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Forced Exposure New Releases for 9/15/2014

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New music is due from Anjou (Bobby and Mark from Labradford), Nurse With Wound and Graham Bowers, Battle Trance, and Black Rain, while old music is due from Elia and Elizabeth Fleta, Brigitte Fontaine, Frozen Ducks, and Muslimgauze.


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3000GRAD 009CD

GLITZ, THE: Selected Remixes CD (3000GRAD 009CD) 17.00
With the remix compilation Selected Remixes, The Glitz go the logical step to compile their favorite remixes on a very special album. That this is more than a foretaste to the upcoming album is quickly understood if you know that both Glitzes have been the most active remixers during the last years. With their interpretations of songs by Italoboyz, Douglas Greed, The Hacker, Dapayak and Lee van Dowski, among others, they always seem to surprise effortlessly. Perhaps it is the ease and the breeze of functionality with which they make their way through the different genres. Always a little bit catchy. Always without distorting their own unique acoustic atlas. But presumably, it is just the sincere enjoyment of music. Other artists include: The Micronaut, Marcus Meinhardt, Dole & Kom, Mihalis Safras, Oliver Klein & Kolombo, and Marquez Ill.

3000GRAD 018EP

SVENDSEN, BE: Alchemie Remixes 12" (3000GRAD 018EP) 14.50
Be Svendsen snatched the audio tracks from four virtuous sound acrobats and juggles them in the free space between streamlined house, classic fairground buzz, and silent film music. Be Svendsen straps the swaying piano chords of Acid Pauli's "Requiem for a Loop" to a swinging bass line and performs wild caprioles. His remix of "Schlaraffenland" by the Electronic Swing Orchestra combines the track's rich composition with catchy beat structures. The most hypnotic title on this EP is created together with Monolink -- a wonderfully dreamy remix of "Modulation Transfer Function." Lastly, The Segment's "The One" is turned into a shuffling groove monster.


7S 034CD

VA: Cafe do Brasil: the Finest in Latin Lounge CD (7S 034CD) 15.50
Café do Brasil: the finest in Latin chill out and ambient music! Café do Brasil offers you a relaxing combination of ambient and chill out tracks with vital Latin grooves. All 13 tracks -- including two productions by popular act Jazzamor -- are new and unreleased and exclusive to this collection. Get the Brazil flavor back into your living room. Artists include: Pianotronics, Jens Buchert, Lootmaster, Sleeping Noize, Jazzamor, Climatic, and Naoki Kenji.



JAZZ EPISTLES, THE: Verse 1+ LP (AIS 001LP) 26.50
Superb and super-rare South African jazz featuring Hugh Masekela and Dollar Brand. 500 only pressed for the world. The Jazz Epistles were not only South Africa's first bebop band, but were also, rumor has it, the first black South African group to release an album. Very few copies of that album Jazz Epistle Verse 1 were made in 1960 (issued on the Continental label), and even fewer survive today. At the time members of the band were very active in the burgeoning South African jazz scene and had also made several recordings for John Mehegan, a self-taught white American jazz pianist and tutor who toured South Africa that same year. Mehegan soon found himself in trouble with the South African authorities for fraternizing with black musicians. The Jazz Epistles broke up soon after the Verse 1 recordings, with all members being offered work touring Europe with the hit African jazz musical King Kong, along with the Manhattan Brothers and vocalist Miriam Makeba. This tour came at a time when Sophiatown, the black suburb of white Johannesburg where the band lived and played, was about to be demolished. This, along with The Sharpeville Massacre marked the beginnings of forced segregation, violence, repression and a most turbulent time in their country -- a time when African arts would not be tolerated. Thankfully, the touring members of the Jazz Epistles found freedom, enlightenment, appreciation and the guidance of European musicians to further their musical careers. So in some ways, South African jazz flourished for the next few decades, but only in other countries. Listening now to these recordings we hear that the band's early mix of African and American jazz ideas, rhythms and swingin' tempos make their sound both unique and prescient, and can now be appreciated as a cornerstone and most important landmark in South African sounds. This unique vinyl release brings together selections from the classic Verse 1 album as well as other rare cues by members of the band, recorded for Mehegan in those lively 1959/1960 jazz sessions. Of particular note on this release is the sublime track, "Gafsa," summed up on its original release like so: "Another piano solo from Dollar Brand. It tells of a man who was madly in love with a wonderful woman. She dies, but her vision comes to him as he walks through the streets of Cape Town on a misty night."



VANDROOGENBROECK, JOEL: Meditations Vol. 1 LP (ZORN 034LP) 25.50
Volume one of two. Continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods. The story continues. Aguirre released Joel Vandroogenbroeck's first solo effort Biomechanoid in March 2014, an outstanding dark electronic ambient album. Now the label presents his two Meditations albums, Vol. 1 and Vol. 2. In these library albums the emphasis lies on his flute talents, paired with some great Moog-y electronics and mellow pre-new age ambience. Both volumes still stand after all these years and prove Joel's ability to create wonderful library albums. Think Klaus Schulze, Harmonia, JD Emmanuel and Joanna Brouk. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group's three main (and collectible) releases in the early '70s -- Cottonwood Hill, Celestial Ocean and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit -- which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn't with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan -- an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum-breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project.


VANDROOGENBROECK, JOEL: Meditations Vol. 2 LP (ZORN 035LP) 25.50
Volume two of two. Continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods. The story continues. Aguirre released Joel Vandroogenbroeck's first solo effort Biomechanoid in March 2014, an outstanding dark electronic ambient album. Now the label presents his two Meditations albums, Vol. 1 and Vol. 2. In these library albums the emphasis lies on his flute talents, paired with some great Moog-y electronics and mellow pre-new age ambience. Both volumes still stand after all these years and prove Joel's ability to create wonderful library albums. Think Klaus Schulze, Harmonia, JD Emmanuel and Joanna Brouk. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group's three main (and collectible) releases in the early '70s -- Cottonwood Hill, Celestial Ocean and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit -- which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn't with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan -- an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum-breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project.



LYS UND MORKLYS: Gestalt EP 12" (RASA 002EP) 14.00
For its second vinyl-only release, Ante-Rasa found an emerging threesome in Leipzig, Germany over a year ago. This EP depicts their unique evolution in sound-making ever since. "Reprise" tells us where the story of Morklys began. This classic techno slab could have just as well been found on a lost DAT tape from the early '90s, with its float-y atmosphere and filthy kicks. "R70i" fully represents their homecoming into darker territory full of growling machines, vibrating metal and exhausting fumes. Both cuts get heavily treated by Roebin de Freitas.



KALIPO: Yaruto CD (ANTIME 010CD) 17.00
Kalipo is Jakob Häglsperger from Berlin who devotes himself to experimental electronica. His debut album Yaruto follows a series of remixes and contributions to compilations released by Antime and Stiff Little Spinners. On it, Häglsperger tries to create both a unique and timeless sound that takes cues from dance music, downbeat and Gamelan traditions alike. Making use of his wide array of analog synthesizers, a Rhodes piano, a metallophone and guitars, Häglsperger creates the abstract narrative of an impersonal biography by creating moods that correspond with certain stages of life as well as chopped-up vocal samples.



TENAGLIA, DANNY: Balance 025 2CD (BAL 011CD) 23.00
Following on from Danny Howells' brilliantly-executed Balance 024 album; Balance Music presents Balance 025, mixed by Danny Tenaglia. Danny has finally found time in-between his busy tour schedule to create a stunningly sophisticated techno-influenced mix. On this particular CD, Danny prefers it to be considered more of a "version compilation," as opposed to it simply being another "mixed compilation," considering the intense amount of processing that has gone into just about every single track on the album. This mix most definitely leans towards tech and techno grooves, as Danny felt it was time to be more about what is current and happening for him in 2014. We all know Tenaglia likes to get deep and drummy with his music, but that's not what this CD is about. Overall, this mix reflects many gigs between 2013 and 2014, like Berghain and Panorama Bar in Berlin, as well as the new and wonderful venue called Output in Danny's hometown of Williamsburg in Brooklyn, NY -- and beyond! Features tracks and remixes from Laurent Garnier, Basement Jaxx, Thomas Schumacher, Nicole Moudaber, Regis, Substance, Hot Since 82, Reboot, 04LM, Ugo Carrano, Talismann, Cowboy Rhythmbox, Ø [Phase], MRI, Kernel Key, Gabriel D'Or & Bordoy, Sanys, Tom Laws, Pherox (feat. Lee Curtiss), Mancini (ManJas), Yamen & Eda, Michel Cleis, Dadub, Kangding Ray, Architectural, Funkndy, The Yellowheads, Antigone, Lewis Fautzi, Oscar Mulero, Dax J, H.O., Gregor Tresher, Herva, 2 AM/FM, Svreca, Attemporal, Craig McWhinney, Spear, Miki Craven, Brian Sanhaji, Jonas Kopp, Sin Sin, and Exploit.



CLAP! CLAP!: Tayi Bebba 2LP (ACRE 006LP) 25.00
After storming the gates with his warmly-received Tambacounda EP, Clap! Clap! returns to Black Acre to deliver his debut album. Tayi Bebba is a conceptual work that manages to balance a highly cerebral concept with making some good old-fashioned bangers. Tayi Bebba is an album tour of an imagined island; each song representing a location, event or ritual. Sonically, it's a fast-moving charge across the soundscape, fusing field recordings and found sound with incredibly surgical drum programming. Flavors of house, footwork and hip-hop punctuate your migration with a very specific sound palate, giving this amazing work a cohesive feel. Clap! Clap! is long-time jazz player Cristiano Crisci, also known in electronic circles as Digi G'Alessio. With cross-genre accolades and support spanning the globe, he is already established as one of Italy's brightest talents. A multi-instrumentalist with a long history of collaborations with Crookers/Khalab/Kae, and more.



BLACK RAIN: Dark Pool CD (BLACKEST 009CD) 16.50
Dark Pool is the new studio album from Black Rain, the project's first in 18 years. Produced in New York City by Stuart Argabright, Black Rain's founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity -- the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powell's Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic "The Dominatrix Sleeps Tonight" (1984). Black Rain was revived in the wake of 2011's Now I'm Just a Number's release and Argabright has toured extensively under the name and in 2013 released an EP of live recordings, Protoplasm, on BEB. Three of the EP's four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of "Endourban" is now anchored by ominous string pads faintly redolent of Argabright's label-mates Raime, while "Data River" revisits the accelerated beat-stream of Black Rain's 1996 album Nanarchy, and the low-slung "Protoplasm" has evolved into a sprawling, syncopated techno epic -- the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. "Burst," its title perhaps a nod to Sogo Ishii's 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; "Xibalba Road Metamorph," the album's angry, anguished centerpiece, externalizes the sadness and self-loathing of Jeter's oppressed post-human workforce. "Night in New Chiang Saen" reimagines dub as the viral product of one of AgriGen's morally-suspect scientific initiatives in The Windup Girl, before "Who Will Save the Tiger?" calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on "Profusion" and "Profusion II") from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its body-hammer rhythms and brooding sound design require no explanation for their impact to be felt.



SENNI, LORENZO: Superimpositions LP (BKEDIT 010LP) 20.00
Superimpositions is the hyper-colored conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni's landmark LP, Quantum Jelly (EMEGO 152LP). It further consolidates, accelerates and evolves his idea of "Pointillistic Trance" -- an ascetic, extreme approach to the aesthetic essence of '90s-style trance/hard-trance -- with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect. Angling deeper into his stripped set-up -- a computer-controlled JP8000 Roland Digital-Analog Modelled S-Source Synthesizer -- Superimpositions reveals seven glistening examples of Lorenzo's current praxis, finding the biting-point between emotional, real-time human input, and the sleek tension of synthesis. Opener "Happic" arches up with breathtaking effect, and never quite gives it back during its seemingly infinite ascent, while "Elegant, and Never Tiring" is a spine-tingling exercise in aerobic coefficients, and the title-track tiers teasing chords in a Sisyphean struggle for deferred gratification. At the LP's blinding, white-hot core, the heart-rush flux of bass arpeggios and spiraling hi-end in "Forever Headline" threaten to careen off the platter, harnessing the rush of a million 'crasher kids circa '98, before closer "PointillistiC" broadsides with a cascade of lip-bitingly beautiful, melancholic chords. It's the tenth, and arguably most impressive original release on cherry-picking label, Boomkat Editions. Mastered by Giuseppe Ielasi in Milan, cut at Berlin's Dubplates & Mastering. Edition of 500 copies.



