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Forced Exposure New Releases for 11/17/2014

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New music is due from Loscil, Sote, Jon Mueller and Duane Pitre, Keiko Harada, and while old music is due from Julee Cruise, Jon Hassell and Brian Eno, Faust, and Scientist.


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50WXTR 003EP

BAMBOUNOU: Feel Like This/Onto This 12" (50WXTR 003EP) 14.00
50 Weapons proudly presents two stripped-back club tracks by Bambounou, the main man for dancefloor euphoria. "Feel Like This" is built around a hypnotizing vocal sample with hi-hats sharp enough to cut a hole right through your brain cells to activate your dance-nerves. "Onto This" sees Bambounou unleash his talents in a very NY-esque way, with those sharp skippy hats that are definitely drawing on UK garage and one of the grooviest organs heard since "Kaoz on King Street." Both tracks will definitely reap lots of support, from Panorama Bar to the beaches of Croatia and back to Paris.


AUS 1469EP

HUXLEY: Give 2 U 12" (AUS 1469EP) 14.00
Give 2 U is the second single from Huxley's debut LP Blurred. It features FEMME (Eckoclick with Crewdson) on vocals and Will Saul and Komon on remix duties. For "Give 2 U," Huxley ditches the 4:4 and delves into his rave past with a powerful breakbeat groove that underpins FEMME's stirring vocals alongside gentle, bending melodies. For his "Club Rub," Huxley returns to house, combining guttural, dark garage bass with the original's blissed-out keys and vocals. Aus Music boss Will Saul teams up with Komon for the second remix and delivers a slowly-unfurling and heady percussive cut.

AUS 1471EP

READ, GERRY: 3, 2, 1 12" (AUS 1471EP) 14.00
Suffolk-based aberrant youngster Gerry Read expands on a back catalog that's touched Ramp Recordings sub-label Fourth Wave, Delsin, and 2nd Drop Records with "3, 2, 1." It's a typically deranged meld of kitchen percussion, 909 drums, and distant flecks of color backed up with a deliciously splintered remix from Border Community mainstay Nathan Fake. The title track wades through the mire, gathering frazzled sine signals and synth blobs along the way. "Cosmoid" pins shimmering melodies and off-kilter samples under a tight, persistent groove before Nathan Fake weighs in with loose, restless drum patterns and a healthy measure of plaintive melody.



AMIDON, SAM: All Is Well LP (HVALUR 004LP) 14.50
2014 repress on vinyl, originally released 2008. LP version. Valgeir Sigurðsson's Bedroom Community label welcomes the second release from U.S. newcomer, Sam Amidon. At Sigurðsson's state-of-the-art Greenhouse Studios, Sam was left to concentrate on his intuitive interpretations of age-old folk-songs, a skill on which he proves himself to be a unique talent, drawing simultaneously on his experiences growing up a child of folk musicians in Vermont, and his more recent work in New York with the experimental indie-rock bands Doveman and Stars Like Fleas. From the opening notes of the first track, "Sugar Baby," it's as clear that All Is Well is a different album from his previous offerings, and by the album centerpiece, the wistfully poignant "Saro," it's obvious that this album is very special, indeed. With horns erupting and dissipating around the listener, Amidon's trademark delivery is perfectly offset by the tenderly plucked notes of his six-string. Nico Muhly's orchestration is not the only addition to Amidon's barrel of sounds. A dizzying amalgam of trombone, Eyvind Kang's ghostly viola, and processed percussion convert a children's singing game from the Georgia Sea Islands into the ominous ambiguity of "Little Johnny Brown." The distinctive bass of Ben Frost is evident on the pensive "Fall on My Knees," while subtle layers of electronics add an intrinsically modern aspect to the proceedings. Couple this with Sigurðsson's production wizardry and you'll realize that despite links to the Appalachian folk music of the past, All Is Well is an album that could only exist in the present. One of the unquestionable triumphs of All Is Well is its diversity. From introspective ballads of jealousy such as "Wild Bill Jones" to upbeat barn-dancing ditties such as "Little Satchel," the structure of the album is paramount in making everything work so naturally. Sam leaves the listener with a feeling of resolution parallel to that of a keen reader thumbing the last page of a favorite novel. He sings of death's spindly fingers finding him, a prospect he handles with no trepidation -- for he has Muhly's flourishing string arrangements to give him courage and form a stable bed for his tender lyricisms. In the length of an album, Amidon has struggled through gunfights, paternal tensions, religious guilt and the lonely life of a nomad, but he leaves us with the message that "all is well"; a defining statement that is bound to warm the hearts of even the coldest gun-slinger.



WEAVER, JANE: The Silver Globe CD (EGGS 019CD) 17.00
Like all good parables, Jane Weaver's sixth solo album, a concept album called The Silver Globe, is as multifaceted as it is beguiling. Part coming of age/part cautionary tale and part romantic peon, this 12-track synth-ridden post-apocalyptic prog-pop opus is based on tightly embroidered, non-linear recurring themes and inspired by esoteric stories, cosmic imagery and refiltered past experiences. Written from the optimistic vantage of a long-standing female independent artist, in a desperately-evolving industry, Jane's latest set of self-penned pop abstractions combine mechanical rock/recycled European cinema/empyrean vocalizations and an arsenal of rescued vintage synths to create a futurist narrative backdrop of an allegorical post-apocalyptic landscape. Assembled from disparate studio sessions recorded sporadically since the release of the critically-acclaimed Fallen by Watchbird (BMS 022CD) LP, The Silver Globe explores new collaborative relationships featuring tracks co-produced by David Holmes, guest appearances by Australian vintage space-rockers Cybotron, a recycled chunk of an '80s Hawkwind track, an intricate Damon Gough guitar solo, some Suzanne Ciani waves and post-production/remix flourishes by Andy Votel. Enjoying her most fertile period to date, Jane's reactions to the music of Italian synth stars Daniela Casa and Doris Norton with local DIY artists like Una Baines' The Fates (released on her own Bird imprint) provide yet another launch pad for Jane's latest musical trajectories. Paying homage in title to the troublesome Andrzej Zulawski (Possession) film of the same title, and combining influences from a wide range of lost pop and cinematic obscurities, Jane's new album uses the motif of a distant, mythical, impenetrable silver planet which eventually reveals itself to be a simple reflection of the beholder's own souls. Loosely metaphorical in its content, The Silver Globe witnesses Jane's commitment to self-pressed, conceptual pop music reach its next logical progression without compromising her natural skills as a talented, melodic song-writer preserving pop vaudeville over pre-packed vacuity.


WEAVER, JANE: The Silver Globe LP (EGGS 019LP) 25.00
LP version.



MIRROR: Trial EP 12" (BLNK 006EP) 16.00
"Collaborations between Eugene Ward -- aka Dro Carey, Tuff Sherm -- and Sam 'Blank Mind' Purcell."



DEADBEAT: LPs 2002-2005 6LP BOX (BLKRTZ 011LP) 100.00
Deadbeat reissues the 2002-2005 albums in a deluxe vinyl box set. Featuring three classic albums that introduced his intimate brand of dub-techno to the world. "Ever since launching his production career at the turn of the century, dub-techno auteur Scott Monteith has been nothing if not deeply prolific. The Canadian-born, Berlin-based producer's nine Deadbeat albums and nearly two-dozen singles represent one of most prolific and consistently rewarding catalogs in the 21st century electronic music canon. Continuing the reissue campaign of his early output that began with 2001's Primordia (BLKRTZ 006CD/LP), Monteith's BLKRTZ imprint now releases a massive 6-vinyl box set of his most iconic Montreal albums: 2002's Wild Life Documentaries, 2004's Something Borrowed, Something Blue, and 2005's New World Observer. Taken together, these three Montreal albums capture the Deadbeat project at its most contemplative and intimate, as far from the club speakers as it would ever get and tuned inward instead. Released a year after moving to Montreal, the roots-reggae revisionisms of Wild Life Documentaries proved to be Monteith's international calling-card. The album pitted the Montreal producer alongside contemporaries such as Jan Jelinek and Kit Clayton. Two years later, Monteith returned with Something Borrowed, Something Blue, the most introspective album of the entire Deadbeat catalog, and also the album from this early period to attain the most critical acclaim. Monteith quickly turned the corner and released the bristling, politically-charged New World Observer album in 2005. A year later, the producer would make the move to Berlin, joining a generation of Canadian producers who'd launched careers to become frustrated with the limited growth potentials of the North American market at the time. Whereas his most recent BLKRTZ albums have been defined by Berlin's ever-morphing club culture, these long out-of-print early albums that first elevated the Deadbeat moniker to international recognition are reflective of another time, another place, and ultimately another context than the one familiar to a new generation of electronic-music listeners. There's a degree of depth and texture to these recordings that simply bypasses any notion of minimalism that was all the rage in discussions of the meeting ground between Kingston's dub low-ends and Berlin's fin-de-siècle avant-garde electronics. Looping repetitions swirling out ad infinitum are simply not part of the Deadbeat aesthetic at this juncture. Instead, the listener finds an inordinate amount of attention being placed on narrative and musical storytelling. These albums are dubby, yes, and not quite techno at all. There are refractions of Krush, Vibert, and Vadim-like trip-hop pacing at work here. There's the moodiness and syncopation of Warp-era IDM at work here, too. Micro-house collage techniques emerge in the sampling. All of this is to say that, in hindsight, the Deadbeat at work on these three albums is a synthesist, not a purist. His vision of dub-techno was less keen on sonic formula and more open to narrative concept than the standards set by the pioneering dub-techno of the mid- to late-'90s. Removed from the timeline that defined them within the footsteps of dub techno, listeners shouldn't be surprised if they hear something altogether different at work here." --Dmitri Nasrallah


BB 182LP

FAUST: Just Us LP+CD (BB 182LP) 25.50
LP version. Includes full album on CD. Faust for all. The Krautrock legends lay down the musical foundations for everyone else to make something of their own. "j US t" -- pronounced "Just Us" -- is the new album from legendary Hamburg band, Faust. Founding members Jean-Hervé Peron and Zappi Diermaier have laid down 12 musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. While Diermaier largely remains true to his habitual handiwork -- drums and percussion --Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like "nur nous" and "ich bin ein pavian" show that Faust have lost none of their predilection for avant-garde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions ("cavaquinho," "gammes"). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage. The history of the band: "There is no group more mythical than Faust." Thus wrote English musician and eccentric Julian Cope. Which says it all really, neither the habitus nor the music of the Hamburg group was easy to grasp. While some lauded Faust as the best thing that ever happened to rock, others dismissed them as shameless dilettantes. Their collage of Dadaism, avant garde rock and free improvisation radically divided opinion. When the first LP was unleashed on the world in 1971, Faust were very much the prophet in their own land, as the saying goes: few were interested in listening to their music -- in Germany. Not so across the Channel: this is where Faust's career really kickstarted. These monoliths of avant-garde rock sold 100,000 copies of their album The Faust Tapes. More than 40 years after their debut, Faust have come up with another archetypical album: inspiring, innovative, unpredictable, crossing boundaries, anarchic -- Faustian!



WOODEN ARMS: Tide LP (BFLX 010LP) 22.00
LP version with download code. Wooden Arms are an alternative chamber music band from the UK featuring choral elements and a distinctive yet delicate blend of classical instrumentation and modern melody. Formed by classically trained piano teacher Alex Carson (piano, vocals, composition) in early 2012, the band began to take shape when Trinity College graduate Jessica Diggins (violin, vocals) joined him shortly thereafter. Cellist Fynn Titford-Mock was discovered busking in the streets of Norwich in early 2013; both Jeff Smith (guitar, vocals, cornet) and Milly Hirst (vocals) were welcomed into the fold after performing solo gigs in and around Norwich. The last addition is drummer and multi-instrumentalist Alex Mackenzie, who provides complex percussive rhythms as well as intelligent electronic samples. The musical concept behind Wooden Arms is one of classical crossover. Musical structures and instrumentation are influenced by the likes of Chopin and Mozart, while the modern melodies and production draw upon the very essence of Grizzly Bear and Andrew Bird. Wooden Arms disregard the norm and pay immaculate attention to the texture of sound. They orchestrate their music like a chamber group meeting reverb-drenched guitar and complex samples. Add to this mix their incredible choral harmonies and you're left with a captivatingly symphonic sound that mixes classically trained composition with fresh, contemporary songwriting. Tide features a rich orchestral timbre exemplified by cello, violin, and brass instrumentation mixed with contemporary percussive beats and ambient samples.



