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Forced Exposure New Releases for 11/24/2014

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New music is due from Faust, Horse Lords, Steffi, Sloath, and Aldous Harding, while old music is due from Conrad Schnitzler, Jon Hassell and Brian Eno, György Ligeti, Gary Burton, Einstürzende Neubauten, and David Tudor.


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213 2808LP

ROLLINS BAND: Life Time LP (213 2808LP) 16.00
"Originally released in 1987, Life Time is the full-length debut by Rollins Band. This reissue -- released on Rollins' 2.13.61 label -- has been remastered for vinyl by TJ Lipple and includes updated artwork by Jason Farrell. The record contains a complimentary digital download coupon for the nine original album songs plus five tracks recorded live in Kortrijk, Belgium on October 16, 1987. Henry Rollins on Life Time: 'Life Time is the first studio record by the Rollins Band. We did our first practice on 04-07-87 and went out on a long tour of America and Europe. On the road we wrote songs and put them into the set. By late October we finished the shows in London, UK. We went up to Leeds where Chris had a place to live and booked studio time at the same place that he and I did the Hot Animal Machine recordings a year before. I had no producer for this record and feared that since everyone in the band had strong opinions on how it all should be done that if we tried to do it ourselves we would do more harm than good. I called Ian MacKaye and asked for help. He got on a plane and came right out. That's Ian. We got straight to work as we had little time or money. All twelve songs were cut and mixed in a few days. We would do a take and Ian would tell us that it was good and we were moving on. When someone would say that they wanted to do it over again, he listened patiently and then asked again which song we wanted to do next. We got it all done and dragged it back to America for about 3,200 dollars. My, how things have changed. The album cover was drawn on the back of a diner place mat by Stephen Myers as a gift for my then roommate, Laura. Only the offset reproduction of the piece remains as the original went with her when she gave up her room. She shot herself a few years ago. Special thanks to Ian for coming to the rescue on such short notice. Thanks to you for checking this out." -- Henry



KOMEDA, KRZYSZTOF: Rare Jazz and Film Music: Volume One LP (AIS 002LP) 26.50
"His music was cool and modern, but there was a hot heart inside. Komeda was a film composer par excellence. He gave truth to my films. Without his music they would be meaningless." --Roman Polanski; Volume one of this Krzysztof Komeda series on vinyl looks at Komeda's classic work for Polanski's Knife in the Water (Nóz w wodzie) (1962) along with rare earlier recordings that have never been on vinyl before. These were recorded by Komeda's progressive trio at the legendary Jazz Jamboree Festivals in Warsaw. Together these recording signify a sea change in the sound of modern jazz -- especially in Poland where it had been banned until Stalin's death in 1953. By the early 1960s, Komeda had found his modern sound, one which he would build on and develop through various film scores and free-jazz sessions. His untimely death in 1969 left the jazz world with a small but significant hole, one that seems to grow bigger as more people realize just how unique and versatile his music was.



A-SYMMETRY: I Am Life CD (AGF 019CD) 15.50
"A-symmetry" is the absence of, or a violation of, symmetry. Symmetry is an important property of both physical and abstract systems and it may be displayed in precise terms or in more aesthetic terms. Violations of symmetry therefore present theoretical and experimental puzzles that lead to a deeper understanding of nature. Asymmetries in experimental measurements also provide powerful handles that are often relatively free from background or systematic uncertainties. I Am Life was produced by German producer Antye Greie-Ripatti (AGF) and Georgian producer Natalie Beridze (TBA).