SOLEE: Lost 12" (BOXER 097EP) 14.00
Being "Lost" is a feeling. Mostly used in a negative term, we might forget that this could be a very positive thing, too. And this is what "Lost" is about. Being positive! A positive song equipped with a warm but pushing vibe and beautiful melodies that will work on beaches as good as it will work in clubs. The song has been tested for some months now and the feedback has been great. On the flip you find a more reduced and straighter version of the track by Florian Meindl. His remix is made for prime-times and fans of deep bass lines.



PARTCH, HARRY: Bitter Music (Music of Harry Partch Vol. 1) 3CD (BRIDGE 9349CD) 31.00
2011 release. "It is an astonishing gift of fate when a creative artist, known to the world for a particular achievement, is suddenly shown in a quite different light thanks to the existence of a single document that has somehow escaped the ruthless culling mechanisms of time. Harry Partch's Bitter Music is such a document, a 'diary of eight months spent in transient shelters and camps, hobo jungles, basement rooms, and on the open road'. This long-lost journal of Harry Partch's wanderings during the Great Depression (from cleaning sewers to having tea with Irish poet W. B. Yeats) is an extraordinary musical portrait of an American pioneer, chronicling his occasionally hilarious and often heartbreaking struggles to forge a new music system outside the classical tradition. This premiere recording of Bitter Music takes the form of readings and collected musical fragments- an aural diary of what was going through Partch's mind and ear during a critical period in his artistic development."


PARTCH, HARRY: Plectra and Percussion Dances CD (BRIDGE 9432CD) 15.00
"This new recording marks the first complete performance of Harry Partch's major cycle in three parts, Plectra and Percussion Dances. On the original 1953 recording, 'Castor & Pollux' was missing three movements, and the finale, 'Even Wild Horses,' was missing its tenor saxophone part. The virtuosi of Partch give us revelatory interpretations of these stunningly original scores. Also included is a 7 minute spoken introduction, given by the composer in 1953 on the occasion of the broadcast premiere of this work."


BB 176CD

CAMERA: Remember I Was Carbon Dioxide CD (BB 176CD) 17.00
Yes, you can actually hear it. Respect. There it is, in the very first track on the new Camera album, a little sound signature elegantly woven into the hypnotic maelstrom of the music, contiguous to "From the Outside" -- like a distant echo -- Kraftwerk's revered "Autobahn." Which brings us directly to Krautrock, that perennial badge of hipness. The ultimate honorary title for repetitive music, as played by Camera. In fact, the Berlin band's penchant for playing without permission in underground stations or other public places (in the gents at the Echo Awards ceremony) has seen them dubbed "Krautrock Guerilla." Nevertheless, the Krautrock label remains just that, slapped on to rescue nameless music from limbo, vainly searching for a pigeonhole. Camera are not seeking to emulate the sound of older Krautrock bands, in any case. Nor have they been listening incessantly to NEU! or Can. "Perhaps we just have the same angle of approach," suggests keyboard player Timm Brockmann, "we start playing and simply go with the flow." Motorik-driven, energetic stretches laced with psychedelic overtones rise up from keyboards, drums and guitars, much as they did for the pioneers of German Krautrock some 40 years ago, without any sense of imitation or facsimile. The band does not even imitate itself. That would amount to nothing short of a moratorium, restricting their advancement. When it comes to principles, the principal objective is progression. Their commitment to playing anywhere and everywhere reaches beyond spontaneous concerts on the streets of Berlin. All the world's a stage. On the back of Radiate! (BB 116CD/LP) their debut album from 2012, Camera extended their range to Russia and the USA. While Radiate! was entirely the product of studio improvisation, Remember I Was Carbon Dioxide sees Timm Brockmann and drummer Michael Drummer revisit and revise jams supplemented by various different guitarists and other guest musicians, exploring the possibilities of the studio as a reflection loop without losing sight of their overriding impulse to improvise -- which is, after all, the essence of Camera. One hears a hypnotic beat. A musical drift that sweeps the listener into a trance. Shimmering elegance, forceful bursts of garage rock, a gentle flow, spherical flight. And one can hear it resonate beyond the horizon of this music. Searching, researching, yearning. Camera have the resolve to search and explore -- listen to "Hallraum," for example, the closing track on their new album -- they have an appetite for beauty, to play around with it a little. You can still call it Krautrock, if you must.

BB 177CD

GUT UND IRMLER: 500m CD (BB 177CD) 17.00
"The notion that Jochen Irmler and Gudrun Gut would one day merge the best of their two worlds was never quite to be expected. We hear Irmler's meandering, wistfully psychedelic organ sound, seeming to come from a different era. And we hear Gut's reverb-laden, whispering, breathy voice as she sings: 'Sonnenbrille auf, wir gehen zu den Sternen/Sonnenbrille ab, wir tauchen tief hinein' (in the track 'Auf & Ab'). Both approaches to music -- the Krautrock-informed, epic willingness to explore on the part of Irmler; the structured and technoid Berliner discipline (which is practically a contradiction in itself) of Gut -- are conjoined in glistening beauty on this collaborative album 500m, recorded at the Faust studio in Scheer in Autumn of 2013. Analog and digital, town and country, past and present, elliptical melodies and linear beats -- all complementing each other in a most cosmic manner. Gudrun Gut: 'I had asked Jochen if perhaps we might like to work together. Both with Faust and his solo works, his approach is more improvisational. Improv is not exactly my thing; I don't work that way. I tend to construct something, then refine what's been recorded using the computer, until everything fits. But Jochen's organ-playing has always fascinated me. He sits down at the organ and plays and plays, while I tend to dissect everything, then deconstruct and collage things.' Jochen Irmler: 'A few years ago, when she played at our Klangbad Festival, I asked Gudrun if she might like to make an album with me. For more than a decade, I have been following a concept that merges electronics and percussion -- and most collaborations were solely among men. I wanted to break with that and asked Gudrun if she would like to complement my organ improvisations. And in her case, she doesn't play the drums, but programs the drums.' In fact, the clash of these two schools is especially constructive. Some pieces consist only of snippets and cut-ups of Irmler's organ, which are held together by Gut's programming and her voice. In other tracks, the organ plays through. The division of labor is interesting: During the initial two sessions in Scheer, Jochen Irmler was at the helm, while Gut contributed rudimentary grammar -- simplistic backing beats, rough architectures, moods. Back at her own studio in Berlin, Gut refined and deconstructed the sometimes up to 30-minute long original improvisations. The roles were essentially exchanged, with Irmler listening from a distance via file-sharing. When listening to the album with that in mind, one can guess how much editing is behind these tracks. If two such esteemed musicians as Jochen Irmler and Gudrun Gut not only declare their mutual trust, but also live it out within the framework of a co-production, as described with the example of their working method, the result is per se relevant, because it is a historical document. That it also sounds so incredibly inspired, of course, is a result of these coordinates, but by no means self-evident. Why might it be so? Where does the magic of these recordings come from? Gudrun Gut: 'I was constantly dizzy during production in Scheer. I asked Jochen why this could be. He replied, 'We are 500 meters above sea level here.' That immediately made sense to me, and at the same time explains the album title." --Max Dax, Warsaw 2014

BB 185A-LP

GANE, TIM: Kollektion 01: Sky Records Compiled by Tim Gane: Volume A LP (BB 185A-LP) 25.00
LP edition, split into two volumes sold separately. To provide an overview of the various musical styles in which Bureau B specializes, the label launches a new compilation series entitled Kollektion. Each release in this series will be curated by a musician perfectly suited to the task. The first kick-off release will be: Kollektion 01: Sky Records, compiled by Tim Gane. The erstwhile Stereolab mastermind delves through the archives of the legendary German Krautrock label. About Sky Records: The record company was founded in the year 1975 and went on to become one of the few German labels to reap international acclaim. It was run by Gunter Körber, who quit his job at Metronome where he and Bruno Wendel had spent four years developing and managing the legendary Brain label. About Tim Gane: No less a figure than Tim Gane, the man behind Stereolab, has delved into the Sky Records archives for the Kollektion series. Gane has never hidden his love of Krautrock; many a Stereolab song has its foundations in the typical "motorik" beat, while his latest band, Cavern Of Anti-Matter wallows in Klaus Dinger rhythms. Experimental sounds hold no fear for him, as early noise cassette releases under his Un-Kommuniti alias testify. This first vinyl volume contains seven tracks; artists: Asmus Tietchens, Moebius & Beerbohm, Roedelius, Michael Rother, Cluster and Moebius & Plank.

BB 185B-LP

GANE, TIM: Kollektion 01: Sky Records Compiled by Tim Gane: Volume B LP (BB 185B-LP) 25.00
LP edition, split into two volumes sold separately. This is Volume B. Contains final 10 tracks from the CD version. Artists: Asmus Tietchens, Roedelius, Eno Moebius Roedelius, Moebius & Beerbohm, Riechmann, Moebius, Gunter Schickert and Cluster.


CH 099CD

TULLY: Tully CD (CH 099CD) 15.50
Chapter Music is thrilled to present the first-ever reissue of the self-titled debut album by Sydney's famed prog-psych giants, Tully. Originally released in June 1970, Tully is the final release in Chapter's series of Tully reissues, which takes in surf soundtrack Sea Of Joy (1971), final album Loving Is Hard (1972) and Peter Sculthorpe's composed rock opera Love 200 (released on 2010 CD Live at Sydney Town Hall 1969-70). In 1970, Tully had the Australian music world at their fingertips. They formed in late 1968, after a large section of hardworking r'n'b show band Levi Smith's Clefs broke away to focus on more adventurous material. By early '69 they'd become easily the most-hyped band in the nation, feverishly acclaimed for their towering rock dynamics and extended flights of jazz-inspired improvisation. U.S.-born keyboardist Michael Carlos played a Hammond organ with two huge Lesley speakers, while drummer Robert Taylor used two kick-drums for extra percussive drama. Richard Lockwood experimented restlessly on clarinet, flute and saxophone, eventually developing an amplified clarinet set-up, deepening and distorting his tone through an octave pedal and a massive Lenard amplifer. At first they were a kind of idiosyncratic cover band, playing 25 minute versions of Beatles hits, or their own take on Albert Ayler's free jazz classic Bells. But they soon expanded into their own material, and were adopted as the ultimate consciousness-expanding experience in late '60s Australia. Excitable Go-Set journalist Adrian Rawlins called them "the greatest musicians in the western world." The first rock-based band to perform at Sydney Town Hall, Tully sold out repeated concerts there through 1969, became the house band for love-rock musical Hair, and even had their own six-part ABC TV series named Fusions. They headlined Australia's first musical festival Pilgrimage For Pop, and outraged the classical establishment with their Love 200 performances. By mid-1970 an album was eagerly-awaited, and the resulting debut is one of Australia's most forward-thinking and ambitious of the era. Opening track "You Realise, You Realise" bursts through the speakers with all the fabled power and exuberance of the band's live shows, while "La Nave Bleu" follows with delicacy and restraint. A full church choir uplifts "Love's White Dove," while "Phsssst" is five minutes of submerged organ drones, chanting and studio games. "Lace Space" must be one of the few drum solo tracks on a '60s/'70s psych album capable of holding a modern listener's interest, and the album finishes with thunderous concert favorite "Waltz to Understanding." The album made it to number 6 in the charts, but within months of its release, Tully had changed into something almost unrecognizable from their original form. They merged with folk-psych sirens Extradition, lost singer Terry Wilson and drummer Taylor, and decided to continue on drummer-less. Their subsequent records were serene, solemn and impossibly beautiful, but without the incendiary power of their first incarnation, audiences deserted them in droves. By the end of 1971, Tully were no more. Reissued for the first time in 44 years, Tully documents a moment when anything seemed possible, and the band made music that perfectly summed up this sense of wonder and infinite potential. Includes a bonus track.