VA: Science Fiction Park Bundesrepublik CD (CACHE 012CD) 17.00
Cache Cache presents a compilation featuring rare German home-recorded tape tracks from the 1980s. Curated by Felix Kubin. "In the summer of 1982, in a cottage in the Bavarian forest, a 13-year-old boy sits with his brother on the sofa and stares at the television. What he sees will transform his life. In rapid, revue-like sequences, young costumed people jump around in front of a painted background. The entire spectacle might be a direct transmission from Mars. The music accompanying all this is so radically new that the terminology to describe it doesn't exist yet. Most of all, it is unexpectedly bizarre, minimalistic and electronic. The astonishing performance is garnished by four amateurish dancers obviously assigned to the musicians by a decree of the TV broadcaster. Nothing fits together, yet the combination is pure genius. His little brother is drafted to write down the names of the bands Palais Schaumburg, Der Plan, Deutsch Amerikanische Freundschaft, Lorenz Lorenz, Der Körper und die Seele (trans. 'The Body and the Soul'). Back home in Hamburg, as if possessed, the boy begins to experiment with a synthesizer, a home organ, and a voice and tape recorder. He is not the only one to begin explorations in this direction. The entire Federal Republic of Germany is just at the boiling point. A new form of home music is coming into existence. It has nothing to do with violin-playing children, scratchy sweaters and well-combed relatives listening on the sofa, but rather combines the fears with the dark abyss of industrial society. Remarkably, it is the same industry that made the tools available to the raging youths: cheap Casio keyboards, synthesizers, drum computers, and four-track tape recorders. Suddenly, anyone can acquire his own means of production to use in protest against the industrial forces. In their freshly-established home studios the protagonists practice the new underground music, the "undirected aggression of liberated sounds," as Frank Apunkt Schneider expressed in his book Als die Welt noch unterging (trans. 'As the World Was Still Ending'). Everything that isn't nailed or riveted down is used as an instrument: baking trays, cartons, room lamps, toys, wooden flutes, whistles, cans, trays, record players, televisions, a doorbell, a telephone. Out of the living rooms of the nation drones an obsession with noise, sparing not even the children. And what became of that 13-year-old boy who sat in front of the television back then? He hasn't had a television for the last 25 years and is just now writing these lines. His enthusiasm for the cassette scene has remained to this day. And while collecting the pieces for this compilation, he had to keep pinching himself in the arm." --Felix Kubin; Artists include: Dit + Uta, Z.S.K.A., Neros Tanzende Elektropapste, Kleines Schwingvergnügen, Das Gluck, Andy Giorbino, Plastiktanz, CHBB, Eisenhauer, Holger Hiller, Wat?Sanitar!, Cinema Verite, Lustige Mutanten, Pyrolator, x2, Twist Noir, Grune Rosen, Pierre Godot, Anadolu Bayramlari, Co-Mix, DIT, and Frank Schroder.


VA: Science Fiction Park Bundesrepublik 2LP (CACHE 012LP) 27.50
Double LP version.



BRAEN RASKOVICH: Abnormal Sensations LP (CACK 013LP) 25.00
Collectively known under their production pop group moniker The Pawnshop, Italian giallo/Spaghetti Western legends Alessandro Alessandroni, Giuliano Sorgini and Giulia De Mutiis (using their giallo/psych alter-egos of Braen, Raskovich and Kema) would reconvene behind the curtain in 1973 to craft this lost full-length LP as a mythical addition to their tiny group discography. Pinpointing a bona fide crossroads between the composers' individual library grails The Underground and The Living Dead at the Manchester Morgue, this previously commercially-unreleased slice of abstract giallo stoner-funk combines Alessandroni's inimitable twang-happy growling fuzz and desperately inquisitive guitar/harp/dulcimer manipulations (akin to his work on All the Colors of the Dark, Marquis De Sade and Danger Diabolik) with Sorgini's eerie industrial scrapes, moaning echoes and face-slapping percussion grooves (found on his rare TV soundtracks like Zoo Folle or the undercover work he did for library labels like Leo, Leonardi, National, and Lupus). The inclusion of Alessandroni's wife Giulia De Mutiis on groaning, wordless vocal duties not only completes The Pawnshop trinity but adds the essential giallo sheen popularized by Morricone-regular Edda Dell'Orso (evoking clear comparisons to that of Lizard in a Woman's skin and Veruschka). For fans of Giulia's work on Bruno Nicolai's The Night Evelyn Came Out of the Grave (dir. Jess Franco) and most notably Morricone's Sospiri Da Una Radio Lontana (from Henri Verneuil's The Night Caller) and Venus (on the Nereide label), the distinction glistens in the detail. These 12 tracks were circulated amongst TV and cinema production houses in the mid-'70s for potential film synchronization by library label Octopus under the title Judicial Inquiry ("Inchiesta Giudiziaria") in what was perhaps an effort to capture the imagination of directors of the growing trend in Italian crime cinema. Track titles such as "Abnormal Sensations" and "Psychic Getaway," however, indicate the trio's natural penchant for the absurd and supernatural, rendering this particular beast quite specific and unique as its own dedicated non-release. For fans of extrovert Italian freak-funk, avant-garde pop and European horror soundtracks, this LP should sit comfortably in the company of your Bruno Nicolai and Gruppo Improvvisazione Nuova Consonanza records and draw striking comparisons to international horror soundtracks by Don Gere, Pierre Raph and Andrzej Korzynski, while exposing another secret hiding place for some of Italy's finest A-list composers making rich experimental noise for B-movie masterpieces.


TUSQUES & DON CHERRY, FRANCOIS: La Maison Fille Du Soleil 7" (CACK 4505EP) 14.00
Cross-pollinating the want-lists of art/jazz/print and architecture enthusiasts, this seldom-sighted 45 single is regarded as the rarest "lost" recording by American jazz trumpeter Don Cherry collaborating with French piano improv genius François Tusques. A missing link in the pre-formative years of improvised jazz, this mythical private pressing unites two of the key exponents of both American and French free-jazz. This intimate recording was made to accompany a 1964 exhibition by pioneering Swiss/French architect Charles-Édouard Jeanneret-Gris (aka Le Corbusier) held in Nantes. Housed in a two-fold wrap-around sleeve identical to the original article, this release also features a miscredited appearance by bass player Bernard "Beb" Guérin.



FERREYRA, ERNESTO: Some Kind of Sign 2LP (CADENZA 014LP) 26.50
Double LP version. Ernesto Ferreyra's 2010 debut album for Cadenza, the intricate and balanced El Paraiso De Las Tortugas (CADENZA 007CD/056LP), was something of a landmark release, not only for the Argentinean DJ and producer, but also for the minimal electronic dance scene, taking the micro-techno genre out of the clubs and into a full-length listening experience. Four years on, and Ernesto has certainly lost none of the magic and spark that made his debut album a "keeper." On Some Kind of Sign we find the producer seriously in his element, with his production aesthetics at his peak, brimming with ideas, melodies, killer hooks and wonderfully playful percussion across the 11 tracks. Aiming to go somewhat deeper and darker than his debut album, on Some Kind of Sign Ernesto endeavors to go beyond the obvious and easily-clichéd elements of an electronic LP, capturing the world within the spaces, using otherworldly modulars and field recordings to take the listener to the outer reaches of the album's very heart and soul. This is an album full of elastic beats and liquid electronics, every track built around highly inventive drum programming and micro-samples. Album opener, "Still Waiting" sets the tone with bustling, yet understated, percussion, the soaring strings unfurling at the end of each phrase. It's an album filled with color; "Cristal Clear" feels like a Middle Eastern travelogue, the track awash with an almost street scene-like ambience, the purposeful percussion really transporting the listener to another space and time. "Astral" chugs along at almost a skanking pace, the shakers and drum fills keeping it a dancefloor piece while the modular synths bend and worm around the kicks. On tracks like "Underwater Lies," the synths rain down onto a dubbed-out & sultry female vocal, while the propelling electro beat and huge sub-bass carve out a most enjoyable aural (subaquatic) ride. Ferreyra really shows what he is capable of in the deep melancholy of "The Friend I've Lost," the saddest of pianos riffs grips your heart and gives it a good tight crush, douses you in reverb and pins you up against epic, taut strings -- releasing you after its two short minutes to get back to the dance on "Hide No More." The album closes on "Beluga Dance," a riotous and infectious space ride, and a fitting end to an album that most certainly finds Ferreyra stepping up another level with his highly-accomplished and polished original dance music, designed not only for the feet but for the head as well, the true hallmarks of great electronic music.



VA: White 12" (CSF 058EP) 14.00
Coincidence gives a platform again to four talented artists with a total disregard for the current hypes and trends. Mary Velo's "Talk to Me" features a bouncy rhythm like a walk in the park or a Sunday afternoon dance. Daniela La Luz builds upon an ultra-dry kick drum that makes it sound raw and oldskool to the core. Label-boss Svemirski presents a stripped techno track, and last but not least is the debut by A.Brehme, with some smartly-crafted techno with a dark, intelligent, threatening undertone. Pressed on white vinyl.



MAZET, REMI: I Felt This Way Before 12" (COLORS 001EP) 14.00
London-based promoter group Colors presents the inaugural EP on its new label: Remi Mazet's I Felt This Way Before. The title track is a bubbling nu-disco number that would be right at home in Todd Terje's record bag. "Les Merguez" is a peak-time jacking number, with rolling snares and well-placed vinyl scratch samples that are reminiscent of Thomas Bangaltier's house classic "Spinal Scratch." On remix duty, Ivan Smagghe takes "I Felt This Way Before" into slightly tougher territory, opting away from the glossy melodies of the original and instead kneading it into a propulsive analog workout.



DR. JOHN: The Night Tripper LP (CCLP 1037LP) 12.00
"Malcolm Rebenneck as Dr. John, the Night Tripper has demonstrated an amazingly high degree of funkmanship as the third generation son of the Second Line, the light New Orleans rhumba rhythm that was defined in popular music initially by Roy 'Professor Longhair' Byrd, Huey 'Piano' Smith, and later refined for even greater mass acceptance by Antoine 'Fats' Domino..... The selections here are as down home NOLA as red beans and rice. And they are all originals from Malcolm Rebenneck. Hot as fiyo on the bayou from the Man with the Plan from the Gitgo." Originally released in 1977.



SHANNON, MIKE: Lensing 12" (CYN 095EP) 12.50
Mike Shannon returns to Cynosure with a combination of pure techno that transcends the genre's clichés.



RATIER, RENATO: Black Belt: The Remixes, Vol. 2 2LP (DEDGE 019LP) 33.00
After the success of the first volume of remixes comes this, a second album full of great reinterpretations of Renato Ratier's fantastic debut album Black Belt (DEDGE 012CD/LP). The album showcased the D-Edge owner, resident and label boss' great range of production prowess. It touched on house, disco, techno and everything in between and now gets reworked by a carefully handpicked selection of guests. Brazilian heroes like Anderson Noise turn up to tackle "Fetisshu," Chicago house heiress Kate Simko also appears with her version of "Kozaboa" and tech house stalwarts Tiefschwarz lend their vision to "3 Bulls." Elsewhere, the likes of Visionquest's Laura Jones, Dutch man Boris Werner, Visionquest member Ryan Crosson and Trouw resident Nuno Dos Santos all get called upon to turn in their own remixes. The result is a fantastic album that breathes plenty of new life into the originals and shows that the label and Renato himself have their finger on the pulse when it comes to international acts with a really unique production voice.



Necro Deathmort follow up from 2013's EP1 12" with EP2 on Distraction Records. EP2 features (but isn't limited to) a sluggish dark groove, HUGE crashing drums drenched in echo, windswept, creepy as hell, eerie synth, degenerating into yer classic riffing, abstract, pummeling DOOM, glitchy stuttering loops and fuzzed-out electrodoom poundage, epic, imposing, startling and all-round just raw and heavy as fuck 16rpm black metal, desolate sirens, fucked layers of electronic drone, and a sorrowful, John Carpenter-style drum pounder that climaxes into a bleak nothingness. For optimal enjoyment, this vinyl should be played at high volume on a sound system capable of reproducing extremely low frequencies.



C2 VS. FT: Luder_pre 12" (ERER 002EP) 14.00
One-sided release. Almost 10 years after the production of ER +ER's release number one: "L'essentiell" by Ricardo and Rolando, ER + ER #2 brings you another clash of the titans. Actually, this time there are three giants involved: Mr. Bach himself having fun in the studio with Carl Craig and Francesco Tristano.



COLON, WILLIE: Cosa Nuestra LP (SLP 384LP) 11.50
"From the opening bars of the opening song, 'Che Che Cole,' you will understand that Cosa Nuestra (Our Thing) really means great Latin music with swinging rhythms, and even a little of the unexpected.... In this age of psyche-delicatessens of acid sound, Willie has managed to retain the soul so necessary for good Latin music, and understandably he built a following of fans throughout the world. The distinctive Colon mixture of melodic trombones blended with a hot and swinging rhythm section.. the quiet and sensitive yet explosive singing of Hector Lavoe.." Originally released in 1972.