PALESTINE, CHARLEMAGNE: Sacred Bordello Book w/CD (ALGA 017BK) 69.00
2004 release. Special edition of this book (which by itself is published by Black Dog Publishing and available elsewhere -- we don't carry the book by itself; this version includes a limited CD bundled w/ the book, only available via Alga Marghen. It is, unfortunately, a lot more expensive as a result -- the book itself lists for $29.95). "As one of the most influential figures of experimental music and performance Charlemagne Palestine has remained an enigma. Unlike his illustrious contemporaries Terry Riley, John Cale, Steve Reich and Phillip Glass little has been written on Palestine and his continuing influence. In his own right, he was and remains today a pivotal personality whose research in musical composition and performance has been characterized over the years by its incantatory repetitiveness, its flamboyance and its mysticism, but also by its violence. Born in Brooklyn in 1947 his first musical experiences were as a cantorial singer in the synagogues of New York. Through his contact with Tony Conrad Palestine was soon introduced to the thriving experimental art scene of the late 1960s. The circles around Andy Warhol and La Monte Young provided a crucial backdrop for Palestine's work which increasingly extended beyond the scope of music. His groundbreaking appearances, which combined violent piano playing, performance, video and installation, were considered to be amongst the most radical musical experiences, leaving a lasting impression on followers such as Arto Lindsay, Glenn Branca, Sonic Youth, and the Sex Pistols as well as Tintin creator Herge. His musical oeuvre escapes any ready categorisation Brooklyn, is a synthesised drone mixed with field recordings of a festival. Palestine's epic durations, microtonal trembles and dense overtones are reoccurring features in contemporary industrial and electronic music. Palestine's unique style of singing, Indian singer Prandit Pran Nath 'Charleworld', were crucial influences on artists such as Mike Kelley and Paul McCarthy. Through recent collaborations with Barcelona based techno duo Pan Sonic and David Coulter (Kronos Quartet) Palestine remains a crucial contributor to today's experimental music scene. A wonderful full colour book (size cm. 23,50x18,50), with flexicover, 192 pages including essays, scores, original photos of both performances and installation. The most complete documentation on Charlemagne Palestine art. The compact disc will feature the 60 minutes recordings of a lecture that Charlemagne Palestine gave on March 7th, 1975 at ArtNow Centre in Canada. After the performance of a strumming music concert, the author freely speaks about his music, the philosophy beyond his composition techniques and art involving the students in some kind of magic ritual. Starting as a question and answer conversation, the lecture develops into an intimate speech in which particularly private subjects are discussed. The lecture ends with a particularly touching suspended atmosphere showing how real communication in universities should be. The compact disc also includes a breathtaking multi-layer voice study of the early 1960s never published before on record, very similar in sound and structure to the electronic music studies just issued by Alga Marghen."


PALESTINE, CHARLEMAGNE: Four Manifestations on Six Elements 2LP (MAGNE 008LP) 122.00
One of Charlemagne Palestine's most well-known works, Four Manifestations on Six Elements is presented here as 2LP record edition limited to 120 numbered copies pressed into white vinyl. The gatefold sleeve is silkscreened in one color and presents the original score from 1970. In 1973 Charlemagne Palestine was commissioned to make Four Manifestations on Six Elements by the Sonnabend Gallery in New York. As the gallery was well-known for its presentation of conceptual art, Palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double LP record. "Two Perfect Fifths, A?Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. In this genre of his work Palestine feels akin to a kind of sound alchemy -- blending elements over and over again through the years searching for the Golden Sound - the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, In The Rhythm 3 Against 2, for Piano" (1973) the elements introduced are now elaborated upon on the piano. The resonant Bosendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements listening within them for variations of amplitude, mixture and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano in not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal the external rhythmic pattern begins to internalize becoming an inert part of the whole timbral fabric -- a piece expressing the battle of rhythm versus timbre for dominance. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel and Monet. "Three Perfect Fifths, A?Major Second Apart, Reinforced Twice" (1973) is the continuation of wall one. A pure and sonorous phenomenon.

NMN 064-1CD

MOORMAN, CHARLOTTE: WBAI Concert, New York, Sept. 12th 1964 CD (NMN 064-1CD) 19.50
This CD highlights an exceptional document, a performance recorded by radio station WBAI in New York on September 12th, 1964. This event superbly represents the type of repertoire that Charlotte Moorman and Nam June Paik cultivated and proposed in the U.S., in the years following their meeting, in their memorable "duo" exhibitions. The program of the concert presented several true war-horses of their exhibitions like "26'1.1499 for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi, a work by Giuseppe Chiari titled "Per Arco," written for the cellist and dedicated to her, the premiere of Earle Brown's "Synergy," a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of "Plus Minus" by Karlheinz Stockhausen aided by Paik's Robot. The history of the avant-garde! One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time.