Deetron founded the label, Character, based on his passion for creating and discovering music. The label will serve as an independent outlet for music without boundaries, welcoming releases from both a plethora of artists, as well as the man himself. The inaugural record, which is designed for the dancefloor, finds Deetron teaming up with Ripperton under their rarely-seen Roots Panorama moniker. "Mars" sees Deetron's version focus on the melodic and bright aspect of the original recording, while Ripperton takes things deeper, leading towards a finale with the sort of arresting arpeggio that only he can come up with.



PUSHKAREV, ANDREY: Three Roads EP 12" (CCS 087EP) 12.50
Russian prodigy Andrey Pushkarev expands on his love of dubbed-out dance music with a fresh batch of rhythms and pulses in the true tradition of meditative house and techno. "Between the Mountains" makes no attempt to mask the influence of Basic Channel, letting the seductive throb of dub techno chords echo through a crisp arrangement of drum machine beats. "River" is a more house-oriented affair, thanks in no small part to the solid beat that underpins the track. "A First Snow" maximizes on the impact of choice reverbs and alluring keys to summon up a surprisingly funky blend of minimal house and dub-wise warmth.



VA: Cocoon Compilation - N CD (COR 036CD) 17.00
This is the 14th edition of the almighty Cocoon Compilation series, curated by label-head Sven Väth. With Compilation N, Cocoon adds even more big names side-by-side with some fresh and promising ones. It starts with Konstantin Sibold & Leif Müller and the track "Kolibri," a great slowed-down techno tune that brings us back to the high days of Alter Ego when Harthouse released big listening and electronica albums. The second track by Julian Perez follows that feeling and explores the deep and dubby sides of techno, too. A perfect transition to Frankfurt homeboy Markus Fix. It's dub again, however, spiced up with hypnotic strings and a clubby kick-drum shaking your bass bins! With track number four, Compilation N opens the door to proper and kicking club music. Grandmaster Aril Brikha and Vince Watson present a vibrant arpeggio tune followed by Alan Fitzpatrick with his "For Fear Tonight Is All." Fitzpatrick adds more of a cineastic soundtrack flavor to the picture and creates big emotions here before Cavaan releases a thrilling acid monster. Coming up next is Truncate who seems to pay a little homage to the big days of the raw and kicking TR-909 and the pure Underground Resistance techno from Detroit. Sam Paganini follows this vibe with "Labyrinth," which houses even darker energy and pressure. "Luminous" by Lucy twists the knobs even further and beams us completely out of this world. "Les Gobelins" by Villanova doesn't need that pumping energy at all, however, it is quite a dark monster as well. Mind-blowing vocals, wild drum programming and echo craziness define the techno state-of-mind of the year 2014. The last two tracks come from Swiss tech-house pioneer Ripperton and Ricardo Tobar. We hear modulating bass line, synthesizer-sirens and minimal drum programming that all-in-all create a vibe somewhere between techno, house and the late works of Aphex Twin. Number 14 presents 12 tracks with an impressive variety of all things techno these days. This is definitely no hands-up-in-the-air action at all. It is techno music in a deeper way with a lot to explore and something that will exist longer than just one summer.



TRUEBY, RAINER: Slouse - Fishing in Slower Territories CD (COMP 453CD) 15.50
Slo-mo house in its best deep shape, including the rare, sought-after Maurice Fulton remix of Alice Smith's "Love Endeavour." Compiled by Rainer Trueby. We live in hectic, turbulent times. It seems seasonable and reasonable to slow things down a bit. In fact: slow house down to what they're calling now, SLOUSE, implying down-to-earth club music, with a foot tapping under 116 beats per minute. House music and its many sliding genres have ruled the clubs and charts, and a special focus on slo-mo house is well-deserved. Rainer Trueby has become a guarantee for vanguard soulful dance music and club tunes with a special vibe. He has gained approval not only as a DJ but also with successful compilations such as Glucklich, Maiden Voyage on Compost, DJ-Kicks (K7) and compilations for Nuphonic, King Street, Talkin' Loud, and other labels. Rainer Trueby is an artist who spreads love like in the good old days, and he has selected here some of the best tunes on the planet -- some rare and sought-after such as the rare Maurice Fulton remix of Alison Smith's "Love Endeavor," as well as in-demand tunes like S3A's "Deep Mood Act2," or Ron Deacon's "Untitled." There are also amazing discoveries like the Moonstarr tune, and the Laid Back remix by M.ono, as well as a few underrated tracks. All the tunes here are worth the grab and will get played again and again. It's a full palette of slo-mo house flavors and moods as Rainer Trueby takes us on a magical trip into his imagination of Slouse. The result is a future-classic compilation with melodic and groovy masterpieces, made for your home, garden, car, etc. Other artists include: The Blaxploited Orchestra, Good Guy Mikesh & Filburt, Fetsum, Uffe, Paskal & Urban, Sello, Egyptian Nipples, Session Victim, Bambooman, Eckoclick, and Christian Prommer (feat. Adriano Prestel).



FLUGEL, ROMAN: Happiness is Happening CD (DIAL 031CD) 17.00
"An album by Roman Flügel is always a sensation. That holds true for his countless monikers and collaborations as it does for his 2011 Dial debut Fatty Folders. Being the first of its kind under his civic name, the long over-due association of Hamburg's cerebral label and its group of off-center house and techno individuals with Frankfurt's favorite electronic music producer for the thinking man and woman, proved to be a seminal one. Now, that sort of Happiness Is Happening again. Roman Flügel's follow up on Dial takes off, where Fatty Folders landed: on a runway that acknowledges the roots of house and techno as well as its fruits, but leads to a different location. Exempt from the burden that a concept album can lay on its author, Flügel seems not to be concerned with the current trends, retro fashion or a pre-conceived topic. Free-wheeling and with a freshness akin to morning dew, he rather takes us by the hand and through ten tracks that sometimes feel like songs without a voice. Having said that, the strongest point of Happiness Is Happening is that it has a voice. The voice of a maker who is not afraid to mix joy and pain, ambient textures with remnants of dancefloor euphoria, quiet spaces and loud places. So you have an almost Depeche Mode-like ballad that the 'Friendship Song' is, next to the techno city ghost story of 'Occult Levitation'. Slow-motion robot disco ('Wilkie') appears as much at home here as the bulky 'Stuffy' or the sudden impact in 'We Have a Nice Life'. That list goes on and on. The most startling fact about Roman Flügel's tour de force is that its sum is as great as its parts. Nothing feels superfluous, ill-paced or forced here. It's a condensate of a life that has been spent in techno, house and its various mutations and archetypes with a sensibility for pop music, a consciousness of indie culture and an affinity for the avant-garde as such. Happiness Is Happening is like a concept album without a concept. A testament to the fact that the concept of an album that works within the realms and boundaries of 'electronic (dance) music' can be so much more than a loose collection of 12-inches or just an exercise in style: it can be, after all, a piece of art and at its best comparable to a successful singer-songwriter album without words. Especially, when the creator of all his seems to be truly comfortable with himself and at his best. Then, Happiness Is Happening, indeed." -- Gerd Janson


FLUGEL, ROMAN: Happiness is Happening 2LP (DIAL 031LP) 27.50
Double LP version.



MURKA (FEAT. MR. LIZARD), RUI: Amigos 12" (ENEREC 016EP) 19.50
Porto's pioneering DJ/producer Rui Murka's mid-summer tune featuring Mr. Lizard. Remixes by Vahagn and Tiago (DFA, Claremont 56, Golf Channel).


ESS O ESS: Re-Enter 12" (ENEREC 017EP) 19.50
London-based producer Jamie Blanco and Chris Stoker's "Re-Enter" is exotic & Balearic. Mysterious & anonymous engineer Man Power remix on the flip-side.



"My idea behind Falkplatz Schallplatten was from the beginning to release 10 catalog numbers and shut it down after. So, it took me four years to come to this point and it definitely feels right to do this step. In the meantime I founded a few other labels that are more heads-down and where names don't matter that much. Thanks to all the artists who helped, supported and delivered their creativity to Falkplatz over the years. Without you it wouldn't have been possible. You know who you are." --Oliver Deutschmann


GB 017LP

FOFOULAH: Fofoulah LP (GB 017LP) 25.50
LP version. 180 gram vinyl pressing, housed in a gatefold sleeve and includes digital download code. The London-based quintet Fofoulah (meaning "it's there" in Wolof) was formed in 2011 and features Tom Challenger (Red Snapper) on saxophone and keyboards, Phil Stevenson (Iness Mezel) on guitar, Johnny Brierley (Outhouse Ruhabi) on bass, Dave Smith (Robert Plant's Sensational Shape Shifters) on drums and Sabar drums, and Kaw Secka (Irok) on Sabar drums and tama. With the rhythms of the Sabar drums -- a traditional form of Wolof drumming from Gambia and Senegal -- at its heart, Fofoulah's music has evolved into an inspired cosmopolitan mélange that also incorporates elements of electronic music, dub, improvisation and Afro-rock. Like the complex city they live in, their music is shaped and lifted by diverse sound-worlds and cultures. Having performed mainly in the creative hubs of east London and Bristol, in 2013 Fofoulah released the Bene Bop EP, a collaboration with Senegalese singer Biram Seck. Later that year the band entered the famed Real World Studios near Bath to begin work on their radiant debut album Fofoulah. Produced by drummer Dave Smith (Robert Plant, JuJu) Fofoulah is a previously unvisited crossroads where Sabar rhythms meet dub bass lines and sci-fi synths; liquid melodies and Wolof rap entangle with trance-like dance grooves; and raw guitars, horns and samples blend with west and north African song forms. In the album's liner notes, bass player Johnny Brierley describes the creative journey that led to the making of the album: "The rhythms and traditions of the drums were essential starting points for our compositions and acted as the building blocks for all the other instruments -- our music has developed and evolved with each member's musical background and influences being heard within the band... Fofoulah, our first album, is a snapshot of the band at this moment in time and the result of a constantly developing sound." In keeping with the band's expansive approach, the album also features an incredible roster of guest voices: Senegalese singer and Bristol resident Batch Gueye, UK hip-hop sensation Ghostpoet, Algerian/Parisian singer Iness Mezel and the acclaimed Gambian-born, Fulani musician Juldeh Camara (JuJu, Robert Plant). Fofoulah is not merely a cross-cultural project. They are a dynamic band born naturally out of personal friendships and varied backgrounds, the nerve net of contemporary London and the post-global interconnectedness we all experience daily. The band is propulsive, innovative, celebratory, and always leaning forward. They are a thrilling extension of the deeply-rooted Sabar rhythms upon which their music revolves.



ETERNITY: Eternity LP (GKL 002LP) 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. If you're forever searching for lost treasures, and yearn for a time when hard rock was free of pretense, look no further -- Got Kinda Lost Records presents the wasted, basement hard rock of Eternity. Originally recorded in 1979-1980, and released on a private label in 1981, many songs originate from an earlier period in the '70s, giving the release an "out of time" quality. Led by the confidant vocals of Wallace Stoneking and the "human-riff" creativity of Frank Monroe, Eternity created a groove-oriented, no-frills brand of hard rock, capturing the flair of their heroes existing a decade prior -- and within this set Wallace Stoneking tells of all the surreal interactions and experiences that colored their time together. This set is sure to please fans of '70s proto-stoner, hard-rock, "out of time" private press treasures, and your uncle who still drives that '72 Camaro. Recommended for fans of Blue Cheer, Black Sabbath, Nazca Line, Led Zep, Magi, Leaf Hound, and Stagefright. 24-bit remastering. Includes one bonus track taken from a non-LP 45.