HOOKWORMS: Hookworms LP (FAUX 015LP) 18.00
2014 repress. The debut vinyl release of Leeds' Hookworms. The Hookworms 12" features four songs, clocks in at around 27 minutes, and is limited to 500 copies on 180 gram black vinyl. The release was previously only available on tape via Sun Araw's Sun Ark label and that sold out in a matter of weeks. Hookworms formed in late 2009 at a time when most of the group's members were also playing together in a snappy punk group. The punk and garage background is important, because it has a lot to do with the energy that makes Hookworms so noticeable. Many groups think they can make good on psych-rock by just wigging out to their own ends, during interminable jam sessions that only come to a halt when someone decides "That's long enough." Most of Hookworms' songs are around the six-minute mark, which isn't long at all, and each one is constantly doing something. The singer and keyboard player delivers his vocals like The Gun Club's Jeffery Lee Pierce on Fire of Love -- frantic and impassioned. The guitars color in and around the lines, informed just as much by Flipper's Ted Falconi as "Sister Ray." Bass grooves lead the way, sage in their wisdom over which path to take. This is tidy stuff, a purposeful and fully conscious journey into the realms of Zoss. It's also a journey taking place on increasingly large stages, where they're just as confident at filling the sonic space as at the small venues where they started out. On heavyweight 180 gram vinyl with an insert; includes a free digital download code with added bonus tracks.



BUCK GOOTER: The Spider's Eyes LP (FTR 176LP) 16.50
"On The Spider's Eyes, Buck Gooter have strapped sheets of urban post modernist metal to their bodies and weaponized themselves. The music that comes forth is a smarter and more capable predator than what the band has previously produced. It makes their last effort, Witch Molecules, seem almost friendly by comparison. The beats on The Spider's Eyes are machine-stamped, relentless. The songs themselves are reverberant sheet steel cacophonous odes to devastation. The vocals are comin' to ya straight from an abandoned factory in some lost industrial ghetto. Is Buck Gooter mad or merely telling you how it is? The Spider's Eyes could be the new Blues for those who escaped mediocrity's slaughterhouse in a century whose future went to the highest bidder almost as soon as it was ushered in less than 20 years ago. Instead of wielding the sword, on The Spider's Eyes, Buck Gooter is the sword itself, with each song, smashing themselves into a harder and denser mass upon an anvil of their own design. Billy and Turtle have set up their backline at the edge that gives way to the Abyss and did their thing. The Spider's Eyes is the result. By the time you get to the title-track at the end of the record, you are left standing alone in a vast wasteland of debris. The ride was good but the walk home will be long. Buck Gooter's early releases immediately and permanently established them as outsiders -- sure to keep squares and normals at bay. Brave and alienating like early Suicide. If you have what it takes, The Spider's Eyes could very well be the record you have been waiting for some band with the guts and hearts full of anti-matter to finally make. If not, it is a line drawn in the sand and you would be wise to step away. You will know which side you're on very quickly. The Goot will never die." --Henry Rollins, 2014; includes download code.



CASA, DANIELA: Sovrapposizione Di Immagini LP (FKR 072LP) 25.00
In an alternate universe, the Rome-born female synthesist Daniela Casa would be a household name. A genuine pioneer of experimental pop music, abstract electronics, giallo jazz, and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia De Mutiis (later Giulia Alessandroni), Doris Norton and Suzanne Ciani, while retaining one of the most individualistic and diverse composing styles of an advanced mechanical musician regardless of their nationality or gender. This LP compiles, for the first time, a multifarious selection of previously commercially unavailable instrumental music composed at her home studio in the late '70s before her untimely death at the age of 42. Originally designed for use in radio, film, TV and other industry-specific applications, these seldom-heard selections combine ingenious homemade and hi-tech disciplines, providing scores for Italian thrillers, nature documentaries, educational projects, and commercial sound installations. Mastered from the vaults of the sought-after Deneb/Flirt/Canopo library labels (home to some of the rarest records by Fabio Frizzi, Giuliano "Raskovich" Sorgini, Gerardo Iacoucci, Alessandro "Braen" Alessandroni, amongst others) these rare tracks reveal Daniela Casa in her most fertile environment (composing as a young mother) in both a solo capacity and alongside incredible Italian session musicians, often sharing release schedules and track lists with her maverick maestro husband Remigio Ducross. These multi-layered musical images remain as vibrant and authentic today as they did 35 years ago. Close your eyes and unravel the Sovrapposizione Di Immagini.


EMERALD WEB: Whispered Visions LP (FKR 073LP) 25.00
Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, while splitting label release schedules with Laraaji, Laurie Spiegel, and Wendy Carlos, the unique Florida-raised soulmate duo known as Emerald Web released their privately-pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music. From the notes by Kat Epple: "When originally released, one music reviewer described Whispered Visions as: 'A cosmic tapestry of sound, woven with threads of shimmering synthesizer timbres and luminous flute melodies.' This album was made using early synthesizers, sequencers, Lyricon and flutes. When it was recorded in 1980 our synths were regarded as 'state of the art' technology. Originally released exclusively on compact cassette it was our second of a total of 14 independent releases. The band Emerald Web consisted of Bob Stohl and myself and our goal was to create innovative synthesizer orchestration and blend electronic music and acoustic instruments. From 1978 to 1990 we recorded, toured, and performed in planetariums while composing soundtracks for Carl Sagan, amongst others. Bob and I were consultants for (and were lucky enough to be sponsored by) companies and individuals that were creating the latest music technology. At the time Emerald Web was one of the few 'Space Music' bands which performed live in concert using synthesizers and sequencers, most of which had volatile memory and no pre-set sound banks. Unfortunately, Bob passed away in 1990. Since then I have continued to compose music for film and perform in concert as a solo artist, as Emerald Web and with various other ensembles."


VA: Zucca-MC Cassette (FKRMC 006CS) 19.50
Party pack bumper track various artist compendium of hexploitation pop and spook sonics limited to 150 zucca (pumpkin) orange-colored Italian cassette shells in a black hard case. Compiled from unheard and forthcoming outer-national releases from all the Finders Keepers sub-labels and featuring a couple of recent (oc)cult-classics. These poltergeist pop premonitions provide an exclusive peek into what the label has resurrected for future releases. Tracks by: Bruno Nicolai, Germain Hubert Ales, Applehead, Suzanne Ciani, Daniella Casa, Tender Prey, Bruce Ditmas, Sam McLoughlin, Silicon Arc, Sam Spence, The Fates, Braen Raskovich, Clone, François Tusques, Bruno Nicolai, Zdenek Liska, Pierre Henry, Lamartine, The Vampires Of Dartmoore and Jane Weaver.



HWLS: HWLS EP 12" (FCL 123EP) 14.00
HWLS is the collaborative project of Ta-ku and Kitpop, featuring production-work from Noah Breakfast, Lakim, Esta and Brad Lewis.


GB 019LP

HASSELL & BRIAN ENO, JON: Fourth World Music Vol. I: Possible Musics LP+CD (GB 019LP) 26.50
Gatefold LP version on 180 gram vinyl with CD. Originally released in 1980, Jon Hassell and Brian Eno's collaborative album Fourth World Music Vol. I: Possible Musics is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as "ambient music" but it also facilitated the introduction of Hassell's "future primitive" trumpet stylings and visionary "Fourth World" musical theories to the broader public. These vectors continue to enrich contemporary audio culture. Eno's ambient strategies are now fixed in the DNA of electronic music and the cross-cultural legacy of Hassell's "Fourth World" concept is apparent not only in the marketplace genre "World Music" but also more persuasively in the accelerating number of digitally-driven, borderless musical fusions we now experience. By the time that Eno and Hassell met, Hassell's experiments with a "Fourth World" musical vocabulary were well underway and in fact it was because of these experiments, particularly Hassell's debut album Vernal Equinox that Brian Eno purposefully sought him out. Within a couple of months of Hassell's performance at The Kitchen the duo entered Celestial Sound in New York City and began work on what would become Fourth World Music Vol. I: Possible Musics. Hassell invited previous collaborators like the Brazilian percussionist Nana Vasconcelos and the Senegalese drummer Ayibe Dieng to join the sessions. Most of the tracks carry a Hassell/Eno writing credit, though the 20-minute "Charm (Over 'Burundi Cloud')" was a carryover from Hassell's concert repertoire. Hassell has made it clear in several interviews over the years that the album's shared billing was at least partly inaccurate and that Eno's contribution was mainly as a producer. More spiky, angular and steeped in rhythm and exoticism than most of Eno's records and more drone-based, reflective and sonorous than most of Hassell's outings, Possible Musics -- whatever the actual division of labor in sound and concept -- is a seminal highlight in both of their discographies. A meeting of two of the late 20th century's most restless and prescient musicians, the album sounds as beguiling, indeterminate and otherworldly today as it did 34 years ago when it was originally released. The impact of Possible Musics on the contemporary music conversation was almost immediate. Just ten days after it was mastered, Brian Eno and David Byrne convened in Los Angeles to continue experiments inspired in part by Hassell's musical theories. The resultant album would be called My Life in the Bush of Ghosts. All parties involved agree that Ghosts was originally conceived as a trio project that included Hassell but the idea fell apart over disagreements about logistics and musical direction. Hassell still remains bitter about what he considers the projects un-credited appropriation of his musical signatures. From there it was a short jump forward to the chart-topping, Afro-futurism of The Talking Heads Remain in Light, an album that Eno co-produced and Hassell guested on. "Fourth World" strategies have echoed, and can still be heard echoing in the music of Peter Gabriel, Nils Petter Molvaer, Björk, David Sylvian, David Byrne, Ryuichi Sakamoto, Damon Albarn, DJ Spooky, Jah Wobble, Matmos, 23 Skidoo, Goat, Bill Laswell, Mark Ernestus, Adrian Sherwood, and of course, the ongoing projects of Eno and Hassell themselves. Glitterbeat is proud and honored to re-release and re-introduce this compelling, groundbreaking album.


GNPS 10009LP

BROONZY, BIG BILL: Lonesome Road Blues LP (GNPS 10009LP) 12.00
"William Lee Conley Broonzy became one of the most renowned blues singers-guitarists in the 1930s, popular enough to perform in concerts in England and Europe in the 1950s. He was not an uninhibited shouter of the Joe Turner school, nor did he exhibit the technique and sophistication on guitar that his contemporary, Aaron 'T-Bone' Walker, showed. Yet Big Bill demonstrated a distinctive, musical style of his own as the cuts in this album confirm."



HART, ANDY: La Meme Pour Moi EP 12" (HEIST 006EP) 14.00
Listen to this if you like Max Graef, Boo Williams or anything on Chiwax, Atjazz, Detroit Swindle or Fantastic Man. Andy Hart delivers a great 4-track EP that ranges from the synth-arp love affair of "The Same for Me," to the heavily-sampled disco jam "Epsilon Girls." Check out "Hermano" and "Merkin" for a dreamy old school Chicago vibe, both done with a great sense of history and as an added touch Andy's modern production and sampling skills.



FADED RANGER: Mechanical Tonight LP (HFN 038LP) 23.00
The duo of Faded Ranger (Nick Maurer, Neville Attree) unveil their debut LP, Mechanical Tonight, in its full glory. Bringing together Nick Maurer's gift for bite-size storytelling and Neville Attree's intricate, melodic arrangements, the album is an infectious collection of tracks that resonate with a distinctive crossover appeal, while the dynamic beats ensure it still gravitates towards the dancefloor. Ex-Greenskeepers front-man Maurer (Chicago) and Gumption Recordings founder Attree (London) first met while DJing at a notorious outdoor party called Girl's Camp in their adopted home of Heidelberg. Faded Ranger stumbled into existence soon after and has come to represent a meeting of minds borne out of circumstance and driven by musical legacy. Mechanical Tonight may be retro in its outlook as the pair work the presence of past influences out of their systems, but the melting pot of ideas and references converge at a point of undeniable modern appeal. Amid the conjured beats, majicked lyrics, jokes and storytelling, they hit the ground running, penning "Blindfolds," "Mechanical Tonight," "Pretty Colors" and "Be on the Lookout" in quick succession, setting the tone for the eclectic nature of the album. "Blindfolds" and "Be on the Lookout" are filled to the brim with vintage neon shades and proto-house intensity, while the darker synth-pop of the album's title-track takes its tongue-in-cheek inspiration from a drunken robot dancing competition. Lyrical content also plays an integral part in the album's alchemy like on the tripped-out sci-fi-dub "Pretty Colors." Then there's the vicious ambiguity of "Come to Me" and their hypnotic cover of Roxy Music's "In Every Dream Home a Heartache." In contrast, the album's introspective moods are achieved with the moody, trip-hop referencing "Everybody," "Room 101" and the sultry interlude "Wax Orgasmic." The final parts of the album puzzle were completed after the outfit had already formed a bond with their current label home HFN Music. With its slow, deliberate groove, vocal hooks and epic arrangement, "Get Together (Right Now)" recalls the halcyon days of house music. The opening cut "Going Somewhere" is an acute representation of the duo's plethora of influences that should appeal to new and vintage tastes alike, while the album cools out on a poignant note as "The Weak and the Strong" combines classic programming, heartfelt vocals and shifts of melodic suspense. It rounds off an intriguing panorama of sound that captivates and entertains in equal measures. LP contains download code.