NMN 064-2CD

MOORMAN, CHARLOTTE: Aachen Konzert, July 25th, 1966 CD (NMN 064-2CD) 19.50
This CD presents a concert from July 25th, 1966 in the Theatersaal in Aachen, Germany. In addition to the New York concert on September 12th, 1964, the recordings of this European concert well represent the kind of performances that Charlotte Moorman and Nam June Paik presented in Europe in the second stage of their historical "duo" exhibitions. This Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of "ritualistic" meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive program, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several classic works of their programs like "26'1.1499 for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi and a work by Giuseppe Chiari titled "Ave Maria di Schubert" (written for the cellist and dedicated to her) in "Sonata No. 1 for Adults Only" and especially the first performance of "Opera Sextronique," both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. This disc also includes another unspecified rendering of Ichiyanagi's "Duet II" and an abbreviated version of Cage's "2'1.1499 for a String Player." A Fluxus concert classic! One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time.

NMN 064-3CD

Of the famous "TV Cello," conceived by Nam June Paik for Charlotte Moorman as a "living sculpture," this CD offers an in-situ recording released on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on the 11th, 12th and 14th of September in 1982. This version contains, respectively, the "TV Cello Duets" with Paul Garrin and the "Concerto for TV Cello and Videotapes," largely improvised, "including a tape collage by Ornette Coleman prepared for Charlotte, also talking with the audience." Charlotte Moorman world music theater! One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time.

NMN 064-4CD

MOORMAN, CHARLOTTE: The Long Hot Summer/Interview Oct. 1969/Waiting for Commercials CD (NMN 064-4CD) 19.50
This CD restores three documents from the Charlotte Moorman canon. One happy example is a choral work performed on the 3rd of September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition "The Long Hot Summer." This very relevant concert, distinguished by a marked ethico-political intonation and valence, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video "Waiting for Commercials," realized by Nam June Paik in 1972 in collaboration with Russell Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes this anthology put together and offered here. One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time.


MOORMAN, CHARLOTTE: Cello Anthology 4CD BOX/BOOK (NMN 064BOX) 132.00
New and somewhat cheaper version of this box set first released in 2007, in only slightly less elaborate packaging. It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a "living icon" through the works realized in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's oeuvre can in fact be sympathetically felt only in the absolutely "unique" character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic "author." The presence of Charlotte Moorman as catalyst must be realized in such an evaluation. Cello Anthology is a collection of documents -- sonic and photographic -- as well as original texts and testimonials, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines -- from music to sound and concrete poetry, form visual and plastic art to cinema and to video art -- is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organized between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realized in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar "corporeality" of the cellist's performance "gesture" and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s --works which affirmed the Florentine artist on the international scene --and the reprint of Gisela Gronemeyer's poignant essay dedicated to Charlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents. Here, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents -- a performance recorded by radio station WBAI in New York on September 12, 1964, and a concert from July 25, 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the U.S. and Europe, in the years following their meeting, in their memorable "duo" exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of "ritualistic" meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive program, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts ("26'1.1499" for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi and two works by Giuseppe Chiari: "Per arco" and "Ave Maria di Schubert," both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's "Synergy," a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of "Plus Minus" by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert "Sonata No. 1 for Adults Only" and especially the first performance of "Opera Sextronique," both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's "Duet II" and an abbreviated version of Cage's "2'1.1499" for a String Player." Of the famous "TV Cello" -- conceived by Paik for Moorman as a "living sculpture" -- the third CD offers an in situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September in 1982. This version contains respectively the "TV Cello Duets" with Paul Garrin and the "Concerto for TV Cello and Videotapes," largely improvised, "including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience." The fourth CD restores three other documents -- a choral work performed on September 3, 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition "The Long Hot Summer," sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video "Waiting for Commercials," realized by Paik in 1972 in collaboration with Russell Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here. Luxury edition including a 154-page book with original documents, full-color photos and scores; a set of 16 full-color inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. Slipcase edition limited to 250 copies.