ATHANOR: Inside Out: The Demos 1973-1977 LP (GUESS 136LP) 25.50
LP version. The follow-up to the acclaimed Flashback (GUESS 046CD/110LP) finds Athanor (the duo formed by Greg Herriges and Rick Vittenson) digging deeper into their archives and coming out with an amazing set of previously-unreleased recordings, done at their state-of-the-art home studio back at the time. Captivating Beatles-esque, fuzzed-out psychedelia and folk-rock full of Lennon-esque vocals and 12-string Rickenbackers by this '70s Chicago wunderkind duo. 1973-1977 recordings plus one '70s-era track cut in 2014 with Jeff Murphy (Shoes) on back-up vocals. Basement psych-pop and proto-power pop has rarely sounded better. Remastered sound from the original tapes. Includes an insert with rare photos and detailed liner notes by Jeremy Cargill (Ugly Things/Got Kinda Lost) and Jeff Murphy (Shoes).



ASTEROIDS GALAXY TOUR, THE: Bring Us Together CD (HBR 001CD) 15.50
The Asteroids Galaxy Tour is a futuristic dance vision. Take the trumpets and soul from a Mexican mariachi band. Add processed beats and samples that mercilessly force each and every body to get up and dance. Top it all off with a dash of psychedelic-futuristic synth allure and Mette Lindberg's sultry vocals. Toss it all aboard a tightly-packed spaceship headed on a course towards the coolest party on the moon and there you have the sound of The Asteroids Galaxy Tour's third album Bring Us Together. On this album, the desire to explore new musical universes is greater than ever before. The record points towards eternity with its cooler, more futuristic sound. "We wanted to create a heavier and slightly darker atmosphere for this album. The sound is more processed and less 'manual' than before, with more weighting on repetitive beats, bass grooves, chopped-up loops and a more laid-back vocal style," explains producer and mastermind Lars Iversen. The new Asteroids sound gives you whiffs of everything from funk and disco to club and trip-hop, without leaving you in any doubt that you are indeed hearing the hypnotizing melodies of The Asteroids Galaxy Tour.



WRONG STEPS: Wrong Steps EP 12" (HUNTLEYS 013EP) 14.50
Like all great music, it's often difficult to explain what it sounds like or convey the excitement you experience upon first hearing. Wrong Steps falls into this category, exactly. Describing his music as "melodic house" wouldn't do the intricacies and depths on display justice. Instead, it might be easier to liken him to artists such as Floating Points, Metro Area and Portable. Big boots to fill, of course, but this is a very promising debut.



VAN WISSEM & JIM JARMUSCH, JOZEF: Concerning The Entrance Into Eternity LP (IMPREC 348LP) 16.50
2014 repress. LP version. "Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker and guitarist Jim Jarmusch. Jarmusch's previous collaborations with Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another's space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth exemplifying an austere understanding and compatibility. Jarmusch's guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, 'He Is Hanging By His Shiny Arms, His Heart An Open Wound WIth Love,' finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg's work, this record is extraordinary, new and arcane at the same time, modern but timeless."


JR 001EP

BLACKHALL & BOOKLESS: Se7en EP 12" (JR 001EP) 14.00
Jaunt Records is the new project from the team behind the Jaunt parties. For their first release, they call on two of their residents, Blackhall & Bookless, who bring the heat in their own inimitable way. The Se7en EP is a release that's every bit as refined as you'd hope for, while the remixes -- from Fred P aka Black Jazz Consortium and Ostgut Ton's always-reliable Virginia -- both neatly compliment the merits of the originals. With track-titles such as ''Kevin Spacey'' and ''Morgans Freeman," the release tips its hat to the movie Se7en -- and it's just as ominous and enticing, too.


JM 099EP

JAMES, ETTA: At Last!: Six Sides of Jump Blues, Deep Soul and Rockin' R'n'B Club Monsters 3x7" (JM 099EP) 25.50
When Etta James passed away in early 2012, the tributes and plaudits flooded the world. Gone forever was the soul diva and legend, the peerless and seemingly indomitable, screaming, bawling R&B siren who had seen off several near death experiences with dangerous substances and even more dangerous men. This short and sweet set of six songs spread across three 45rpm records captures various key snapshots in Etta's early career. We hear the sassy teenaged delinquent on "That's All," the snarling rock and roll mama on "Tough Lover" and her signature: "At Last."



ASA & SORROW: Legendary EP 12" (KAP 014EP) 14.00
Asa & Sorrow join forces once again to feature on Kapsize in their own right with the Legendary EP -- a grime four-tracker which has already been on hot rotation with the genre's most respected DJs including Slmizee and Spryo, with the mic man-of-the-moment using it on shows including Rinse FM, as well as Wiley, Meridian Dan and Skepta jumping on board. Opening track "Untitled" is a take on Tinie Tempah's 2006 underground hit "Wifey." Asa has recently collaborated with Koan Sound for the Sanctuary EP on Skrillex's imprint, OWSLA.


KR 018LP

SUBOTNICK, MORTON: The Wild Bull LP (KR 018LP) 20.00
Re-issued on vinyl for the first time since its original 1968 release! Based on an ancient Sumerian poem, Morton Subotnick's follow-up to his highly influential milestone Silver Apples of the Moon (KR 014LP) is no less an adventurous sonic trip on the Buchla synthesizer. Limited edition (500 items) audiophile 180 gram LP, especially mastered for vinyl. Born in 1933, Morton Subotnick is a key figure in the progress of electronic music: along with Pauline Oliveros and Ramon Sender, he co-founded the San Francisco Tape Music Center in 1961 and from 1963 on he worked with Don Buchla on the development of the early synthesizer "Buchla Series 100." In 1967 the composer and musician released his debut Silver Apples of the Moon, which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the Library of Congress in 2009). A year later Morton Subotnick presented his adventurous follow-up, The Wild Bull. Loosely based on/inspired by an ancient Sumerian poem of the same name -- a lament about loss and death caused by war -- the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer. Forty-six years after its initial release, The Wild Bull has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip, finally available on vinyl again as an audiophile 180 gram LP that was cautiously remastered for vinyl. Limited to 500 items worldwide.



LV & JOSHUA IDEHEN: Islands 2LP (LDN 048LP) 23.00
2LP version. Islands is the second album and live project from Worldwide Award-winning producers LV, and Benin City vocalist Josh Idehen, three years on from their critically-acclaimed debut collaboration Routes. Where the Routes album saw Josh's voice used in fragments to examine themes of life in modern London, Islands sees LV move Idehen's lyrics and vocals front and center. On "Imminent," overheard whispers on an East London balcony tell the tale of an unforeseen demise, while on "Waiting for the Night" Josh drew on honest reflections of his experiences after he returned from Nigeria. "Obsessed" is about an unhealthy, social-media enabled reaction to being put in the post-coital friend-zone. Between Josh's observational eye and LV's considered yet dancefloor moving production style, with its funky hardware synth jams and live drums, delightful aesthetic contradictions abound on Islands. Lead single "Imminent" has received huge support across BBC Radio 1 and 1Xtra, and upon supplying the parts of the tune for a remix competition, LV were overwhelmed with over 120+ remixes. Of the album as a whole, the title-track "Island" is perhaps the most unexpected, and took some strength to find. Josh had been working on different versions of a story, until he had a moment of clarity. "I literally just thought, 'you know what? I am just going to write what I feel is the funniest, darkest story that I would be happy to read,' so that I felt comfortable with myself and not give a fuck about what anybody else thought."


KI 007CD

TANABE, DAISUKE: Floating Underwater CD (KI 007CD) 17.00
The Japanese producer Daisuke Tanabe is back on Ki for a full 15-track album. Tanabe was initially one of the first to contribute his music to the German imprint with the second release in the label's catalog back in 2009. Some time has passed since then and the former Red Bull Music Academy participant has evolved even more and cemented his unique soundscape to a recognizable trademark. With his debut album Before I Forget, a few EPs, many remixes and an album in collaboration with Kidkanevil as Kidsuke, he's now back for more on Ki. Fifteen tracks full of surprising twists and turns and genre-defying sounds and rhythmic patterns. It was always hard to put Tanabe's production into one genre and it's not easier now. If you want to, you will definitely be able to put his music somewhere, but you better listen closely and get lost in his incredibly deep and intelligent arrangements. It's an album that tells the listener a story. Which story that is? It's solely up to you. The track "Paper Planes" is a perfect example of his dreamy lo-fi sound taking you on a voyage, full of bells and wobbling synthesizer lines. "Fun Robbery" shows how Tanabe can take any influence and give it his own trademark. A beautiful deep and dubby chord meets twisted bell patterns and analog drums that you better listen to on a good sound system. "Pinebee," for example, flirts with oriental sounds but is basically driven by a rhythmic pattern that is known as, well, drum and bass. "Expo" and "Blue Rat" get you trapped in a video game. Beautiful arpeggiated synths and strong melodies take you on a night ride through Tokyo.



CHROME: Feel It Like a Scientist 2LP (KOS 402LP) 29.00
Double LP version. "With the untimely passing of Damon Edge in '96, Helios Creed has taken over the helm of Chrome, overseen the mixing, mastering and release of last year's Half Machine From The Sun, The Lost Tracks album, and assembled a band of veteran and newer members. This is their brand new studio album."



KISH, KILO: Across LP (KITSUNE 220LP) 23.00
Kilo Kish is an American vocalist, songwriter and visual artist living between New York and Los Angeles. After two EPs released on Soundcloud (Homeschool and K+), many collaborations (with SBTRKT, A$AP FERG, Chet Faker, Childish Gambino), several features in fashion magazines (Vogue, Elle, Glamour, Nylon) and modeling for Levi's and H&M, she has been named an "artist to watch" by influential music publications (Rolling Stone, The New York Times, MTV) and a "style star" of the year 2014 by the fashion industry. After showcasing two tracks on recent Kitsuné compilations ("Goldmine" and "Turquoise" on Kitsuné Maison 15 and Kitsuné New Faces), Kish is collaborating again with the French label to release Across, a conceptual project chronicling her drive across America in August of 2013. Conceived as a real audio road trip, the EP presents eight inseparable tracks themed in self-exploration, progress, and the vulnerability of growing up interpreted. And because both Kitsuné and Kilo Kish have one foot in music and the other in fashion, a capsule collection designed by the artist in collaboration with the French brand and also travel-themed will be available in the Fall. Incidentally, she's also the ambassador of Maison Kitsuné's new Fall/Winter 2014 collection! Finally, Kish will be playing at a selection of Kitsuné shows around the world and plans to tour and host another installation for her photographs and art associated with this project.



GIASIRANIS, TASOS: Rhodes Experience: Selected by Tasos Giasiranis CD (KLTMP 003CD) 17.00
Limited first press comes in a box with postcards. Born in Rhodes Island, Greece, Tasos Giasiranis has always been one of the leading personalities promoting this amazing place. Apart from being a successful businessman, his passion for music and his great taste are things that can't go unnoticed. We have witnessed this in the past, getting lost in the magic of his compilations, all dedicated to his beloved birthplace. It's no secret he can create a unique atmosphere. Picking tracks from a wide range of electronica sounds and matching them with pictures of special parts of the island and the result could only be his alone. A whole summer contained in a compilation. Looking at each magnificent postcard and listening to each track that has been chosen as an escort, you have the feeling that you'll be able to feel the island, hear the island, smell the island, taste the island, live the island. Rhodes Experience is all these and more. Rhodes Experience is Rhodes in a box. Artists include: Billa Qause, Tokkoi, Dousk, Nosaj Thing (feat. Kazu Makino), Mikael Delta, Sillyboy, Ralph Myerz, Savvas, Ion, Sunset Blvd, Essay, Chris Nemmo, and Hiroshi Watanabe.



BAKER, SIMON: Plastik 2014 12" (KOM 313EP) 14.00
A veritable underground summer anthem back in 2007, Simon Baker's "Plastik" was the right track at the right time -- a deceptively simple cut that focused on its raw groove and slowly undulating synth riff, successfully rinsing off the minimal era's paradoxical obsession with excessive sound processing and what experts like to call the meandering beat gangrene. Fast forward to 2014 -- a good opportunity to reintroduce this remastered gem to a hungry crowd. This 12" features a stunning original, a 2014 mix, and the much-acclaimed, genre-defying remix by Todd Terje -- a classic in its own right.