BARNT: His Name 12" (HINF 8676EP) 19.00
Two tracks from Barnt -- "Chappell and "Under His Own Name But Also As Sir" -- featured in Joy Orbison's "BBC Radio 1 Essential Mix."



18+: Trust CD (HTH 026CD) 15.50
Houndstooth presents Trust, the debut album from 18+. The U.S.-based band, Boy and Sis, have operated since 2011, making use of multiple media formats -- music, performance, and visuals -- to graphically explore identity, gender, sex, and morality. The sound of 18+ has bewitched its audience: sonics which are at once overbearing and subtle; the delicate voice of Sis spitting sweet nothings over fucked-up beats and hooks that permanently hack their way into your subconscious. Their mixtapes have existed in the internet's dark underbelly, and their debut single Crow sold out of physical copies in unbelievable time. Hunted by Prada to soundtrack campaign videos, 18+ have been performing unique shows in art galleries across the globe and will be doing select shows in the final quarter of 2014. CD and vinyl editions both arrive in a bespoke PVC sleeve with spot varnish pattern. Mastered by Matt Colton at Alchemy.


18+: Trust 2LP (HTH 026LP) 33.00
180-gram double LP version, limited to 300 copies worldwide.


SOFT AS SNOW: Glass Body Remixed 12" (HTH 032EP) 14.00
Norwegian duo Soft As Snow return to Houndstooth with Glass Body Remixed, a collection of reworks that engage with their futuristic, experimental electronic pop. Italian techno impresario Lucy drives "Halo Heart" straight to the dancefloor, while Gang Gang Dance's Brian DeGraw capitalizes on the tripped-out, weirdo aspects of the duo's distinctively synth-based sound, crafting a bouncy, wholly new approach to "All Our Beasts." Side B finds Factory Floor's Gabe Gurnsey giving "Glass Body" a 7-minute acid house rework, before Estonia's Maria Minerva steps in to loop and elevate the vocals on "Black Birds" and bring the EP in full circle straight back to its experimental pop roots.


HWR 1015CD

SHORE, HOWARD: Crash: Complete Original Score CD (HWR 1015CD) 19.00
"Howe Records presents Howard Shore's complete score to the film Crash, newly remastered and containing material not previously released. The 1996 film Crash is a Canadian-British psychological thriller film written and directed by David Cronenberg based on J. G. Ballard's 1973 novel of the same name. It tells the story of a group of people who take sexual pleasure from car accidents. Shore's music for Crash is among those truly rare times when a film composer and his subject mesh perfectly."

HWR 1016CD

SHORE, HOWARD: Dead Ringers: Complete Original Score CD (HWR 1016CD) 19.00
"Howe Records presents Howard Shore's complete score to the film Dead Ringers, newly remastered and containing material not previously released. The 1988 thriller Dead Ringers starred Jeremy Irons in a dual role as identical twin gynecologists. Cronenberg co-wrote the screenplay with Norman Snider."

HWR 1017CD

SHORE, HOWARD: Naked Lunch: Complete Original Score CD (HWR 1017CD) 19.00
"Howe Records presents Howard Shore's complete score to the film Naked Lunch, newly remastered and containing material not previously released. Naked Lunch is a 1991 science fiction drama film written and directed by Cronenberg and starring Peter Weller, Judy Davis, Ian Holm, and Roy Scheider. It is a film adaptation of William S. Burroughs's 1959 novel of the same name. Howard Shore again masters the mood with this foray into the seamy underworld of Burroughs."



TUFF CITY KIDS: Parallel Forest EP 12" (INT 030EP) 14.00
TCK are Gerd Janson, who otherwise runs the splendid Running Back label, and Philipp Lauer, who produces grand music under his own name and is half of the fantastic Arto Mwambe. They have remixed Sven Väth, among many other fab projects, and on top of that are both irresistible deejays. But all that said, you haven't even heard their best... it's called "PF01," "PF02," "PF03," and "PF04" and are the tracks made for this record.



VA: Soundsystem Dub Plate Specials 1975-1979 CD (JRCD 055CD) 14.00
The sound systems of Jamaica were always the people's radio station. Tunes were tried and tested in the lion's den of the dance to see which songs rose to the top and became the most popular. This was the litmus test and the first step to a track's commercial release to capitalize its hotness on the circuit. When the dub/version hit big in Jamaica in the early- to mid-'70s this was also the case, and many times the version cut of a track would even prove more popular than its vocal counterpart. Jamaican Recordings have compiled some great '70s dub plates that rocked the sound systems in fine style. CD features four bonus tracks. Artists include: Leroy Smart, Johnny Clarke, Horace Andy, Cornell Campbell, Pat Kelly, Slim Smith, Delroy Wilson, and Jackie Mittoo.


SCIENTIST: At The Controls Of Dub: Rare Dubs 1979-1980 LP (JRLP 029LP) 14.00
2014 repress, originally released in 2008. Scientist's name will be found on many dub releases in people's record collections. His connection to King Tubby is inseparable and many would say that when dub had fallen on quieter times, it was Scientist who breathed new life into it. His paired-down mixing style suited the new dancehall reggae sound that came as the '70s rolled into the '80s. Such was his stature that albums were now sold with his name on their jacket, Scientist vs. Prince Jammy and Scientist Meets the Space Invaders, to name but two. Here Jamaican Recordings have compiled some tuff tracks from that same period, before everything went digital. Hope you enjoy the set.


KING TUBBY: The Roots of Dub LP (JRLP 035LP) 14.00
2014 repress. LP version. Dynamic Sounds upgraded to 16-track recording in 1972 and King Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him a far wider scope to work with, and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby's dub plate experiments began to make it onto vinyl and the first-ever King Tubby album releases would feature a collection of his mixes to a selection of Strikers' rhythms. So please sit back and enjoy this historic set of sounds. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.


KING TUBBY: Dub from the Roots LP (JRLP 036LP) 14.00
2014 repress. King Tubby's Dub from the Roots album was originally released in 1974. Osbourne "King Tubby" Ruddock was born in Kingston, Jamaica on January 28, 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's National Technical College and also in two correspondence courses from the U.S.A. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother's home. His work in the early days included winding transformers and building amplifiers for Kingston's sound systems. Tubby built his first sound system in 1957 playing jazz and rhythm & blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily, and as the '60s drew to a close, Tubby purchased his own basic two-track equipment. He installed this alongside his dub cutting machine, a homemade mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room. Lovingly restored, these releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.


2014 repress; LP version. 2011 release. The mighty Scientist meets Jamaica's original Crazy Mad Professor in a dub showdown pitching their best musical shots against each other. The connection between these two great mixers/ producers is that they both learned the trade and also cut their musical teeth working with the master himself King Tubby. Scientist (b. Overton Brownie, 1960, Jamaica) and the Crazy Mad Professor (not to be confused with the London-based Mad Professor, Neil Frazer, Ariwa Sounds) initially both helped King Tubby (b. Osbourne Ruddock) wind his transformers for his main business of electrical repairs. They both moved over to engineering and mixing when the need arose due to the heavy demands on Tubby's time and studio became too great. Scientist and The Crazy Mad Professor built their careers on these formative years of training, as they say if you learn from the best, your knowledge can only hold you in good stead and it certainly has with both these talents. We have pitched both against each other on some great rhythms recorded at the legendary Channel 1 Studios and then mixed them at King Tubby's Studio, as was often the case when rhythms needed voicing/versioning for that classic dub cut.


VA: Soundsystem Dub Plate Specials 1975-1979 LP (JRLP 055LP) 15.50
LP version.


JV 570045CD

MAGMA: Riah Sahiltaahk CD (JV 570045CD) 14.00
"The original version of Riah Sahiltaahk that was recorded in 1971 is featured on the album 1001° Centigrade (vol. 2). But at the time, its composer, Christian Vander, was unhappy with the arrangement written by the group. This radically new version, adapted to suit the group's current line-up, is more faithful to the spirit of Magma's music and its uniquely weird and wonderful prog-rock style."

JV 570047CD

RIFFLET AND JON IRABAGON, SYLVAIN: Perpetual Motion: A Celebration of Moondog CD+DVD (JV 570047CD) 38.00
"French saxophonist Sylvain Rifflet's music goes far beyond jazz, taking in experimental rock and contemporary music of all sorts. In this daring multimedia project, conceived in collaboration with fellow saxophonist Jon Irabagon, Rifflet breathes new life into the art and spirit of Moondog, a revered New York composer, musician and poet who inspired the likes of Charlie Parker, Allen Ginsberg and Philip Glass. Rifflet's subtle reworking, a blueprint for creative reinvention, is available here in both audio and video versions."



CAMPBELL, CORNELL: My Destination LP (KSLP 004LP) 14.00
2005 release. Kingston Sounds unearth a gem in the shape of an album's-worth of previously-unreleased Cornell Campbell material, recorded during the 1970s and produced by Bunny Lee. Tracks include "How Does It Feel," "Politricks," "Have Some Mercy," "Righteous Man," "Keep the Fire Burning," and the title-track.


VA: Dancehall Classics Volume One LP (KSLP 013LP) 14.00
2007 release. The Prince became a King, never a truer word spoken when you look at the career of King Jammy. Kingston Sounds focuses here on the early days of the dancehall scene which stretched across the 1980s, picking up the story at the tail end of the 1970s, just before the sound became digital and computerized. King Jammy's production was always of such high quality, that telling the difference between his analog and digital productions was always a job for the experts. As you can see from the recording details, all these tracks were cut in those heady 1977-1979 days. The reggae sound was again about to turn into what we would later know as its dancehall period. Although cut in the late '70s, some of these tracks would not become hits until the 1980s had arrived. King Jammy's pivotal 1985 cut, Wayne Smith's "Under Me Sleng Teng," based on a digital computer rhythm, was still a few years away. Kingston Sounds links these fine tunes lined up here for your enjoyment under the same umbrella, as they contain that same dancehall feel, where the rhythm has slowed down and the snare sound is pronounced. These fine tunes bring us back to a time and provoke memories when Mr. Jammy's stable of artists never sang sweeter or sounded better. All the top-flight hitters are here -- Johnny Osbourne with his place-evoking "Trench Town School" and his massive time-defining hit "Folly Ranking." The mighty Black Uhuru with their politically-charged "Time to Unite." The sweet-sounding voice of Mr. Sugar Minott pulling us all in with his "Right Track" cut. Anthony Johnson, who cut many hits through the '80s for Jammy, is here with his telling tale, "Get Ready." Even the aforementioned Wayne Smith sings out on his pre-digital hit "Wicked Man." Hugh Mundell's "Bottomless Pit" and Rudo's ode to the Firehouse district scene "Ain't No House" is here, too -- all killers and no fillers. Some great tracks from a fantastic period in reggae's history.


CLARKE, JOHNNY: Jah Jah We Pray LP (KSLP 018LP) 14.00
2009 release. Johnny Clarke ruled the dancehall in the mid '70s, using the clever "Flyers Rhythms" that gave some of his tunes an edge with the sound systems. But his voice was always bigger than this and his versatility to sing a wide range of vocal styles has seen him cut through the decades as one of reggae's best voices.