MARCHETTI, WALTER: De Musica Inversa 4CD BOX/BOOK (NMN 076CD) 110.00
Restocked; 2010 release. Alga Marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. An LP-sized 4CD box set including La Caccia, In Terram Utopicam, Per La Sete Dell'orecchio, Natura Morta and Vandalia. Also included is the new book by Walter Marchetti titled De Musica Inversa, an instruction manual of both theory and practice for the proper and improper use of music. A method for perfecting oneself in composition annotated and commented upon by Gabriele Bonomo.CD1, titled La Caccia, includes "La Caccia" (1965), "Adversus" (Home-made electric music) (1966) and "Osmanthus fragrans" (Home-made electric music) (1973). The 16-page booklet presents the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original La Caccia LP layout.CD2, titled In Terram Utopican, includes "J'aimerais jouer avec un piano qui aurait une grosse queue" (1974/75) and "Per la sete dell'orecchio" (1981). The 16-page booklet presents the original score of "J'aimerais jouer," photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original In Terram Utopicam LP layout.CD3, titled Natura Morta, includes the piece with the same title from 1980. The 8-page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled In My Music.CD4, titled Vandalia, includes "Perpetuum mobile" (1981), "Song for John Cage" (1985) and "Le secche del delirio" (1989). The 8-page booklet presents the photo of the "Perpetuum mobile" performance at Musicalia in 1981, the score of "Song for John Cage," the photos of two "Musica Da Camera" installations, as well as the reproduction of the original Vandalia CD layout.The 180-page De Musica Inversa book and all the texts included in the CD booklets are published in both English and Italian. CD edition limited to 400 copies.


AL 724LP

COLTRANE, JOHN: Impassioned Tenor-Man LP (AL 724LP) 12.00
Four track John Coltrane release from Boris Rose's Alto Records "label". Tracks: "Cousin Mary (My Favorite Things)," "Body & Soul," "Interpretations (Mr P.C.)" and "March 2nd On The Books (My Favorite Things)."



Originally released in 1983 in former Yugoslavia, this album is a truly undiscovered gem of ethereal folk music. Pesmi combines the old traditional melodies of Eastern Europe and the Balkan States area with the lush and enchanting instrumentation of late '60s and early '70s folk with elements of progressive folk and singer/songwriter music from England and the USA. This results in a highly-mystifying and still easily folksy piece of exclusively acoustically instrumented music with haunting female vocals that seduce you with lyrics in their native tongue. Pesmi reminds of well-known artists like Pentangle, Steeleye Span, Gryphon, Fairport Convention, and even Simon & Garfunkel, just with this very unique Eastern flavor and bigger emotional gestures in the melodies. An utterly picturesque musical experience.



AMIDON, SAM: I See The Sign LP (HVALUR 009LP) 15.50
2014 repress, originally released in 2010. LP version. This is U.S. singer-songwriter Sam Amidon's second album for the Bedroom Community label -- the follow-up to 2008's highly-acclaimed All Is Well (HVALUR 004CD). The needle-drop fuzz that cues I See The Sign raises the curtain on a world of little theaters, foretelling an aural gut-grip that is fully human and wholly natural. Amidon's intuitive and often radical reworkings of age-old secular ballads, gospel, folk songs, and hymns render familiar characters new through his direction, vision, vocals, banjo, guitar, and stellar contributions from fellow musicians. I See The Sign showcases deft attention to song-craft and collaboration. Where All Is Well foregrounded voice and strings to share tales of human endurance, I See The Sign is a carefully-constructed battle and balance of musical sensibilities surveying the psychological extremes of existence. Contributing to I See The Sign is multi-instrumentalist Shahzad Ismaily, a long-time collaborator of Amidon's whose musical past includes New York City's improv scene as well as playing bass for Rage Against The Machine, percussion for Tom Waits, and guitar for Laurie Anderson. Offsetting Ismaily's expansive contributions, Nico Muhly's chamber-orchestral arrangements for string, brass, and woodwinds continue the groundbreaking work he began on All Is Well. Renowned singer-songwriter Beth Orton emerges after a music-scene hiatus to lend haunting vocals to four songs. In an environment of struggle, euphony, and polyphony, Valgeir Sigurðsson's expert role as producer grounds this sonic psycho-geography. While atmospheric pressure on "Rain And Snow" builds from the love of trouble and troubled love, "Pretty Fair Damsel" lightens the scene as Amidon's voice and Muhly's keys cast rays of sun through forests of sugar maple to spotlight music for the hopeful and hope-filled. "How Come That Blood" gallops with Ismaily's percussion and Moog bass, accented by string flourishes as pheasants take wing to flee the scene. Through recomposed children's singing game "Way Go, Lily" and Georgia Sea Islands song "You Better Mind," Amidon and Orton pair elegant vocals to play out strains of concern and comfort. Title song "I See The Sign" steps boldly center-stage to depict the dark clouds of Armageddon hovering over wildflowers, myrtle and marsh marigold blooming against a roiling grey sky. By stark contrast, an intimate rendition of R&B musician R. Kelly's "Relief" is the perfect dénouement to draw the album's drama to its finale. With fearless grace and apocalyptic beauty, I See The Sign enacts a technicolor reality, with sound grown in and on the body -- a body costumed in blood-red lichen and moon-silver moss, with the crackle of grit audible beneath boots. An album traversing the emotional gamut, Sam Amidon and his collaborators present I See The Sign as a gift to the listening, sensate body.