ANJOU: Anjou CD (KRANK 185CD) 13.00
"The culmination of four years writing and editing, Anjou marks the ?rst collaboration between Labradford's Robert Donne and Mark Nelson since the release of that group's ?xed:context LP. Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture. Guitar, bass and Steven Hess' (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming. The product of twenty plus years of friendship, Anjou is re?ned and challenging. An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes ?rmly focusing on the future."



DARGE & GRAHAM LAMBKIN, MONIEK: Indian Soundies CD (KYE 031CD) 16.00
"Kye and Penultimate Press are very proud to present a collaborative release from Moniek Darge (Belgium) and Graham Lambkin (UK). 'I have always been interested in sounds in general. When reading and teaching about the futurists, I fully agreed that the sound of engines and machines could be as interesting as the sound produced by musical instruments. But not only industrial sounds fascinate me - I also find the sounds of nature very inspiring. What I love to do is make soundscapes, and I try to give an impression of a certain space. I am fascinated by a lot of so-called sacred places in the world, in ethnic cultures, but also in our own cities. I try to recall the atmosphere of such a place, the quietness, the subtle sounds, or simply what's happening. I started with places in Ghent, where I live, and little by little -- I have always loved to travel -- I began to think - hey, it would be nice to do the same thing at different places on earth. So I started to go to different countries with the purpose of making soundscapes. With our Logos Duo, ever since 1980, I was already travelling around the world to give concerts, and thus I already collected sounds from all continents. Lately I've been traveling to India and recording the sounds typical in certain regions. You will hear sounds of traffic, of religious ceremonies, of commercial music, mixed with merchant's voices, nature sounds. I asked my friend Graham Lambkin to join me in the creation of these Indian soundscapes. We had previously performed Tamil Nadu and an early version of Indian Weather Trap together in concert at Issue Project Room, NYC, 2011 alongside our friend Francoise Vanhecke. I further invited Graham to make his own Indian soundscape in his own style, using materials gathered online, to bring our CD to a close. So just sit back quietly and enjoy. Let's all travel together on the wings of sound.' - Moniek Darge. Indian Soundies arrives in a deluxe full-color 6 panel digipack, in a limited edition of 400 copies."



LEWIS: Romantic Times CD (LITA 123CD) 15.00
"Earlier this year (2014), we released the mysterious, bewitching L'Amour, a 1983 private press record thought to be the only release by one of music's true lost talents: Lewis. So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid. Deciding that Lewis' spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis. One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias -- or perhaps even his real name -- on the sleeve of a completely unknown album. Sourced soon after the re-release of L'Amour, Romantic Times is the 1985 follow-up to L'Amour -- and it's released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats. Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin 'Sipreano' Howes in Vancouver, BC. It's so rare that what is, at present, the only other known copy -- found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of L'Amour -- is presently soaring into quadruple digits on eBay. Even engineer Dan Lowe, credited for working on the album at Calgary's Thunder Road Studios, remembered little about the session other than that Lewis seemed to be 'under the influence'. Yet the music is utterly captivating. The album further fleshes out the Lewis myth -- we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. 'I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,' writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. 'This record went further [than L'Amour]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.' It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen."



"Yet another lover, not unknown to Ramona, enters the sacred halls of light again. Massimiliano Pagliara, originally from Lecce, Italy, now Berliner by choice, orchestrator of a warm bass line sound accompanied with rich melodies -­ due to a deep love for vintage drum machines and synthesizers -­ takes Ramona on a journey through the colorful depths of his new album With One Another -­ follow-up to his debut album Focus for Infinity (PLAYRJC 008CD/013LP), released in 2011. With One Another shares the joy of Massimiliano's trademark sound influenced by the underground disco of the '70s and new wave of the early '80s. Starting from this point, he took a handful of close friends along with him on a ride through his musical garden -­ reaching from Italo-induced disco-smashers over to acid-dripping floor-fillers to charming proto-house. Connoisseurs and pleasure-makers such as the mysterious Norwegian producer Telephones, primary rock and guru nd_baumecker, Mavin, dance music aficionado Lee Douglas, Credit 00 of Uncanny Valley fame and Ramona's darling Benedikt Frey contributed their devotion to sound to this bright piece of music. Ramona is as pleased as pleasure could only reach -­ all good things come in larger numbers!" --Ramona; Includes download code for the full digital album.



LOCO & JAM: A Pinch of Spice EP 12" (MBE 131EP) 12.50
Irish techno duo Loco & Jam return to MB Elektronics with their powerful three-tracker A Pinch of Spice EP. The boys are no strangers to top-notch techno and they prove it once again. Another storming EP showcasing three spicy diamonds, ready to siege every dancefloor's corner with endless amounts of energy. You have been warned.



BAILEY, MARCO: Railways 12" (MBRLTD 001EP) 12.50
Marco Bailey after 25 years of legacy is no stranger at all in the techno music industry. He is undoubtedly ?ne of the most important figures on and around the underground dancefloors with his label MB Elektronics being his flag. It was about time to spice things up with an even more underground label, for a bunch of quality limited releases that are going to set lot of dancefloors on fire. The debut release of MBR Limited is a single by none other than the label-boss Marco Bailey, including some top-class remixes by Mike Dehnert, Woo York and Dispar Vulgo.



KAWASAKI, TOSHIYA: I'm Starting to Feel Okay Vol. 6 - 10 Years Edition Pt. 2 2LP (MUSIQ 176LP) 29.00
Double LP version, part 2 of 2 in the sixth volume of the I'm Starting to Feel Okay series, featuring new and exclusive tracks from the Mule stable of releases. Compiled by label-mastermind Toshiya Kawasaki. Part 2 of the 2LP editions begins with a cosmic, disco-related tune by legendary Italian disco icon Daniele Baldelli and his compatriot Marco Dionigi, who spread some catchy deepness. Next is a house-leaning track by Amsterdam's Tom Trago followed shortly thereafter by a dark, futuristic roller from JD Twitch. Also featured Naum Gabo, the Glasgow-based duo consisting of Jonnie Wilkes and James Savage. Also includes tracks from Konstantin Sibold, The Backwoods, Eddie C, Lauer, and Gonno.


MC 005EP

DREEMS: In the Desert Remixes 12" (MC 005EP) 12.50
The psychedelic exoticism of Dreems' debut single, beautifully reworked by Axel Boman, Thomash, and the resident Multi Culti production team. The expansive soundscapes kick off with Multi Culti's extended dub of "We Shall Be Found," a meandering trip-out that strips back the original groove, adding layers of acid and percussion that stretch across 11 minutes of ego-less space. Axel Boman's remix of "In the Desert" follows up with rays of glowing warmth, building into an optimistic mid-tempo epic. Finally, label-compatriot Thomash transforms "With Shackles On" into a gentle, swaying, organic slow-burner anthem.

MC 007EP

CLARIAN: Ma Shiva 12" (MC 007EP) 12.50
Championed by the likes of Seth Troxler, Guy Gerber and Tiga, the former Footprintz member turned solo star has set his musical sights on the incense-filled Multi Culti chill-out room. Clarian continues a run of musically diverse, emotionally-resonant songs with this three-track EP. "Ma Shiva" is a mid-tempo pop ballad that takes as its refrain one of the most popular Hindu mantras. "Open Your Eyes" takes the tempo down even lower, into laid-back Talking Heads territory. "Dystopia" is a dragon-stick-juggling bazaar-ride of inner-exoticism. Invisible Conga People remixes the title-track.


MR 314CD

VA: Algo Salvaje: Untamed 60's Beat and Garage Nuggets from Spain Vol. 1 CD (MR 314CD) 17.50
Internationally labeled as "nuggets" (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock & roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe, which included anonymous musicians, independent record labels with impossible names, and ridiculously limited pressings, often not more than a few hundred copies. Much more important and influential than its level of exposure would suggest, this nuggets-type of music was insolent, proud and self-taught. The trigger of the phenomenon was, without a doubt, the concluding British Invasion to the U.S., which started in 1964: that collective youthful glare provoked by an unprecedented music event in which a number of English bands took up American music and regenerated it in their own personal way. All of them managed to open a big crack in the comfortable status of early '60s rock through which garage rock, in an incredible game of fascination and rage, started to pour freely. This new music, drawing from beat, rhythm & blues and the new psychedelic nuances that already flew over the rock scene, emerged gloriously as a coarse creature. Question Mark, The 13th Floor Elevators, The Remains, The Chocolate Watchband, Electric Prunes, The Seeds, The Standells, Kenny & The Casuals, The Sonics, Music Machine -- and hundreds more bands. They led the American answer to the British bands and they all reached truly fantastic heights, although any list of great names will be insufficient and unfair. Dazzled by that blinding light, thousands of bands appeared from all over the world, including Spain, of course. Few of the expected obstacles derived from the political and social situation in Spain under Franco seemed to matter to these bands. At their own pace and in their own way, and almost at the same time that it was happening on the other side of the Atlantic, the Spanish nuggets got into action and moved from the village music band to the yeh-yeh group. The cleverest teenagers noticed that there was something new in the air, and realized that such intoxicating music enabled them to display attitudes and words which didn't have any other way out in that anomalous society. The breeding ground was usually small labels and sometimes, not often, the bigger imprints would dare take a chance. In both cases, the nuggets-type tracks were always on the B-side of singles and EPs. It's worth it to note the unusual case of Los Brincos and their Beatlesque and thunderous debut "Dance the Pulga," a visionary piece which started the genre in 1964 with all the honors, and whose second 7", Flamenco, introduced one of the key contributions of Spanish garage: noisy approximations or versions of copla and flamenco songs. It was an obligatory and respectable settling of scores with genres of music that were tied to the past and to a model of authoritarian family whose foundations were starting to crack. And although the dotted map of the most prolific areas points towards the tourist sites of the Mediterranean coast, it was actually a global phenomenon which took place in any part of Spain. Coming, most of them, from a middle class background which was starting to consolidate, Spanish teenagers from the '60s employed the same musical models as their foreign colleagues, but their contribution was not only exemplary in many cases, but also specifically genuine. These Spanish Nuggets, an eternal unfinished business of our musical heritage waiting to be reissued, are finally celebrated here on this first volume of Algo Salvaje. Includes extensive notes by Vicente Fabuel, featuring all the original record sleeves and artist photos.



BATTLE TRANCE: Palace of Wind LP (NNA 073LP) 18.00
"Palace of Wind is a piece that not only transcends genres, but also transcends time and space. Existing in the cracks between contemporary classical music, avant-garde jazz, black metal, ambient, and world music, Palace of Wind is an album-length composition that pushes the four saxophonists to the limit, shedding new light on the saxophone as an ensemble instrument. The players use circular breathing to build continuous, hypnotic waves of sound; multiphonics layer to create intricate textures that seem to come from an ancient time; and blisteringly fast lines seem to liquefy into each other. Unorthodox articulations and unusual fingerings are also part of the vast sonic vocabulary that the members of Battle Trance have painstakingly mastered. However, Palace of Wind isn't merely concerned with demonstrating the virtuosity of the ensemble, nor with impressing or entertaining the listener. Instead, it is meant to be a portal of resonance where there is no separation between the listener and the sound. Since many of the techniques used in the piece are nearly impossible to notate in traditional form, Palace of Wind was transmitted via the oral tradition. The rehearsals were much like martial arts training: intricate sounds were rigorously copied and repeated by the ensemble members until they perfected the techniques. Many hours were spent building the sheer strength required to sustain continuous circular breathing for extended periods. Likewise, a steady focus on physicality was required to repeat rapid note patterns for long periods without sacrificing speed. Palace of Wind is such a demanding composition that there is a high risk of physically burning out before the piece concludes, as once it begins there is no opportunity for rest or even a quick drink of water. There was also extensive training in dissolving the distinct individual identities of the players into the greater collective sound: The band did various long-tone exercises, similar to group meditation, the purpose being to blend together into one sound, so that the origin of the collective sound's components is completely impossible to discern -- even by the members of the ensemble." Includes mp3 download code.



HRDVSION: Hrdvsionremixes 12" (HRDVISION 001EP) 14.00
Limited to 300 copies only. (Yes, this is the Britney Spears "Toxic" remix....) DJ support coming from Skream, Richy Ahmed, Mathew Jonson, Matt Tolfrey, Teki Latex, Nd_Baumecker, Deep Child, plus more. The "Call Me Maybe" remix was heard on Hrdvsion's recent mix for Skream on Radio 1.