KELLY, PAT: Jamaican Soul LP (KSLP 022LP) 14.00
2010 release. Pat Kelly possesses one of the great soul voices to come out of Jamaica. Influenced by the fantastic American singer Sam Cooke, Pat Kelly could ride over any tune that came his way and with his outstanding falsetto voice, always added a little magic to each recording. Pat Kelly (born 1949, Kingston, Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques, his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin. Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune "You'll Want Me Back" re-titled "You Don't Care," which held the #1 position in Jamaica for six weeks. Their next hit was another Curtis Mayfield cover of The Impressions' "Minstrel and Queen" again re-titled for the Jamaican market as "Queen Minstrel." Further hits followed with such cuts as "My Girl" and "Love is Not a Gamble" before Kelly, in 1968, decided to become a solo artist and hooked up with producer Bunny Lee. Bunny decided not to break the tried-and-tested formula and put Kelly on another Curtis Mayfield track, "Little Boy Blue," a style that suited his voice so well. This paid dividends and was followed with "How Long (Will I Love You)," which gave them the biggest-selling Jamaican hit of 1969. This track broke the mold in that often-used tradition where Jamaican tracks are sweetened for the foreign markets by adding string arrangements. This was reversed on this occasion, as the tune had already been released in the UK and dubbed over with strings, so it came back to the Jamaican shores and was released there. Another one of Pat Kelly's attributes was his engineering skills. Having already spent a year in America studying electronics, he put this to good use and became little-known to many as one of the chief engineers at Channel One Studios in the late 1970s and early 1980s. For this release, Kingston Sounds have focused on the fabulous singing skills of Mr. Kelly and have compiled some of his finest recording moments for your listening pleasure. The aforementioned timeless cuts of "How Long (Will I Love You)" and "Little Boy Blue" are set alongside some other killer lost classics, such as opener "It's a Good Day," "Somebody's Baby," "Give Love a Try," and "I'm in the Mood for Love." His version of "Twelfth of Never" in a rocksteady style sounds as good now as it did then. The label has also included his interpretation of the James Carr soul-hit "Dark End of the Street" which has Pat Kelly working over the same rhythm as "How Long," but giving it a different slant with these fresh lyrics. A fine set from one of the island's finest.


ZUKIE, TAPPER: Raggy Joey Boy LP (KSLP 024LP) 14.00
2010 release. Tapper Zukie has risen through the DJ ranks of Jamaica to become one of its most successful exports. Massive hits in his homeland have also crossed over to the UK market where he has built a loyal and trusted following. Tapper Zukie (David Sinclair, b. 1955, Kingston, Jamaica) actually cut his first record in England, after being sent there at age 17, breaking from his troublesome past that found him running with the rough crowd on the streets of Kingston. On his arrival in sunny Ladbroke Grove, London, producer Bunny Lee called him up on stage at a local dance to sing a tune. Impressed with the results, fellow producer Larry Lawrence got the young Tapper in the studio the very next day and cut "Jump and Twist." This led to cutting his Man I Warrior album, and establishing himself as a star on the DJ roots circuit by the mid-1970s and becoming a favorite with the UK punk scene. Another musical genre finding a lot of similarities with their own struggles and oppressions. On arriving back in Jamaica, production work was to follow, which in turn led to the formation of his Stars imprint label, again working out of Bunny's 101 Orange Street premises. His excellent production work on Prince Allah's, "Bosrah," "Daniel," and "Heaven Is My Roof," alongside cuts by Junior Ross & The Spears such as "Babylon Fall" and "Judgment Time," would establish his label's identity. The calling to reignite his own career would see him building up an album's worth of his own material based around the title-track "Raggy Joey Boy," a song telling it like it is about trying to get out of the ghetto. The story rang true with many and become another hit for Mr. Zukie. Spurred on by the track's momentum, Tapper began building an album around its center core, with other fine examples of his talent found on such cuts as the timeless "Natty Princess," "Mr. Bubbler," and "Mr. Finnigan." The opening track, the somewhat boastful "Women Ah No Me Problem" only goes to show how ahead of his time Tapper was, as it seems to be the recurring theme to many of the multi-Platinum acts that attack the charts these days, only they don't seem to say it with such charm. Putting this alongside the more serious ghetto stories (again copied but never really bettered by today's artists) it led to this original album, released in 1982. Kingston Sounds have resurrected this fine collection and remastered it to get it back in the arena and to remind us all what a great album it was and where Mr. Tapper Zukie was at, musically speaking, way back in the summer of 1982.


BROWN, DENNIS: Tribulation Times LP (KSLP 025LP) 14.00
2011 release. Dennis Brown has always been cited as Jamaica's favorite singer. While Bob Marley set out to conquer the world, Dennis' popularity on the island grew with each passing year. Overseas success also came Brown's way, with crossover hits like the massive "Money in My Pocket." He will always be fondly remembered on the sound systems across the Caribbean as the Crown Prince of Reggae. Dennis Brown (b. Dennis Emanuel Brown, 1957, Kingston, Jamaica) began his illustrious career at the grand age of 11, like many of the other child singers in Coxsonne Dodd's Studio One stable. His first hit in 1969, a cover of Van Dyke's "No Man Is an Island," still stands the test of time, in addition to its follow-up cut "If I Follow My Heart," as reggae classics. The 1970s saw Dennis build on his reputation by working with all the top Jamaican producers and studios perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott, to name but a few. But it was his work with producer Winston "Niney" Holness that he enjoyed the most success and many say is where he recorded his best work. Where many of the other producers stayed with the tried-and-tested Lovers Rock formula that did prove so popular with Dennis' voice, producer Niney The Observer as he is fondly called, pushed him into a more roots-led direction, over stark rhythms created by Niney's studio band Soul Syndicate. Two outstanding albums were put together -- Just Dennis (1975) built on a collection of singles they had recorded together, "Cassandra," "Westbound Train," "No More Will I Roam" and "Conqueror." The second 1977 set Wolf and Leopards, made up again of singles, featured the cut "Here I Come" (a live favorite that Dennis always liked to start his set with) and "Children of Israel," which made these both strong roots-era albums. Kingston Sounds have stayed with this period for this Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit "Money in My Pocket" (1979), produced by Niney, but often credited as a Joe Gibbs production, as it was released (and sweetened by adding orchestration for the foreign market place) on his label. This is the original Jamaican version (unsweetened) that you will find on this album -- perhaps, a more truthful version, in the label's opinion. His voice reigns supreme across these Niney-produced cuts "Smile Like an Angel," "Silver Words," "Play Girl," and the fantastic "Poor Side of Town," (helped along by the great harmonies of the Heptones group), "Tribulation" and "We Will Be Free." Dennis Brown's prolific catalog of tunes, which also found an outlet on his own DEB imprint, stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself.


ANDY, HORACE: Say Who LP (KSLP 041LP) 14.00
LP version. Horace Andy has always commanded a place high on the list of reggae singers from Jamaica. His distinctive, haunting vocal style stands strong on any rhythm, song, or style he chooses to cover. He has managed to crossover to a new generation of listeners due to his individual style, helped also by his collaborations with the likes of Massive Attack. Born Horace Hinds in 1951, Kingston Jamaica, he began his musical career at Coxsonne Dodd's Studio One. So impressed with the young Horace, Coxsonne decided on a name change and named him after his top songwriter at the time, Bob Andy. His first tune for Coxsonne ("Something on My Mind") was a slow burner in Jamaica, but his belief in his young protégé paid off later with "Skylarking," a tune that put the singer all over the radios and sound systems of Jamaica. After numerous singles and two albums worth of material, Horace moved on to work with many of the topflight Jamaican producers, among them Keith Hudson, Augustus Pablo, and Niney the Observer, but it was his work with producer Bunny Lee in the '70s that produced most of his hits, which we have compiled for this set. Some of his late '60s classics are recut in the popular 1970s style, working with the rhythm kings themselves, Sly Dunbar and Robbie Shakespeare. They have added some shine to "Something on My Mind" and "Skylarking" and made them hits all over again. Horace also adds his signature to covers of Delroy Wilson's version of the Tams's "Riding for a Fall," the Heptones' "My Guiding Star," John Holt's "Man Next Door," and Bill Withers' "Ain't No Sunshine." A bass-heavy cut of Bob Marley's "Natural Mystic" is also present. This fine set of 1970s classics represents some of the best music ever made in Jamaica.



LOSCIL: Sea Island CD (KRANK 191CD) 13.00
"Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener 'Ahull' make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation. Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the loscil "ensemble", some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead's Elaine Reynolds who provides layered violin on 'Catalina 1943', and Ashley Pitre contributing vocals on 'Bleeding Ink'. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks 'Sea Island Murders' and 'En Masse.'"


LOSCIL: Sea Island 2LP (KRANK 191LP) 21.00
Double LP version.


CDM 8742259

ELAHI, OSTAD: The Sacred Lute: The Art of Ostad Elahi 2CD (CDM 8742259) 23.00
"The Sacred Lute - The Art of Ostad Elahi, a special exhibition presented by The Metropolitan Museum of Art, is the first American exhibition examining the transformative music and life of Ostad Elahi (1895-1974), a renowned Persian musician. This commemorative CD-Book offers a unique window into the inner states and spiritual landscapes that Ostad Elahi began experiencing as a child prodigy and continued to explore until the end of his life."



LYNN, BARBARA: Here is Barbara Lynn LP (LITA 119LP) 22.00
"24/96kHz remastering from original ¼" tapes. Liner notes by Jessica Hundley interviewing Barbara, plus rare archive photographs. 180 gram LP housed in an expanded deluxe Stoughton gatefold "Tip-On" jacket. To be a woman singing your own blues and soul songs in 1960's Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that's just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, 'You'll Lose a Good Thing,' recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit. Though she was a precocious performer, hers is a talent that came to full bloom on Here is Barbara Lynn, her 1968 album produced by Huey P. Meaux and originally released on Atlantic Records. The record was conceived as an introduction of Lynn's prodigious talents, her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. It collected her early hit and a raft of new songs, each packed with Lynn's passion and fire. Yet the introduction to her world -- now reissued by Light in the Attic -- largely proved to be her swansong. She married in 1970, aged 28, had three children, and largely retired from the music industry for most of the '70s and '80s."


SIMMONS, SYLVIE: Sylvie LP (LITA 122LP) 21.00
LP version, housed in a "tip-on" gatefold jacket. "Light In The Attic has an impeccable reputation for uncovering rare and precious albums from the past. Their latest release, Sylvie, is haunting and out-of-time--but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, Sylvie is 'a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.' Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company. The raw, delicate, and sensual songs about love and love gone wrong are performed on a ukulele, which here sounds like a broken harp or a heartbroken guitar. 'I'd always thought of the uke as a toy, a little handful of happiness,' says Sylvie, 'but not any more. My first ukulele--in fact all my ukuleles--came to me by accident, under strange circumstances usually involving mysterious, vanishing men. From the moment I picked it up, I fell in love. A uke has a sad, fractured sweetness and a modesty. It doesn't try to impress you, it almost apologizes for being there. The notes are like feathers; you play them and they're blown away in a second. And yet these songs kept coming through this tiny instrument with all their heartbreak and truth intact.'"



J RIDER: No Longer Anonymous CD (PICCHU 004CD) 13.00
"CD contains both the J Rider and Lunar Dust albums. Sleeve notes by Aaron Milenski (co-author of the essential reference to The Acid Archives, and also author of the sleeve notes for the Anonymous reissue from last year). Hot on the heels of our ecstatically received reissue of Anonymous' classic album Inside the Shadow, Machu Picchu Ltd. is thrilled to announce the reissue of their elusive and legendary follow-up. After the 1976 release of Inside the Shadow, the group decided to change their name to J Rider (after the second cut on the Anonymous LP) and pursued a similar rich vein of impeccable songwriting, but this time adding more hard rock to the mix, resulting in a fantastic sounding album that sadly went unreleased at the time."


MT 004EP

HRENO & THE MOLE/ERNESTO FERREYRA & THE MOLE: Best Buds Vol. 1 12" (MT 004EP) 14.00
The Mole welcomes you to the first installment of a series called Best Buds by introducing you to two of his fondest. Please welcome two Canadians who happen to also reside in The Mole's current home of Berlin -- Hreno and Ernesto Ferreyra. The Mole and Hreno present Things Are Heating Up in the Grizzly Maze," a punchy, sweet house number. With Ferreyra, The Mole has produced a 16 minute-long jam, exceptionally mastered and cut by Stefan Betke/Pole. From the depths of techno to a house-fuelled sunrise serenade and a climactic ambient finale, there is little more to ask for.



BAILEY, MARCO: Drizzle/Injection 12" (MBRLTD 003EP) 12.50
Marco Bailey seems to be unstoppable and strikes back on his special MBR imprint with another slamming two-tracker. His new toys ''Drizzle'' and ''Injection'' guarantee some flaming action on the dancefloors. Special guest as remixer on duty for this release is Argentina's finest, Flug, offering a brilliant remake of ''Drizzle''. A package that is definitely going to satisfy even the most demanding clubber.


