.


TO 050CD

BIOSPHERE: Substrata 2 2CD (TO 050CD) 18.00
2014 repress, originally released 2001. "Biosphere's 2nd release for Touch after Cirque is a double CD in digipak designed by Jon Wozencroft. The release consists of: CD1 -- Substrata: Originally released in 1997 on All Saints Records, this remastered version of Substrata contains 11 tracks with a total length of 55:20. ' many (the undersigned included) considered to be the finest ambient album of the 1990s'. CDTwo -- Man with a Movie Camera: Contains 9 tracks, total length 53:32. The first 7 tracks consist of the soundtrack to Man with a Movie Camera [Verdov, USSR 1929], originally commissioned for the Tromsø International Film Festival in 1996, released here for the first time. The last 2 tracks, 'Endurium' and 'The End of the Cyclone', were originally released on the limited edition Japanese version of Substrata in 1997 -- they have never before been released outside Japan."



SUN RA ARKESTRA: Live in Nickelsdorf 1984 3CD (TROST 118CD) 31.00
The great Sun Ra Arkestra, live at Jazzgalerie Nickelsdorf, Austria on March 11th, 1984. This is a recording of the entire -- nearly three hour -- performance. Personnel for this show was Sun Ra (piano, synth, vocals); John Gilmore (tenor saxophone, clarinet, evi, vocals); Marshall Allen (alto saxophone, flute, kora, percussion); Danny Ray Thompson (baritone saxophone, flute, percussion); Eloe Omoe (Leroy Taylor) (alto saxophone, bass clarinet, percussion); James Jackson (basoon, flute, drums, vocals); Ronnie Brown (trumpet); Rollo Radford (standup bass); Don Mumford (drums); Matthew Brown (congas, dance); Myriam Broche (dance); Greg Pratt (dance).


Legendary Japanese musician Akira Sakata (active in various groups since the early '70s) teams up with Johan Berthling of Fire and Nilssen-Love of The Thing. Akira Sakata (alto saxophone, clarinet, voice); Johan Berthling (double bass); Paal Nilssen-Love (drums & percussion).


WER 6778

SCHONBERG, ARNOLD: Pierrot lunaire CD (WER 6778) 28.00
"The latest reissue in Wergo's studio reihe series is very special. This recording, featuring soprano Helga Pilarczyk and conductor Pierre Boulez performing Schoenberg's Pierrot lunaire, was the first release on the newly founded Wergo label in 1962, and it was the recording that laid the foundation of the label's decades-long story of success. Unavailable on CD up to now, this highlight from Wergo's early days has been remastered for CD to offer the finest sound quality." Performed by: Helga Pilarczyk (soprano); Maria Bergmann (piano); Jacques Castagner (flute); Guy Deplus (clarinet); Louis Montaigne (bass clarinet); Luben Yordanoff (violin); Serge Collot (viola); Jean Huchot (cello). Includes an 80-page booklet.

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Last Updated on Saturday, 02 August 2014 12:25  


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