OS 022LP

MARTIAL CANTEREL: Austerton LP (OS 022LP) 23.00
Much-needed re-issue of this privately released 2007 album. Martial Canterel's Sean McBride is the progenitor of American cold synth sounds of the 21st century. He began under the moniker Moravagine before he started releasing limited edition cassettes and playing Brooklyn dives as Martial Canterel in 2002. Since then, McBride's bleak intellectual exercises in the dark and danceable have flooded North America and Europe through the frosty fairwaves paved by Pieter Schoolwerth's Wierd Records. With an inimitable minimal style merging bright, urgent melodies ornamented and punctuated by the noises of industry and McBride's sonorous, stern vocals, Martial Canterel's earlier releases (You Today, Refuge Underneath) have garnered both critical acclaim and a rapidly growing rabid fan base. Sean is also one-half of the duo Xeno & Oaklander together with Miss Liz Wendelbo. The album Austerton consists of some of his earliest work recorded in 2003. The ten minimal synth songs on the LP are reminiscent of music by bands like Dark Day, Snowy Red, A Blaze Colour, League Of Nations, etc. Through the collision of a uniquely humanistic means of production via live analog synthcraft expertly paired with vocals and lyrics that reflect the pitfalls and pleasures of our age, Martial Canterel provides a visceral kick best felt on the dancefloor, amidst a flurry of flesh in motion.

OS 023LP

FROZEN DUCKS: Frozen Ducks LP (OS 023LP) 23.00
Frozen Ducks were the two brothers Hans Grauwen and Lex Grauwen. The short-lived duo had Hans behind the mic and playing synths, Lex also played synths and did the production of the tracks. The nine electro/new wave songs sound a lot like Tranquil Eyes' 1985 Walks album and this release can in many ways be seen as the accompanying release to that album. The line-up of the bands is almost the same, the bass and the overall production is just as deep, rich and poignant; only this time the drum patterns are more apparent and the sphere is much darker with lyrics about a troubling childhood and a vague view on what the future will bring. During the mid-'80s Hans & Lex produced 15 tracks of early electro/new wave songs of which only two ever got released. "Beginnings" and "Lost Freedom" were released on the legendary Dutch experimental compilations Contactdisc 4 and Contactdisc 5, which included bands such as X-Ray Pop, Twilight Ritual, Tranquil Eyes, Kapotte Muziek, and De Fabriek. All other tracks on this album are previously-unreleased and come from the vaults of Lex Grauwen. With much dedication and joy, these tracks have been unearthed and compiled into this posthumous album. A true pleasure to listen to and a must for every minimal synth, new wave and lo-fi Italo disco fan. Some words by Lex Grauwen: "Even though Hans and me had been recording since 1970, things didn't really start out until 1980, when the Korg MS-20 synthesizer entered my living-room. A living-room that would soon turn into a studio. A MFB 501 drum-machine was added, an Electro Harmonix Instant Replay sampler, bucket-brigade delays, chorus, flanger, phaser, reel-to-reel recorders, cassette-decks, a Portastudio, and of course, guitars, bass, sitar, and percussion. The tracks made were usually not destined to be Tranquil Eyes, Frozen Ducks or Cheiron. This usually depended on who came by and who was in the mood to sing. Hans was a steady visitor, who lived close by, so, he did a lot of the singing. I played all the instruments, often helped by friends such as Ruud Braumuller, and did the production. Not everything Hans and I recorded fell into the line of Frozen Ducks. We did different styles as well. Hans could do a fine falsetto, too, so we recorded some tracks leaning more towards 1960s psychedelia. That project was named Lemon Dust and is all unreleased. So, throughout the 80's and 90's we kept buying lots of equipment, recorded and re-recorded our material, until it slowly came to a halt. Of course there had been the Contactdisc releases, but there never was any feedback, no reviews, nothing." Frozen Ducks was never a band as such, they never performed. Hans was not the kind of guy to be on stage. Way too shy, introverted, troubled and burdened. The lyrics say it all.



DECOY WITH JOE MCPHEE: Spontaneous Combustion 2CD (ROKU 002CD) 16.50
Otoroku presents a new 2CD version of Spontaneous Combustion, here with an extra 78 minutes of music added to the original LP material. The original LP was listed in The Wire magazine's top jazz & improv releases of 2013. Recorded in October 2011, Spontaneous Combustion splits the second set of the first night of Decoy's two day residency with special guest Joe McPhee. Performed by: Alexander Hawkins (Hammond B3); John Edwards (double bass); Steve Noble (drums); Joe McPhee (pocket trumpet, alto sax).



OUBA: Ouba LP (OSR 026LP) 25.50
Canadian rarity from 1968, recorded under the influence of hallucinogenic substances by a bunch of underground musicians: Michel Pagliaro, Tony Roman, Denis Lepage and Andy Shorter. The album consists of just one long freak-out jam divided in two sides: raw basement sound, acid guitar, stoned vocals, keyboards and loud drums, similar to early Soft Machine, Pink Floyd at their most free-form phase, or Can. Newly-remastered sound, insert with photos and liner notes.



VA: Piccadilly Sunshine Part Nineteen: British Pop Psych and Other Flavours 1967-1971 CD (PART 4042CD) 17.00
Piccadilly Sunshine is a celebration of British pop caught in the glare of the psychedelic dream, featuring a plethora of rare pictorial delights with in-depth biographies of the artists within. This series offers a rare opportunity to sample a diverse and intriguing glimpse into a time that was and never shall be again. Presenting a colorful analysis of the '60s British pop underbelly, the latest volume offers an assortment of curios and pleasures for the inquisitive connoisseur. Artists include: The League, Bluejeans, Dreams, Alex Harvey, The Beatstalkers, The Merseys, Chocolate Watch Band, Cats Eyes, Californians, Group 2, King Bros, The Doggs, The Spectrum, John Hetherington, Les And Paul Barrett, Jerry Shore, Cardboard Orchestra, Troy, and Roy Hudd.


PP 006EP

KLINT, ANTON: Spritzer EP 12" (PP 006EP) 14.00
The sixth offering by Public Possession comes from Anton Klint. This is his first-ever solo production. While Part 01 is more pumping and dancefloor-orientated, on Part 02 Anton develops an epic guitar-driven flood of joy. Play this at the Riviera beaches and on the Côte d'Azur... you can be sure to have bottles pop open and blouses unbutton immediately.



PEVERELIST: Roll With the Punches (Kowton Linear Mix/Kowton Dub Mix) 12" (DRUNK 034EP) 12.50
Bristol legend Kowton (Pale Fire/Livity Sound/Hessle Audio) re-versions the original Bristol dubstep anthem "Roll With the Punches" by Peverelist in inimitable style for 2014. This 12" features two versions of the remix. The second version, the dub mix, is exclusive to the vinyl edition. This 12" is a sampler for the new Punch Drunk CD & digital compilation Worth the Weight Vol. 2 -- From the Edge.


PM 008EP

ALICANTE, ILARIO: V_Chronicles#3 EP 12" (PM 008EP) 15.50
Ilario Alicante is back again on Pushmaster Discs with a new bangin' EP, the V_Chronicles#3, featuring Tom Dicicco on the track "Unbalanced #1" and a massive, analog-infected remix from Mike Dehnert. Mastered and cut at Dubplates & Mastering, Berlin.


RI 004EP

GUMMIHZ: Raw Instinct Vol. 4 12" (RI 004EP) 12.50
Raw Instinct volume 4. A series of raw house tracks engineered for heavy DJ use. Three tight tracks inspired by '90s New York house music. Underground!


RW 101011CD

NURSE WITH WOUND/GRAHAM BOWERS: ExcitoToxicity CD (RW 101011CD) 20.00
The third studio album release from Nurse With Wound and Graham Bowers. ExcitoToxicity ... an excess of most things, both mentally and physically, although exciting and pleasurable, can easily accelerate and rapidly become toxic ... on a cellular level, deadly. We have thrown caution to the wind and gone overboard on the quality of the 8-panel digipak artwork design and packaging for this release ... why? ... Graham liked all of Steven's proposed paintings for the album ... so Steven decided we should feature them all ... on a heavy board in full gloss, on a matte background.



PIEETE, ANTON: Loner Remixes 12" (REJ 035EP) 12.50
Anton Pieete delivered one of 2013's summer club smashes with his Rejected anthem "Loner." With the original already having been a firm favorite for label boss Joris Voorn, its infectious vocal and big funky bass line helped create an audience favorite. For 2014, Rejected are revisiting and reworking the original and have drafted in Kabale Und Liebe to create his own vision of "Loner." Stripping away the disco-glitter of the original, he leads us on a deeper waltz, swept along by his own groove-heavy bass line and decorated with the original's spritely melody. Fellow Rejected boss Edwin Oosterwal gives "Loner" a classic '90s New York vibe.



BON, JACQUES: Two Hearts 12" (SMALL 039EP) 12.50
Jacques Bon opened the legendary Smallville Records in Paris in 2007. Since then, he has established an underground scene, frequently inviting favorite artists such as Omar S, Nina Kravitz, DJ Jus-Ed, Keith Worthy, Moomin, and DJ Koze, among many others. Bon is the French originator of what those people call the new generation of house music. With his first full 12" release Two Hearts, Jacques Bon connects knowledge with freedom and technology and creates a masterpiece of interstellar funk. From Paris with love.



MUSLIMGAUZE: Azzazin CD (MUSLIM 003CD) 17.00
2004 release. Shorter than many of Muslimgauze's 1990s albums -- 13 untitled songs over 45 minutes -- Azzazzin, originally released as part of the limited-edition subscription series, feels more like a collection of random experiments than a cohesive piece of work, per se. If not something that would intrigue the casual listener, the hardcore fan will likely find something of interest on the various tracks here. Starting with an extremely minimal opening number -- it's no surprise Finnish experimental duo Pan Sonic are Muslimgauze fans, based on this track -- Azzazzin has a much more electronic feeling than most of Bryn Jones' other albums, eschewing the traditional elements used elsewhere for a rough, quietly aggressive and disturbing feel. Comparisons with Aphex Twin aren't too far off the mark here, but this is still clearly a Muslimgauze release than any sort of rip-off. The fourth track, with its unpredictable keyboard snarls over a low, quiet pulse, and the sixth and seventh songs, with distorted, high-pitched noise tones mixed with a soft series of bass notes and a slight spoken-word interjection from time to time, are some of the strong points from this intriguing release. Beats are used in an extremely limited way throughout Azzazzin, with rhythm, always a key component of Jones' work, more suggested at points by the nature of the keyboard lines than anything else. Closing with an equally minimal track, Azzazzin won't be everyone's cup of tea, but adventuresome listeners will find themselves rewarded.


MUSLIMGAUZE: Sandtrafikar CD (MUSLIM 011CD) 17.00
2004 release. A gentler release than many in the limited edition subscription series, Sandtrafikar fits into the vein of such works as Zul'm and Drugsherpa, with a low-key propulsion balanced against generally downbeat, dark arrangements, all succeeding in conveying a sense of beauty and mystery mixed with a strange, slight dread. The opening title tracks complement each other well, and share similar elements such as a recurrent conversational sample and moody keyboards. The first has a more loping feel in terms of percussion, while the second is driven by a quick electronic beat; both use the bells which have appeared on so many other Muslimgauze recordings over the years. After the minute-long snippet, "God and I," the first "Baku Oil Field" ratchets up the brooding feeling even more: soft machine-like growls and wheezes rise from deep in the mix, with only an occasional bell and brief echoing samples of percussion and string instruments, calling to mind more familiar Muslimgauze works -- until a growth in general intensity at the end. It's quite wonderful, and the similarly-named track which follows continues that flow, with percussion added throughout. Following another brief track, Sandtrafikar concludes with "Remix by the Rootsman," which is indeed the UK dub/dance figure tackling the title song. He comes up with a rough, shuffling bass drone mix that fits in quite well, although he's not simply trying to ape Muslimgauze. It makes for a fine conclusion to one of Bryn Jones' best all-around efforts.