MG 099LP

SPACEMEN 3: Live at the New Morning, Geneva, Switzerland, 18.05.1989 LP (MG 099LP) 21.00
Repressed -- regular cardboard edition. We all know and love Spacemen 3. Mental Groove have been exchanging this recording for 30 years and thought it was about time to release it properly. So instead of dealing with the impossible task of finding the words to describe how amazing this record is, let's just hear what Sonic Boom has to say about the release: "I seem to remember this show more distinctly than most, and always did. Spacemen 3 was a band not overly loved in their day. It was tough, or at least uneasy. Musically people thought we were some sort of twisted joke. Which in some ways we were. You needed to be bloody-minded to make this music at that time. The set presented here, is as it was .... except the show was twice this length. We tuned and smoked for almost as long as we played. And then our disenfranchise moment, installed to filter the wheat from the chaff in our audiences -- the sprawling 'SUICIDE' wheeled out here in a long, mischievous version. We slipped away mid-song amongst much fog and dry ice. With taped-down keys and feeding-back guitars propped against our speaker cabs, keeping the song pulsating and screaming. Disappearing back down to the already too-familiar dressing room. We rolled large smokes and cracked fresh drinks. And finally after an extended 'break,' re-appeared on stage. Not to wind down as normal at that juncture, but to re-fire up the piece for a further onslaught. Extending the maelstrom as bloody-mindedly as we could. We always 'sensed' when we were unwanted .... which was most the time we left the cozy confines of our white 'sprinter' van. Never get out of the van .... fucking tigers! But then again .... maybe .... just maybe .... and it's only a maybe .... maybe I don't remember a thing." --Sonic Boom, 2014; Recorded from the mixing desk. Includes liner notes by Sonic Boom.



DAPAYK & PADBERG: Layers 12" (MFP 074EP) 12.50
Dapayk & Padberg welcome the autumn season with Layers. The original version, from their 2013 album Smoke (MFP 067CD/LP), is a delicately-written piece of slowly-evolving poetry, and it's presented here wrapped in interwoven coats. The new clubby "Layer 3" version by Dapayk & Padberg is haute musique, leaving not only a warm shiver in your head but also salt on your skin. Chloe's remix follows, with impressive minimalistic clarity. The B-side features a jazzy remix by Rampa, who gives the song a light accent of playfulness.



COLES, MAYA JANE: From the Dark 12" (MOBILEE 140EP) 12.50
In the 3½ years since Maya Jane Coles' previous Mobilee release, 2011's Beat Faster, the UK-based DJ and producer has accumulated unprecedented accolades from all corners of the dance music sphere. She's continued to hone her craft with releases on Dogmatik Records, Hypercolour, Heidi Presents Jackathon Jams, 20:20 Vision, and her own I/AM/ME, and has seamlessly transitioned from buzz-heavy newcomer to perennial favorite. Maya now returns to Mobilee with three tracks in her unmistakable style, with the opener featuring vocals by Moggli. Proof that as fast as Maya's star has shot, there's still plenty of sky left to travel.



GAJEK: Restless Shapes LP (MONKEY 053LP) 21.00
LP version. Includes download code. This is the debut release from Gajek for Monkeytown. After Chris Clark had passed some of Gajek's sheer endless output over to Modeselektor, quite a few listening sessions followed. Ranging from post-rock-y electronica to complex and moody renderings of intricate, introverted beat structures to mutant dance music, a whole audioscape had to be discovered. There were songs and tracks and experiments there, morphed vocals and reverberated non-human instruments, complex percussion patterns and sweet atmospheres, but in all these different paths and moods, a penchant for working with a leitmotif could be traced. As an introduction to expose his particular working method, a concept mini-album was carefully crafted. Filled with 21 short tracks circling around three main motifs, this record lays bare one of Monkeytown's new artist's main strengths. Working with variations of rhythmic elements, it seems like the three parts of this album tell very short but intricately-entwined stories equal to the miniature worlds contained in snow globes. They contain references to their larger musical counterparts in Gajek's other works, but shaken and stirred and sometimes snowed under. One is quickly drawn into this music, challenged to find the thread and follow it into its different outfits and scenarios. The first complex entitled "Curved Engines" evolves around a major scale played over two octaves with the exclusion of a few notes. Its friendly and simple melody is examined in every possible direction, almost like a classical minimalist piano piece. The second one "Restless Water Shapes" explores a repetitive rhythmic pattern, which evolves over the course of its eight parts, sometimes reminiscent of early Autechre, but combined with a more jazz-based approach. On its course, the pattern morphs from being played on actual percussions, to drone-y pads and sirens synthesized from vocals until it breaks into actual composed pieces on track 9, 12 and 14. Here, various of the afore-heard elements come together to form moments of extreme beauty and calmness while challenging the listener to come closer, hear more, better, finer. Complex 3 "Moving Glasses" starts like an overture to a digital "Zarathustra." Synthesized arpeggios sounding like a muted bamboo-harpsichord is interrupted by a syncopated beat swinging in an upside-down gesture like an exclamation mark. Some of the elements of the former complexes appear, culminating in a more orchestrated apparel. Where the other parts explore a musical structure, this one is devoted to (a) form. This form could be called "electronic dance music," if this expression wasn't already taken for the cheap mainstream rendering of autotuned four-to-the-floor. "Moving Glasses" offers the most apparent references to club-music in its various forms, ranging from hip-hop to techno but also finding its way back to ambient and electronica. You can consume this album without paying attention to the "concept" part of it, no worries, it is a masterfully-crafted piece of intelligent electronica that is as pleasant to listen to as it is thought-though.



SOTE: Architectonic LP (DOSER 024LP) 23.00
Morphine continues to take us there, this time with Iranian producer, Sote, with a full album. Architectonic focuses on studies in techno patterns and aesthetics from a maximalist musical perspective, without employing orthodox beats. The focal rhythmic element is achieved with programmed pitched sounds via FM, Physical Modeling and Additive synthesis methods in a modular environment. These aural components that withstand spectral and formant filters, as well as other signal processing units, form harmonies and melodies that interchangeably act as the structural groove. The outcome is occasionally polyrhythmic, aiming for a common-time feel and vice versa. Interwoven patterns and complex ornaments within a pliant grid form a diametric functionality of loop-based trance-inducing music, and require active listening. This is a paradoxical ode to noise and techno progressing further.


MC 008EP

JAGWAR MA: The Throw (Dreems Sounds of the Universe Remixes) 12" (MC 008EP) 12.50
"'The Throw' [is] a track that I had witnessed from birth to graduation onto the radio airwaves [and] I felt that there was a hole in the interpretations that others had taken... I saw so much more in that piece of music. A body that was beautiful, violent, joyous, loose, and free... I tried several times to capture this. Each time was a different approach using different elements that I saw as vital... I decided to skein them together [into] a tripartite that managed to capture what it was truly like to be a part of the band..." --Dreems



TRUFFAZ & MURCOF, ERIK: Being Human Being LP+CD (MUNDO 003LP) 23.00
Gatefold double LP version. Includes CD of full album. Mundo Recordings proudly presents a new collaboration between Erik Truffaz and Murcof, with special artwork by Enki Bilal. Swiss trumpeter Erik Truffaz has worked with Mexican sound artist Murcof (originally Fernando Corona) since 2006 when they worked as a trio with Talvin Singh. That fruitful relationship brought together Truffaz's investment in modern jazz, a sharp ear for the new discoveries of contemporary composers like Giya Kancheli and others in the eclectic world of new music, and developed a creative conversation with the world of noise, glitch and spectral electronics that is the abode, though by no means isolated abode of Murcof, who is an arch-collaborator. That relationship was suddenly broadened and lent fresh intensity when in 2012 Truffaz met the charismatic Enki Bilal -- painter, illustrator and creator of the "Nikipol" sequence. It was inevitable that when these men came together, that extraordinary work would ensue. That work is the multi-form piece Being Human Being, which exists as a recorded event, as a film collage and as the basis -- the score, if one likes -- of further performances. Its subject matter is clearly stated in the title. If homo sapiens is a singularity in planetary evolution, these are the men best qualified to peer over that event horizon and into the strange world that is our collective future.



GLASS, PHILIP: Symphony No. 4: ''Heroes'' CD (OMM 096CD) 20.00
"Orange Mountain Music presents a new recording by the Basel Sinfonieorchester of Philip Glass's Symphony No.4 "Heroes" based on the music of David Bowie & Brian Eno. Composed in 1996, Glass took his departure from Bowie and Eno's beautiful melodies in crafting a six movement, forty-four minute symphony. This new recording conducted by Glass champion Dennis Russell Davies presents a shimmering rendition of this attractive and accessible work."



FRENCH TOUCH: French Touch EP 12" (ORN 033EP) 14.00
New York's finest Joseph Longo III (aka Pal Joey, Earth People) presents an excursion into deep & soulful house and electronica. Pressed on clear marbled vinyl. Features remixes and versions by Fredo, Fragg, Papa Stomp, and Deni Shain.



PARASOLE, ANTHONY: My Block EP 12" (OSTGUT 084EP) 14.00
New York City-based DJ, producer and The Corner label owner Anthony Parasole makes his debut on Ostgut Ton with three new percussive-heavy techno tracks on the My Block EP. "Typhoon" features bongos, congas and all kinds of skin percussion, "My Block" uses a different kind of percussive color, inspired by hip-hop, and "Bizarre" takes its inspiration from 1970s horror movie trailers.



LAHS, NICO: Absence 12" (OVM 249EP) 14.00
In the three years since Nico Lahs debuted on Ovum Recordings with his Clouded Visions EP, he has continued to display a talent for creating deep soundscapes, in releases on Poker Flat Recordings, 8bit Records, and Last Night On Earth. In his return to Ovum, Nico appears matured, but with a special rawness persisting. The A-side, "Tension," is great journey track that makes you want to close your eyes and get lost in the groove. On the B-side, Nico delivers "Absence," a track in his classic style that twists and turns, taking the listener on a beautiful ride.



JS: Reduction 2 12" (PHORMA 008EP) 14.00
Phorma releases the second element in the Reduction series by Manchester-based dub wizard JS with a loop-driven remix by the mysterious Reminiscent Mood project. Two deep dubby tools to work your mind!



CRUISE, JULEE: Floating Into the Night LP (PLAIN 192LP) 19.00
"Floating Into the Night is the 1989 debut album by vocalist Julee Cruise featuring songs written and produced by composer Angelo Badalamenti and film director David Lynch. The songs 'Falling' and 'Rockin' Back Inside My Heart' were both featured in Lynch's cult television series Twin Peaks, and 'Into the Night,' 'The Nightingale,' and 'The World Spins' also appeared in the show. The instrumental version of 'Falling' was the theme song for Twin Peaks while the album as a whole is almost an unofficial soundtrack to the series. The track 'Mysteries of Love' was prominently featured in Lynch's classic film Blue Velvet. Cruise's dreamy, light vocals match perfectly with the music and lyrics to make this album sound like it is unattached to any era. Reissued on 180-gram vinyl."



SHADDAH TUUM: Merkabah 12" (PRTLS 001EP) 25.00
This is the agony and the ecstasy of Shaddah Tuum. The mysticism of "Merkahbah": a gateway to another realm. Dadub's liquid cold burns across the Merkahbahtic portal, offering a new world -- one of descent rather than "S-nInYourHead" ascension, spinning headlong into depths as crushing and black as a star's birthplace. Twisting further downwards, the hand of Kerridge corrupts both gateway and guide into a looming smear of entropic hatred. This is the sound at the center of the universe, a wail of eternal birth: terror, confusion, and pain. One color screen-printed PVC sleeve. Marbled vinyl. Artist edition of 300.



VA: Charred Remains 2LP (RADIO 009LP) 24.00
"In the annals of early 80's American hardcore, no compilation holds more seminal weight than Charred Remains. Initially released in 1982 on cassette through Bob Moore's Version Sound label and available in limited supply, the release served the world the first earfuls of such groundbreaking and legendary bands such as Hüsker Dü, Die Kreuzen, Void, Violent Apathy, Toxic Reasons, Articles of Faith, Rebel Truth, Personality Crisis, and Sin 34. Besides the actual sounds contained on the tape, Charred Remains was a testament to that primary quake of DIY ethics that empowered many a short-haired youngster to start bands, record labels, and fanzines and forge the underground to where it is today. To find an original copy of this compilation and not have to give up a kidney in exchange would be quite a feat, but now Radio Raheem waves their magic wand and Charred Remains is something for everyone to enjoy in the vinyl format. Re-mastered from the original master tapes with liner notes from Bob Moore and Die Kreuzen vocalist Dan Kubinski, Charred Remains is rescued from the collector ghetto and plopped right down into your lap to behold."


RT 004EP

SAN PROPER & DAVID OLIVER: Free 12" (RT 004EP) 12.50
The Ratio? label says: "Some think freedom comes with a price, others say freedom is a prize. Then you have people who claim 'the best things in life are free.' It takes up quite some time and effort, or better yet -- 'work,' to sort out answers to these questions. One might feel cornered by such issues. David Olivier Nerbl aka D.O.N. & Dr. San Proper wrote and recorded a sarcastic song last summer which might give some relief. If not, check out Jacques Renault's remix. One love for freedom."



HOT & RICH: Rocksteady LP (RRT 032LP) 20.00
Limited edition LP version pressed on clear vinyl with picture sleeve in re-sealable poly outer bag. Hot & Rich, the duo of Bob "Hot Dog" Ormrod and his son, Richard Ormrod, lays down instrumentals driven by saxophone and harmonica over original 1960's Jamaican rocksteady and early reggae rhythms. With over 50 years of musical experience between them, the duo plays everything, from traditional to free jazz, blues, ska, reggae, Latin, calypso, mento, and South African music. Their musical empathy, formed over 15 years of playing with now-defunct bands Skaville Train, Ska Bop, and others, enables them to go into the studio with little or no prior scores or arrangements, and play track after track of innovative and passionate music. The featured instrumentals were recorded over a two-day session in December, 2003, at A.D. Studio in Exeter, England, and at a later session in 2004, at the Bijou Studio in Taunton, Somerset, England. Hot & Rich played alto, tenor, soprano, and baritone saxes, clarinets, bass clarinet, and harmonica. The overall track style ranges from loose, free-blowing, jazz-influenced incarnations on sax and harmonica to more precisely orchestrated tracks. The parts were all played over 1967 and '68 Jamaican rocksteady and early reggae rhythms by Lynn Taitt & The Jets and Beverley's All Stars. All rhythms supplied courtesy of Derrick Morgan. Rocksteady was first released in 2004 on 10" and CD, a revised version of the album was released in 2011 on CD only. All tracks remixed and remastered by Alien Dread and Top Beat at A.D. Studio. Includes new original artwork.



BLOWN OUT: Drifting Way Out Between Suns LP (REPOSE 042LP) 27.50
Newcastle power-trio Blown Out issue their debut album Drifting Way Out Between Suns. Comprised of members of Bong, Drunk In Hell, Haikai No Ku, 11Paranoias, Khünnt and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Drifting Way Out Between Suns offers up 40+ minutes of sonic bass lines, steady free-form tempos, and totally crushing, waster-infused, head-change guitar leads. The trio evoke the psychedelic jam music of San Francisco's glory days -- effects-laden guitar jamming that goes nowhere and everywhere, held down by a hypnotic groove that never misses a beat, no matter how long they play without pause. The blues-rock roots of the jamming makes for a calming experience, after the head-fuck you'll experience waiting for them. Also featured are sonically-heavy, rolling-thunder bass lines, shaped by total head-change, waster-infused guitar freak-outs, gelled together with steady freeform rhythms. You have to learn to die before you die. You give up, surrender to the void, to nothingness. Limited edition of 400. Pressed on grape-colored vinyl. Vinyl-only release with download code.



Double LP version. Sasu Ripatti is one of electronic music's most prolific and eclectic producers. Throughout the last two decades Ripatti has explored every imaginable genre with over 20 albums under aliases such as Luomo and Sistol. A classically trained percussionist, the Finnish native has also performed as a part of the Moritz Von Oswald Trio and his own Vladislav Delay Quartet. He returns now under his Vladislav Delay moniker with a uniquely inspired album. Visa was a product of pure happenstance. In early 2014, Ripatti was denied entry to the United States and was forced to cancel an entire tour. Suddenly left with unhindered time and a surplus of creative energy, he was able to give birth to the album in a span of only two weeks. Ripatti describes this time as a moment in which "a valve broke open... and I collected what came out the pipes." Visa is Ripatti's first foray into ambient music in over ten years, yet it is not simply passive background music. Rather it is an active entity, a soundscape built from textured layers of evocative industrial noises and dream-like melodic loops. Clocking in at just under an hour and made almost entirely with analog hardware, the album was designed to be listened to at high volume and in full detail. Beatless and void of percussion, Visa's five cuts challenge the listener to follow Ripatti on his journey through time and musical machinery. Mastered and cut by Matt Colton at Alchemy.



VA: Funky Chicken: Belgian Grooves from the 70's 2CD (SDBAN 001CD) 34.50
The best Belgian dance tracks from the beginning of the '70s. Dire times, they were, full of poverty and hardship. To make a living out of popular music was a near-impossibility in a small country like Belgium. This precarious situation, though, proved to be a blessing in disguise for creative minds. When it's hard to get your hands on some money, trying out as many things as you can seems the logical thing to do. On the other hand, if there's hardly any money to be gained anyway, you may just as well play what you bloody well like. That's what Belgians like to do anyway. Moreover, living in a country where virtually every musical wave passes through also inspires. In the early '70s, those waves were (Afro-)funk, soul, and Latin. The situation as a whole was a favorable one for some visionary musical entrepreneurs. Jean and Roland Kluger created a musical dynasty, American-style, with successful acts like Chakachas and Two Man Sound. Their rival, Marcel De Keukeleire, scored worldwide hits with Amadeo, Chocolat's, and "The Birdy Song." Relying on zealous energy and a shamelessly commercial logic, every effort was aimed at success, so they jumped on as many international bandwagons as they could and tried out their own variants on the local market. Nearly every style in the post-war scene is represented here: Hein Huysmans' jazz-funk, the jazzy prog-rock of Cos, or the fusion of Open Sky Unit. And of course there's Marc Moulin, a name that needs little or no introduction. This is the missing link between the variety orchestras of the '60s and the electronic triumphs of Telex in the late '70s and early '80s. These tracks offer the same sense of adventure and slightly surreal pigheadedness that are also present in the best Belgian contributions to dance music. Think Front 242, Technotronic, or Soulwax/2manydjs. This is the ground they built upon. Artists include: Chakachas, Mad Unity, Rene Costy, Alex Scorier, Open Sky Unit, Plus, Andre Brasseur, Chicken Curry & His Pop Percussion Orchestra, Placebo, Les Hélions, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters ), Nico Gomez & His Afro Percussion Inc., Chocolat's, Amadeo, El Chicles, The Mol Percussion Band, Cos, Rene Costy & His Orchestra, The Rapture, Doug Lucas, Hein Huysmans Kwintet, Leo Cavallo, and Super Funk Special.


VA: Funky Chicken: Belgian Grooves from the 70's Part 1 2LP (SDBAN 001LP) 33.00
Double LP version, part 1. 15 tracks on 180 gram gatefold 2LP with liner notes. Artists: Chakachas, Mad Unity, René Costy, Alex Scorier, Open Sky Unit, Plus, André Brasseur, Les Hélions, Chicken Curry & His Pop Percussion Orchestra, Placebo, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters, Nico Gomez & His Afro Percussion Inc., and Chocolat's.


VA: Funky Chicken: Belgian Grooves from the 70's Part 2 2LP (SDBAN 002LP) 33.00
Double LP version, part 2. 14 tracks on 180 gram gatefold 2LP with liner notes. Artists: Chicken Curry & His Pop Percussion Orchestra, Amadeo, El Chicles, Plus, The Mol Percussion Band, Cos, René Costy & His Orchestra, The Rapture, Doug Lucas, Hein Huysmans Kwintet, Placebo, Leo Cavallo, Chakachas, and Super Funk Special.


CHAKACHAS/OPEN SKY UNIT: Funky Chicken Sampler 1/7 7" (SDBAN 701EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Funky Chicken brings together some of the best Belgian dance tracks from the early '70s. Most of these tunes were created and recorded by hired guns, in this case, a few clusters of gifted session musicians and composers. The music on Funky Chicken is their take on Afro-funk, soul and Latin. Some of their releases were hit parade cannon fodder, but occasionally, some spare studio time or the urgent need for a B-side allowed for memorable musical experiments. Tracks on volume 1 of the sampler from Chakachas and Open Sky Unit.


COSTY/CHICKEN CURRY, RENE: Funky Chicken Sampler 2/7 7" (SDBAN 702EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Tracks on volume 2 of the album sampler from René Costy and Chicken Curry.


SCORIER/THE RAPTURE, ALEX: Funky Chicken Sampler 3/7 7" (SDBAN 703EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Tracks on volume 3 of the album sampler from Alex Scorier and The Rapture.


CHAKACHAS/THE MOL PERCUSSION BAND: Funky Chicken Sampler 4/7 7" (SDBAN 704EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Tracks on volume 4 of the album sampler from Chakachas and The Mol Percussion Band.


EL CHICLES/PLUS: Funky Chicken Sampler 5/7 7" (SDBAN 705EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Tracks on volume 5 of the album sampler from El Chicles and Plus.


CAVALLO/LES HELIONS, LEO: Funky Chicken Sampler 6/7 7" (SDBAN 706EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Tracks on volume 6 of the album sampler from Leo Cavallo and Les Hélions.


COSTY/MAD UNITY, RENE: Funky Chicken Sampler 7/7 7" (SDBAN 707EP) 14.50
Comes with a free Funky Chicken 45 RPM adapter. Tracks on volume 7 of the album sampler from René Costy & His Orchestra and Mad Unity.



BYRNE, JULIE: Melting Grid/Emeralds 7" (VAN 278EP) 10.00
"I saw Julie Byrne play out in the sticks at SXSW this year in Austin and she totally blew me away, on a psych folk tip -- reminded me of Linda Perhacs, Karen Dalton and Vashti Bunyan, that good. We are stoked to be releasing a 7" on pink vinyl of two select tracks 'Melting Grid' and a direct-to-tape version of 'Emeralds.' --Static Caravan; "The songs of Julie Byrne are hushed and mysterious ... they unfold from bare folk simplicity to abstracted tales of home life and longing that conjure up a simultaneous feeling of warm cabin intimacy and a deep interior sadness." --MOJO Magazine



KOLETZKI, OLIVER: Schneeweiss IV CD (SVT 141CD) 17.00
Over the years, Oliver Koletzki has continuously cited Berlin as a point of reference, and, more importantly, a source of inspiration. Friedrichshain, one of Berlin's vibrant districts, has always held a special place in Oliver's heart. This is where he started out when he first moved to the city, and this is where he lives now. Moreover, the Stil vor Talent HQ is situated in the center of the bustling Kiez. So is Schneeweiss, one of Friedrichshain's best and most-loved restaurants. Since its establishment in 2006, the stylish eatery has impressed many a Berlin foodie with its contemporary take on alpine cuisine and attention to detail. Music is part of the experience here, which is no surprise, due to one of the owners' extensive background in the early days of Berlin's club scene. Pairing striking, award-winning interior design with a homey, laid-back atmosphere, Schneeweiss welcomes everyone with open arms: Kiez locals and celebrities, students and businessmen, hipsters and families -- all can be found here, Oliver Koletzki among them. Thus, after many a late-night label dinner, an idea slowly formed: why not join forces and collaborate on a compilation that represents both: Oliver Koletzki's and Schneeweiss' taste? Compiled specifically with the restaurant in mind, Schneeweiss IV is a tasty treat for the music connoisseur and a musical treat for the culinary aficionado. For the fourth installment of the compilation, Koletzki gathers stunning tracks by Agnostica, David Hasert & Matteo Luis featuring Shiah and remixed by Rampue, High Heel Breakers featuring Sarah Palin and remixed by David August, Tobi Kramer featuring Florence Bird, Teenage Mutants & Ed One & Bodden, Boy Next Door remixed by Oliver Koletzki, Eelke Kleijn, Niconé & Sascha Braemer remixed by Limon, Jiggler, Kellerkind, Smash TV, and Koletzki himself. Bon appétit!



ZEITGEBER/L.B DUB CORP: V: Five Years of Artefacts - Chapter Two 12" (SA5YEARS 002EP) 14.00
Zeitgeber and L.B Dub Corp split the second in Stroboscopic Artefacts' series of fifth anniversary records. Zeitgeber is the collaborative project of SA label boss Lucy and Dutch techno royalty Speedy J. "Totemism" opens with distant, reverberating bells and a thin film of hiss and crackle. But, one minute in, heavy and incessant drums cut through the ambience, hitting you straight in the chest. Luke Slater slips into L.B Dub Corp mode for the B-side of this record, re-visiting a classic club cut of his own, delivering "Take It Down Again (In Dub)," a brilliantly-realized exercise in tension, dub delay and mixing-board creativity.