MUSLIMGAUZE: Jebel Tariq CD (MUSLIM 033CD) 17.00
2004 release. Jebel Tariq originally appeared in the middle of 2000 as Muslimlim 025, an MP3-only release. It was an extremely well-received release and has been much requested since. Here at last is the CD reissue of this excellent album. It has strong hand drum beats throughout but still maintains a very moody feel. It was undoubtedly these very elements that led Jeremy Keens to state it was "balanced between the ambient and beat sides" of Bryn's work. It goes beyond just these elements, though. There are whispered voices changing to strong ululations, frequent flute "samples" and then the bass. There are parts where the deep throb of the electric bass element gives a very dub feel and then there is the use of acoustic bass -- the latter something very unusual for Bryn, and it adds an almost jazz feel. All of this put together makes this another strong, almost unique release from the incomparable Muslimgauze.


SD 001LP

MCCALLUM, JON: Surf Nazis Must Die (Original 1987 Motion Picture Soundtrack) LP (SD 001LP) 26.00
"Strange Disc Records is proud to announce their debut release, the soundtrack to Surf Nazis Must Die. The film itself was released in 1987 by Troma Entertainment, but the soundtrack has never seen the light of day until now. Set in a post-apocalyptic future where Neo Nazi group, the Surf Nazis have taken control of the beaches and terrorize anyone who steps foot in their territory. Jon McCallum's score suits the post-apocalyptic setting with heavy synth; fans of Tangerine Dream and John Carpenter's scores will be at home on this record. McCallum is the composer behind Miami Connection, Terror Eyes and Soul Taker. Aside from his composing work he worked on the special effects for Phantasm 2 and George Harrison's 'Got My Mind Set On You,' music video. This limited edition LP is packaged in a deluxe gatefold tip on sleeve with extensive liner notes by composer Jon McCallum, Director Peter George, and various crew members."


SR 190CD

VA: An Anthology Of Noise & Electronic Music Volume 1 2CD (SR 190CD) 18.00
2014 repress. "Sub Rosa presents part 1 of a vast anthology of noise and electronic music to be released during the next years in seven volumes. An Anthology Of Noise & Electronic Music Vol. 1 begins in the 1920s, with the Russolo Brothers, and looks at each decade in turn -- Varése, Cage, Schaeffer, Xenakis, the great pioneers -- and shows the first traces of a music that was necessarily revolutionary: electronic music, created from nothing (and hence to be entirely invented). Some pieces on these CDs are certainly classics, but there are others, which, though old, were distributed informally or never even released. The more contemporary pieces are, wherever possible, previously unreleased. In fact, more than the half of what we listen here is unreleased and unpublished. This 2xCD comes as a Digipak with 24 page booklet." Artists include: Luigi & Antonio Russolo, Walter Ruttman, Pierre Schaeffer, Henri Pousseur, Gordon Mumma, Angus Maclise, Tony Conrad & John Cale, Philip Jeck, Otomo Yoshihide & Martin Tétreault, Survival Research Laboratories, Einsturzende Neubauten, Konrad Boehmer, Nam June Paik, John Cage, Sonic Youth, Edgard Varése, Iannis Xenakis, Paul D. Miller aka DJ Spooky That Subliminal Kid, Pauline Oliveros, Ryoji Ikeda.

SR 290CD

VA: An Anthology Of Noise & Electronic Music Volume 6 2CD (SR 290CD) 18.00
2014 repress. Sub Rosa presents the sixth volume and penultimate installment of the highly-acclaimed and successful Anthology Of Noise & Electronic Music series. As usual, it culls old historical pieces, little-known gems, and even a few previously-unreleased tracks from the greatest Japanoise bands, a few representatives of the younger generations (from all around the world), and some rare tracks from the '80s, and it all ends with a lull that lets transpire what may be felt as a kind of indefinable mystery. The avant-garde ushered in the possibility of a new music, then it scattered into small communities whose best-known protagonists are totally unknown to people outside that particular circle. We are facing this fragmentation, and one form of avant-garde ends up scattered into several (not exclusively musical) forms. It is not in avant-garde's nature to create one elementary form for each individual. Other phrases used include "forays," "breakthroughs," "pushing the envelope," and then, of course, "going too far." Tracks on this sixth volume comprise more than 2 1/2 hours of music, with many rare and unpublished tracks. Housed in a 2CD digipack sleeve, including a 52-page booklet full of notes and biographical info. Artists include: Tetsuo Furudate, Stephen O' Malley (Sunn O)))), Pain Jerk, Z'ev, Hijokaidan, John Duncan, Manuel Rocha Iturbide, Robert Piotrowicz, Incapacitants, Sachiko M, Torturing Nurse, Israël Martinez, Ata Ebtekar/Sote, Daniel Menche, John Wiese, Joseph Nechvatal, Henry Cowell, Pain Barrier, Julie Rousse, Dick Raaymakers, Ultraphonist, Tzvi Avni, Else Marie Pade, ILIOS, Bird Palace/Cristian Vogel + Pablo Palacio, and Stummer + Liesl Ujvary.

SR 361LP

CAGE, JOHN: Early Electronic and Tape Music LP (SR 361LP) 15.50
LP version. Black vinyl repress. "I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." --John Cage, 1937."Although John Cage occasionally worked in large, sophisticated studios -- for example, when he composed 'Fontana Mix' in 1958 -- his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century. Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realization of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realization of 'Fontana Mix' includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited." --Robert Worby, Langham Research Centre

SR 374LP

MARTIRANO, SALVATORE: The SalMar Construction LP (SR 374LP) 15.50
The SalMar Construction is an amazing large music synthesis engine conceived and constructed in the early 1970s by a composer for use by a composer. These unreleased recordings were made at IRCAM in Paris in 1983, illustrating the power that an electronic composition can achieve when the composer arrives at a true synergy with his synthesizer. This LP represents a significant performance by Salvatore Martirano (1927-1995) on his unique instrument, the SalMar Construction. Under development from the late 1960s, the SalMar is believed to be the first interactive "composing machine," with digital logic circuits at its heart. When you listen to this recorded performance of Sal Martirano playing his "Construction," you experience such mastery. The instrument under his command does his bidding, and what you hear are compositions, not jams. In 1963, Martirano joined the Theory and Composition Department at the University of Illinois, where he remained on the faculty until his retirement and death in 1995. Many of Martirano's early works incorporate twelve-tone compositional techniques as well as jazz, vernacular, and multimedia idioms. His best-known composition, "L's GA" ("Lincoln's Gettysburg Address"), was widely performed in the late 1960s and early 1970s and became associated with the anti-war movement. In 1969, Salvatore Martirano along with a group of engineers and musicians at the University of Illinois began work on the design and construction of a musical electronic instrument: the SalMar Construction. First limited edition: clear & silver mixed vinyl.

SR 376LP

VA: Everything Is Shit: Punk in Brussels 1977-79 LP (SR 376LP) 15.50
Repressed; LP version. An incredible energy took over Brussels at the onset of the '80s. It is a strange and rare feeling when you tell yourself that something is happening. And it always happens through an accumulation of very small facts. Then, suddenly, it is there. This collection basically attempts to capture this emerging will. But before that, there was punk rock. In Brussels, it started with a handful of venues, improvised concerts, a few dozens of people recognizing each other, and a festival that gathered everyone together: the first Belgian Punk Contest, at the Vieux Saint-Job, on March 18, 1978. Although the influences came from up north -- The Sex Pistols, The Clash, The Buzzcocks, Crass, essentially -- there were also ties and influences from Paris (Asphalt Jungle, Métal Urbain), and Phallus Band, Streets, and H2SO4, who were all also singing in French. The adventure began in the winter of 1976, and the following two years would yield most of the material. Since these bands had very short life-spans, there were a lot of interactions (Chainsaw, X-Pulsion, Streets), while other configurations gave birth to key bands of the next decade: Digital Dance (out of X-Pulsion and Thrills), Snowy Red (from Chainsaw), The Names (The Passengers), and Pseudocode (from Thrills). Other artists in this collection include: Mad Virgins, Terminal Stupid, Isabelle et les Nics-Nacs, The Actors, and Raxola. Features 18 tracks (from the 32-track CD).



RDG & HITMAN: Mercenary Ship EP 12" (SUBALT 006EP) 12.50
Danish mastermind RDG teams up with Hitman to deliver three classic yet innovative sounding takes on bass music. In the title track, RDG and Hitman dig deep in the crates of the original dubstep sound, keeping the tension high through a dark and eerie atmosphere and skittering drum fills. Skillfully crafted by RDG, "Space Age" is full of syncopated claps and snares over a driving subbass line and owlish synths, an off-kilter exploration of the classic 140 sound. American bass baron AxH (Tempa, TubaNYC , Sub.Mission) delivers an exciting remix of "Mercenary Ship."


SV 041CD

FONTAINE, BRIGITTE: Brigitte Fontaine Est... Folle CD (SV 041CD) 19.00
"French poet and chameleonic vocalist Brigitte Fontaine's career spans over four decades. Only a few years before her 1968 debut, Brigitte Fontaine Est?Folle, she moved to Paris to become an actress and took her prodigiously mature voice into the studio. Rich in the drama she brought to theater, Fontaine synthesized chanson (French pop song) and world music, which eventually won her international acclaim as a performer and collaborator with a variety of artists from around the world (Art Ensemble of Chicago, Sonic Youth and Stereolab, to name just a few). On Est?Folle, Fontaine takes flight over conductor Jean Claude Vannier's brilliant arrangements. Vannier, best known for his work on Serge Gainsbourg's Histoire De Melody Nelson, is in fine form, using what would become his trademark stylings: lush strings, taut rhythms culled from across the globe and a healthy dose of whimsy. 'Il Pleut' swings from understatement to rapturous delight. 'Une Fois Mais Pas Deux' is an infectious pop song that could have been culled from a French New Wave soundtrack. Fontaine is adventurous and multi-dimensional with sophisticated lyrics, poignant melodies and enthralling delivery. Such artful handling of meter and rhyme (or lack thereof) is rare in pop song. Far from the era's yé-yé phenomenon, but never fully removed from its traditions, Est...Folle is an essential link in French pop music, exuberantly pushing the genre into more conceptual and experimental sounds."

SV 041LP

FONTAINE, BRIGITTE: Brigitte Fontaine Est... Folle LP (SV 041LP) 20.00
Gatefold LP version.

SV 042CD

FONTAINE, BRIGITTE: Comme à la Radio CD (SV 042CD) 19.00
"Featuring Areski Belkacem and Art Ensemble of Chicago, Comme à la Radio is the sophomore album in Brigitte Fontaine's prolific career. While her debut, Brigitte Fontaine Est...Folle, is a unique take on French chanson, here the Art Ensemble provides the perfect setting for Fontaine's exploration of free-verse poetry. Often arrhythmic and spoken, her vocals command the same spontaneity and grace that her collaborators applied to their instruments. The album's eight-minute title track sets the tone: a sparse bass line keeps time as Fontaine dances around stabs of flute and trumpet. On 'Tanka II,' named for a form of concise Japanese poetry, Areski (who provides percussion throughout) plays hand-drums atop flurries of bass as Fontaine coos and whispers pensively, gradually uttering controversial phrases. 'L'Été L'Été' centers around a repeated motif with individual lines of high-pitched melody on a bed of muted horns. Each track is its own world, with Fontaine's incredible range, both in style and substance, acting as the glue between the immense talent involved. The overall effect is chilling, and it is no surprise that Comme à la Radio is often cited as Fontaine's best known work."



VA: Zambia Roadside: Music from Southern Province CD (SWP 019CD) 15.50
2003 release. Off to the sides of the main road between Livingstone and Lusaka, Zambia's Southern Province is vibrant with a large diversity of music -- topical songs, unique guitar styles (often with self-made guitars), catchy tunes and rhythms, beautiful harmony singing, and some nice drumming! The roadside reality -- the state of music as it is. And it is the hands of wonderful individualistic musicians, in this relatively unknown part of Africa, who deserve a wider audience. Relaxed field recordings by Michael Baird made in 1996 and 2002. Includes a 20-page booklet.


TRACEY, HUGH: The Nguni Sound: South Africa & Swaziland 1955, '57, '58 CD (SWP 020CD) 15.50
2003 release. By "the Nguni" is meant the peoples along the SE coast of Africa, who are known as Xhosa, Zulu, Swati. On this album we hear traditional unaccompanied groups singing with great vocal power, strength of melody, richness of harmony, and intimate songs with music bows -- this is roots music, and these are the most authentic recordings of it. There are also some examples of Western instruments readily adopted, creatively, but still with a definite Nguni sound, and the seemingly natural step to their own jazz style. Historical recordings by Hugh Tracey. Includes a 24-page booklet.


TRACEY, HUGH: Southern Mozambique: Portuguese East Africa 1943, '49, '54, '55, '57, '63 CD (SWP 021CD) 15.50
2003 release. Mozambique is the longest country in Africa, and has a correspondingly wide range of cultures and music. The area below the Zambezi River is generally referred to as "Southern Mozambique." Sit back and be amazed by this musical richness represented here by seven peoples: with xylophones, drums, mbiras, singing horns, reedpipes, vocals -- and young girls playing ocarinas as if in a dream. Historical recordings by Hugh Tracey. Includes a 20-page booklet.


TRACEY, HUGH: Tanzania Instruments: Tanganyika 1950 CD (SWP 022CD) 15.50
2003 release. Features master-musicians playing some of the many instruments that were to be found in this large country, in both instrumental tunes and in accompaniment of songs. The dark rumblings of the nanga trough zither, sparkling likembe notes, deep drumming, flute laments, panpipes -- from the northwestern corner near Lake Victoria to the musical melting pot of Zanzibar. A journey of highlights only. Historical recordings by Hugh Tracey. Includes a 20-page booklet.


TRACEY, HUGH: Tanzania Vocals: Tanganyika 1950 CD (SWP 023CD) 15.50
2003 release. This CD is a selection of largely a cappella performances, sometimes with clapping, stamping and small percussion, recorded by Hugh Tracey. Listen to more than 600 Chagga men and women chant on the southern slopes of Mt. Meru, hear timeless praise songs by the Gogo, humorous songs by the Nyamwezi, lyrical wigasha dance songs by the Sukuma, and the unmistakable Maasai chanting. Vocals straight from the heart by peoples without any kind of identity crisis. Includes a 20-page booklet.


TRACEY, HUGH: Secular Music from Uganda 1950 & 1952 CD (SWP 024CD) 15.50
2003 release. Twinned with SWP Records' album of Ugandan court music SWP 008, this CD features music by the people for the people, for their own enjoyment -- secular, worldly music free of any court constraints. Likembes, harps, horn ensembles, flutes, etc. Become a convert to the lyrics of the opening track: "All things in nature love each other, the lips love the teeth, the beard loves the chin, and all the little ants go br-r-r-r together!" Historical recordings by Hugh Tracey. Includes a 16-page booklet.


TRACEY, HUGH: Forgotten Guitars from Mozambique: Portuguese East Africa 1955, '56, '57 CD (SWP 025CD) 15.50
2003 release. Aside from Katanga in the Congo and the Zambian Copperbelt, southern Mozambique also developed its own distinctive guitar sound in the '50s -- the roots of marrabenta. Listen to the enigmatic Feliciano Gomes sing about the problems of getting children, the promiscuity of women, snobbism, jealousy, the supernatural, enjoy Aurelio Kowano's virtuoso rhythm guitar playing, and others -- now no longer forgotten. Historical recordings by Hugh Tracey. Includes a 20-page booklet.


SIBANDA, GEORGE: The Legendary George Sibanda: Southern Rhodesia 1948, '49, '50, '52 CD (SWP 026CD) 15.50
2004 release. Singer/songwriter/guitarist George Sibanda from Bulawayo, Zimbabwe, was in effect sub-Saharan Africa's first music star, discovered by Hugh Tracey in 1948. Alas, he could not cope with fame and fortune and had drunk himself to death by the end of the '50s. A legendary figure, here finally is his exceptional guitar-picking coupled with his generous voice and happy-go-lucky songs. This wonderful collection of recordings by Hugh Tracey comprises 24 tracks, including the worldwide hit "Guabi Guabi." Includes a 16-page booklet.


VA: Zambush Vol. 1: Zambian Hits from the 80s CD (SWP 027CD) 15.50
2004 release. The electric music from Zaire and Zimbabwe from the '80s may be well-known in the West, the music from Zambia is not. Musically, there is no good reason for this. Zambia had always had a vibrant and diversified music scene, and during the '80s yet another new musical era emerged -- the kalindula years. The true meaning of the era is that rural dance music from all over Zambia went electric and these songs became the big hits of the time: Zambian popular music had finally become roots music! So put yourself in a dancing frame of mind and let yourself be zambushed. Includes a 20-page booklet.


VA: Zambush Vol. 2: Zambian Hits from the 60s and 70s CD (SWP 028CD) 15.50
2005 release. Three Zambian legends: the sophisticated group The Big Gold Six featuring the jazzy guitar of Bestin Mwanza, the sweet singer from the province Emmanuel Mulemena, and the cosmopolitan Nashil Pichen Kazembe. Now we can finally hear how they sounded -- and what we hear are three different great vocal sounds and three different great guitar sounds that could only have come from Zambia. So once again, put yourself in a dancing mode and let yourself be zambushed by this beautiful music! Includes a 24-page booklet.



FAR OUT RADIO SYSTEMS: Far Out Radio Systems, Vol. 1 12" (TBZ 001EP) 14.50
Tanzbar Records presents their first release, a vinyl-only two tracker with music from Far Out Radio Systems, which is the techno moniker of Kiani & His Legion. First up is "Darwin," a no-nonsense dancefloor track with hard-hitting kick drums and menacing percussion. On the flip, we have the post-apocalyptic rhythm track "Empty the Tanks (A New Trance Is Here)" with a Garnier-like sub-bass and emotive strings. Both tracks showcase the new musical territories Tanzbar Records wants to venture into: a techno sound that lays somewhere between big rooms and basements, with elements reminiscent of '90's acid, second wave techno and early trance.


WIRE 368

WIRE, THE: #368 October 2014 MAG (WIRE 368) 9.50
"On the cover: Robert Fripp (The King Crimson guitarist talks to Mike Barnes about the ongoing saga of the reformed group and the legacy of their vast archives). Inside the issue: Bruce Lacey (Shaped in the crucible of 1960s London, this master inventor's films, music and curious constructions still play by their own rules); Pharmakon (Margaret Chardiet's miseducation in the New York noise scene has birthed an album of visceral electronic music); Cross Platform: Adam Bohman (The detritus of everyday life inspires the surreal sonic and visual collages of the London artist); Invisible Jukebox: Grumbling Fur (The psychedelic duo seek a portal into The Wire's mystery record selection); Gazelle Twin (Elizabeth Bernholz spills her guts about new album Unflesh); Jeremiah Cymerman (The New York improviser keeps conversation flowing with his 5049 podcast); Mdou Moctar (The Tuareg singer and guitarist adds film star to his CV); Global Ear: Darmstadt."



VA: New Jack Tribal 12" (TURBO 161EP) 12.50
Turbo explores the future primitive with New Jack Tribal. First installment in this new series comes courtesy of emerging Canadian talent: Clarian, Hreno, Mike Mind and label A&R Thomas Von Party. Bridging the gap between the psychedelic world-beat of newly launched sister-label Multi Culti and Turbo's forward-looking techno and house stylings, these four tracks offer distinct yet consistently straightforward takes on the tribal trance-out.


CLARIAN: Road to Recovery EP 12" (TURBO 162EP) 14.50
Montreal's Clarian drops his first EP on Turbo, backed by remixes from Iron Galaxy and Sei A. Drawing influence from the bittersweet, emotive sounds of deep, post-Burial UK house, "Road to Recovery" shimmers with romance and nostalgia, a rare case of hauntingly beautiful, yet easily playable dance music. The warm textures and ambient backdrop are just as rich on "Who Are They to Judge Us," which adds skillfully-cut vocals that speak to the producer's sensitivity. Sei A's remix of "Road to Recovery" toughena up the beats to turn it into a club weapon. Iron Galaxy shows off analog wizardry with his remix of "Who Are They to Judge Us."


VA: ...I Care Because You Don't 12" (TURBO 163EP) 12.50
12" sampler from awesome Clouds-curated compilation of hardcore Scottish hooligan techno. Heir apparent to the UK techno throne, Clouds have been gaining credibility with each release. Their lead track "Blood Skating" is an industrial blitz of terror-beats, laced with a haunting, Aphex-grade vocal pad. It sets the tone for this incredible release, which they've A&R'd out of thin air. This 12" sampler features DJ Hesburger's "Roll Up Your Sleeves, Welcome to the Dance," an awesome slice of overdriven acid electro that sounds like MPIA3 on MDMA. Jane's "Fuck Your Alliance" is proper mental braindance, while Dance Company's "Berzerkerz" sounds like an unearthed hardcore anthem from '92.


DUMONT, DUKE: For Club Play Only 3 12" (TURBO 165EP) 12.50
Duke Dumont returns to Turbo with this third installment of For Club Play Only, a return to stripped-down party bombs with just enough hook to make the tracks unforgettable. "Slow Dance" is a guaranteed floor-filler built from a killer bass line, sexy vocal sample, crisp drums and a wiggly acid outro. "Mumble Man" is another infectious, instantly-gratifying hand-raiser, and possibly the best scat track since Scatman John. "Nicht Vor Mitternacht" sees the Duke flexing his EDM muscles, foregoing vocals for total synth domination. Finally, "Drumapella" is a dope DJ tool, a functional weapon to layer in the mix or leave in its sparse, banging glory.


VA 058EP

CLOCKWORK & AVATISM: Conducting the Method 12" (VA 058EP) 14.00
"After months in the studio drinking nothing but amaretto and working on new music, our new live experiment (now simply called CW/A) was ready. Conducting the Method is nothing other than a sample of what this new project is about: a collection of three excerpts taken from this year's performances. To round things off, we invited over our friends Dead Heat for a reinterpretation of one of our tracks. We can state with confidence that we are excited these tracks are no longer confined to our club and festival performances and can't wait for everyone to hear them." --Clockwork & Avatism



ELIA Y ELIZABETH: La Onda de Elia y Elizabeth CD (VAMPI 160CD) 16.50
The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medellín which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medellín. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogotá, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.



NICK THE RECORD: Under the Influence Volume Four: A Collection of Rare Soul & Disco 2CD (ZEDD 032CD) 17.00
Following on from the phenomenal success of the Italo House and Remixed with Love compilation plus more Joey Negro-compiled albums including GoGo Get Down, Backstreet Brit Funk, Destination Boogie and the ever-popular Soul of Disco series, Z Records continues to release high-quality compilations filled with lesser-known disco, funk and boogie. Now it's the return of the highly-regarded Under the Influence series with volume four compiled by Nick The Record. "My whole life has revolved around records. I was buying hip-hop and house in the '80s as it was released and I got heavily into tracing the steps back through breaks and sample sources that were used in hip-hop records. I also joined the dots between disco & modern club & house music & spread my music explorations from rare groove to rare disco. There were very few people interested in this vein of music history at the time & even fewer as obsessed as me, so when the re-emergence of disco exploded, I was well ahead of the curve, not only in collecting but historical knowledge. The best thing about record collecting is it never ends, and after 35 years of buying, after 25 years of selling & playing records, there is still old stuff to discover & new releases to endeavor to keep up with. So as something of an expert in all things disco I get quite a few offers to release compilations, but as a record obsessive, my natural hoarding mentality makes me cautious to give up the goods. As anyone who's been aware of my record-selling web site over the last 10 years and my paper sales lists (now that's old school) for more than 10 years preceding, I could easily put together a compilation of the rarest disco & boogie 12"s, and there are, of course, some of those included, but I wanted to share more than that here. I feel this Under the Influence series offers the chance to put together a more personal comp, which reflects the many different flavors of my taste & my collection & gives you a feel of my DJ style at the same time." --Nick The Record, May 2014

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