SF 091LP

KHORSHID AND HIS GROUP, OMAR: Live in Australia 1981 LP (SF 091LP) 22.00
This is the first live concert recording ever issued of legendary Egyptian guitarist Omar Khorshid and his group. It features tracks recorded during his 1981 tour of Australia, including live versions of songs that grace his various LPs recorded for Lebanese and Egyptian labels during the 1970s with one phenomenal tune, "Al Rabieh," being exclusive here as never before issued in any form. The sound is surprisingly great for a live cassette recording and the band is as sharp and monumental as ever, with stunning instrumental performances throughout, including an extended improvisational rhythmic exchange between percussionist Ibrahim Tawfiek and Omar's electric guitar on the epic track "Sidi Mansour." This record is loaded with Khorshid's signature microtonal Arabesque surf guitar elegance darting atop the backing band's brilliant accompaniment, and the tones of organist Fouad Rohaiem sound raw and abrasive, as though it were still 1973. The album has even more nostalgic (and tragic) significance as these shows would be his last; a car accident claiming Omar's life within 72 hours of flying back to Cairo from Australia. Mohamed Amine, Khorshid's lifelong friend and member of his group from 1975-1981, recorded these tracks and provided the photographs that embellish the beautiful gatefold jacket that accompanies this LP. Collected and researched by Khorshid historian Hany Zaki in Cairo, this unbelievable treasure is now available for the world to behold. Limited edition LP release in a full-color gatefold jacket with exquisite photos from Mohamed Amine's personal archive and informative liner notes by Hany Zaki.



BLACK DYNAMITE: Do You Feel Me EP 12" (TDPR 016EP) 14.00
Wow -- Black Dynamite's second strike for Tenderpark ventures even more into hip-hop territory than his successful first EP did back in 2012. Ivano Tetelepta, the man behind Black Dynamite, has created three casual and well-hung tracks which form a fascinating hybrid between left field house and instrumental hip-hop. All tracks were recorded on an old school analog tape machine. The cover design is the second part of Tenderpark's new black-and-white artwork series conceived by the label's art director Till Sperrle and photographer Magdalena Bichler.


WIRE 370

WIRE, THE: #370 December 2014 MAG/CD (WIRE 370) 9.50
"From funk to fire music, punk to psychedelia, noise to improv, Wire writers apply their minds to the subject of freedom in music with contributions from David Keenan, Abi Bliss, Nina Power, Andy Hamilton, Robert Barry, Jack Law, Derek Walmsley and more. Plus: Invisible Jukebox: Peter Zummo The NY trombonist approaches The Wire's mystery record selection with all valves open); Cross Platform: Ursula Mayer (The Austrian artist blends gender and meaning in her lust films); Global Ear: Ainu Music in Hokkaido; Unofficial Channels: The Combat Jack Podcast; Bites: Laura Cannell."



VA: Aphelion CD (TOKEN 048CD) 17.00
It was early 2007 when Inigo Kennedy inaugurated Token. Since that Identify Yourself 12", the Belgian label has gone from strength to strength, integrating both Kennedy and Ashley Burchett aka O [Phase], into becoming integral cogs in the Token machine. In between releases by Grovskopa, Oscar Mulero and Go Hiyama, both O [Phase] and Inigo Kennedy dominated Token's output, but it wasn't until Burchett's watershed Binary Opposition that Token received the shower of praise it deserved. Since then Token has grown exponentially, bringing into their fold artists like Xhin, Mark Broom and Rødhåd, while Ctrls, formally one-half of Northern Structures, has seen his solo career flourish on Token with the release of five records to date, and he joins Inigo Kennedy and O [Phase] as a label stalwart. Now, seven years after that debut Kennedy record, Token present Aphelion, a nine-track CD of new and exclusive material from label regulars and like-minded artists whom Token founder Kr!z specifically commissioned for this milestone release. The penultimate record before Aphelion is a second Token 12" by Rødhåd, another artist adding to the cultivation of the label's sound and roster, and for this compilation the Berliner supplies his cosmically inspired "Haumea," Joining the Dystopian founder on Aphelion are three of the UK's most influential techno artists: Surgeon, James Ruskin and Luke Slater under his Planetary Assault Systems alias who provide Token with solo material for the first time after previously appearing on the imprint in remix form. Entirely new names to grace the label via Aphelion include Stroboscopic Artefacts founder Lucy, and Blawan and Pariah's Karenn project, while label faithfuls Inigo Kennedy, O [Phase] and Ctrls naturally commit three Token-defining productions. Casting one's eye over Token's back catalog, and it's clear to see the label is a staunch advocate of absolute techno, remaining steadfast in issuing quality material that remains true to classic strands of the genre regardless of its popularity flux. In that respect, Aphelion -- a word used to describe the point in orbit when a planet or comet is farthest from the sun -- provides a simple analogy that the magnetic force of Token, unfazed by the shadows cast by popular opinion, will proudly shine light on their artists and given styles.


VA: Aphelion 3LP+CD (TOKEN 048LP) 31.00
3LP version with CD.



BOREM, ALLI: Continuum Gate 12" (TURBO 167EP) 12.50
Alli Borem, the Italian tech-house don, is back in top form with three club weapons for Turbo. Italian acid-tech-house for dancefloors everywhere: "Continuum Gate" is a huge, super-effective DJ tool. A wonky acid top-line hovers over rolling, Spastik-style percussion. Add in massive kicks and a gritty ride, and BOOM, the party gets spazzo. "Children of the Heart" tweaks the reverb and flecks the resonant acid all over your mind... it sounds like Daniel Avery, dipped in tiramisu. Finally, "Turbo Rolling Ride" ups the jack quotient, with pumping snares punctuating an infinitely grooving bass line. Solid, playable bombs.



MUELLER & DUANE PITRE, JON: Inverted Torch LP (TYPE 121LP) 20.00
Wisconsin's Jon Mueller and New Orleans' Duane Pitre are both towering figures in the world of avant-garde sound. Mueller has notched up an astounding amount of albums and collaborations in the past (including two on this very label) and while most of his time is spent eking out unusual textures from his plethora of percussive instruments, he can also be spotted moonlighting as the drummer for main-stage indie act Volcano Choir. Pitre, having retired as a professional skateboarder (seriously), has also amassed an enviable catalog, collaborating with Eleh and Cory Allen, among others, and releasing on a variety of labels in the process. Inverted Torch finds the duo meeting somewhere in the middle; Mueller's familiar patter (this time on a collection of gongs) is matched with Pitre's bowed cymbals and his expertly-realized collection of Max/MSP patches. The album is made up of two pieces -- "No Longer of Our Time" and "A Fading Light Within Its Place," both taking influence from a poem (also titled The Inverted Torch) by Edith Matilda Thomas. This might seem inconsequential at first, but the duo used the text as the starting point in a process that allowed them to discuss change, life, time and human action as they blended real-time performance with synthetic elements, seamlessly. The push and pull between electronics and "real" instruments is a conversation artists have been struggling with for decades, but Mueller and Pitre somehow make their collaboration sound effortless and decidedly organic. Blissful, unique, and oddly moving, Inverted Torch is a record that defies comparison and encourages patient, deep listening.


UP 2014-006LP

VA: Soul Safari Presents Township Jive & Kwela Jazz Volume 3 LP (UP 2014-006LP) 20.00
Soul Safari started as a blog to showcase the music of Africa with a strong emphasis on South Africa. Now in its sixth year, Soul Safari is proud to present the third volume of the compilation Township Jive & Kwela Jazz, a collection of rare gems originally released as shellac 78s in the period 1960-1965 in South Africa. On this third volume, the selection features the gorgeous close harmony vocal groups singing in the tradition of American R&B and doo-wop, but always with that typical South African swing and sung in the Zulu or Xhosa languages. DJ Eddy de Clercq, who initiated this compilation, also selected a few tunes that stand for the transition from early jive to mbaqanga, a most democratic vocal style characterized by the typical "groaning," a form of call-and-answer between the male leader (groaner) and female singers. Mbaqanga would follow up jive as the popular vocal music from 1965 onwards. Kwela jazz knew many variations in which the original instrument, the penny whistle was traded in for accordion, violin, even a melodica, an instrument that also became widely popular in Jamaica. Similarities with uptempo ska can be heard in tunes by Kid Ma Wrong Wrong and Bra Sello, featured on this compilation. Again, an exciting selection of rare recordings from the heyday of South African jive & kwela. True musical treasures from a long-gone past.



PIPES, DOUGLAS: Trick 'R Treat (Original 2007 Score) 2LP (WAXWORK 006LP) 38.00
"Waxwork Records is thrilled to release, for the first time ever, Douglas Pipes' score to the 2007 Halloween anthology film, Trick 'R Treat. Directed by Michael Dougherty (X-Men 2, Superman Returns), Trick 'R Treat has become a modern cult classic and traditional October viewing alongside classic horror films such as John Carpenter's Halloween, and has earned a 24-hour rotational airing in 2013. This expanded double LP features over an hour of music that has been mastered for vinyl and supervised by the composer. For art duties, Waxwork brought on none other than the incredibly talented Francensco Francavilla (Afterlife with Archie, The Black Beetle). Francavilla has worked as an in-house artist for both Marvel and DC Comics, and has created the full LP packaging artwork with approval from director Michael Dougherty himself. If that wasn't enough, at the request of Michael Dougherty, Waxwork has acquired the full audio stems from the film to create a full bonus Spooky Sound FX album perfect for a haunted house, or for spooking your neighbors this Halloween season. Like the classic Disney LPs such as Chilling, Thrilling Sounds from the Haunted House, the included Trick 'R Treat Spooky Sound FX album will take the listener through the streets of Warren Valley, Ohio on a cold Halloween night filled with vampires, werewolves, rock quarry zombies, and himself. If that wasn't enough, the entire Spooky Sound FX album has been constructed, mixed, and edited by Evan Chen, the sound designer on Michael Dougherty's 1996 animated short Season's Greetings, which features Sam's first appearance, and inspired the film Trick 'R Treat."


WER 6769

HOSOKAWA, TOSHIO: Quintets & Solos CD (WER 6769) 25.00
"A native of Hiroshima, Japan, composer Toshio Hosokawa combines Western classical traditions with an Asian aesthetic philosophy. Hosokawa studied composition with Isang Yun, Klaus Huber and Brian Ferneyhough. This disc from Wergo features the legendary Arditti Quartet playing quintets and solos that blend eastern and western instruments. Of special note is Threnody, which is dedicated to the victims of the 2011 Tohoku earthquake and tsunami, which claimed more than 20,000 lives."

WER 6786

HARADA, KEIKO: F-fragments/Book I/Nach Bach CD (WER 6786) 25.00
"Japanese composer Keiko Harada studied piano, chamber music and conducting at the Toho Gakuen College of Music and studied composition with Manabu Kawai, Akira Miyoshi, Brian Ferneyhough and Gyorgy Kurtag. This release from Wergo features pianist Yumiko Meguri and accordion player Stefan Hussong in a selection of three key works by Harada -- 'F-fragments' for accordion and piano, 'Book I' for solo accordion and seven selections from 'Nach Bach', a work inspired by J.S. Bach's 'Well Tempered Clavier.'"



MCCABE, SEAN: It's Time 2LP (ZEDD 033LP) 31.00
Double LP version, in gatefold sleeve. Joey Negro's tastemaking and scene-defining disco-house label Z Records is proud to announce its next full-length release, namely a debut album from Sean McCabe entitled It's Time. It's an LP that bucks the modern trend and shows up many of its peers by being one that is made of wholly original material, sounds and ideas, rather than one that leans on tired and classic samples. This lush and musical 12-track affair is Sean's first big solo project and it has been in the works for almost three years. Written mostly in his Bristol studio, the LP features a wealth of international collaborations -- Jennifer Wallace, Diane Charlemagne, Renn -- and has been made primarily on real hardware such as the Fender Rhodes, SH-09, Juno 106, Poly 61, JV-1010, EMU Vintage Keys and the Moog Slim Phatty. Sean, who has been producing since his teens and includes fine labels like U.S. garage staple King Street Sounds, Defected, Strictly Rhythm and Local Talk in his discography says of the album: "It was important for me to get it perfected to my original vision, and to keep that vision throughout was difficult. I've literally drawn inspiration from everything that's influenced me as producer and writer over the years. I always wanted to create something that demonstrates all my tastes in soulful dance music, which can be influenced by so many subgenres like hip-hop, disco, jazz, soul, deep house, U.S. garage, etc. The NuYorican Soul album has always been a benchmark for me in terms of a perfectly constructed album and is something I never get tired of listening to." Those influences shine though in this fantastically musical and deeply considered album: it bares all the hallmarks of a proper full-length that has been built from the ground up with fantastic arrangements, catchy vocals and real song structures. "Everything's Alright" opens the album in glorious style, with retro-tastic and sing along vocals, well-defined and authentic house production and plenty of feel-good chords. From there, there's skipping and soulful house like "Something About You," diva vocal cuts like "Holding On" and blessed-out dance-pop nuggets like "Tomorrow's Another Day." The good vibes continue from start to finish with many highlights along the way, such as the sultry and seductive deep garage house of "Want Me" and classically-inclined joys of "Love for Life." The production values are sky-high on this album, and though it might have been a long time in the making, it was worth it, because it categorically proves that now really is Sean McCabe's time.

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