WEAVER, JANE: The Electric Mountain EP Cassette (CASSEGG 002CS) 19.50
Limited cassingle EP to coincide with the release of Jane Weaver's fifth studio solo album The Silver Globe (EGGS 019CD/LP). Centered around variations of the track "The Electric Mountain," (co-authored with Hawkwind's Dave Brock) including a remix by Andy Votel (exclusive to this format) and an exclusive non-album track and radio session. The B-side contains five tracks taken from Jane's previous albums recorded between 2000-2014. Housed in a dead stock vintage chocolate colored cassette shell with matching case.


BS 011LP

S.J. HOFFMAN & H. RAVEL & LES BAXTER: First Electronic Chillout Music LP (BS 011LP) 25.00
Repressed. This LP contains Music Out of the Moon and Perfume Set to Music, containing some of the first electronic chillout music ever composed, originally released in 1947 and 1948 on 10" 78 RPM. An unusual mix of different styles and music represented by the three men who contributed to the album: Dr. Samuel J. Hoffman played Theremin for several sci-fi and horror movies during the '40s and the '50s -- masterpieces such as Spellbound and The Day the Earth Stood Still. Les Baxter "The Father of Exotica" and his dreams of Pacific and Oriental islands can also be found here -- musical impressions of tropical fantasies. Harry Ravel is also featured, a talented English composer of musical theater and soundtracks for Hollywood movies. These two records were unique collaborations between three disparate talents, who envisioned a world of sound inspired by science fiction, perfumes, and meditative moments. Without them, the Theremin could perhaps never have been considered in a pop context, and projects as disparate as "Good Vibrations" and Silver Apples might never have happened. The influence of this music is clear in the multiform artist Sun Ra, who covered the song "Possession" on his second LP Jazz by Sun Ra. Digitally remastered and limited.



Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-founded Bone Awl -- one of the most distinguished black metal projects ever to come out of the U.S. Raspberry Bulbs' debut album, Nature Tries Again, emerged in 2011. Hitherto a solo endeavor, RB expanded to a five-piece in the wake of Nature's release, and sought to make a definitive break from black metal's musical signifiers, if not its underlying themes of alienation and abjection -- a path of self-discovery that culminated in the bruised, dynamic visions of their sophomore LP, Deformed Worship (BLACKEST 018LP). Privacy arrives barely a year after its predecessor, but it's a markedly more developed and far-reaching album. Songs of excoriating intensity once again form the basis of the work -- the no-frills 4-track recording capturing all the violence and nuance of del Rio's vocals, of the dual guitar rapport, and the machine-gun rhythm section -- but this time they're interspersed with eerie electronic miniatures, instrumental pieces that suggest unseen worlds, malign energies, forces beyond our comprehension and control. This aura of the uncanny is no accident. Though it's practically impossible to describe Raspberry Bulbs' music without mentioning punk or metal, the band's most important influences are literary: in particular Lovecraft, Machen, Chambers' et al. Includes mp3 download.



CHAPMAN, MICHAEL: The Polar Bear CD (PTYT 078CD) 16.50
The Polar Bear is the third album in Yorkshire-born composer, singer, guitarist, and maverick troubadour Michael Chapman's series of improvisational music. The first, 2011's The Resurrection and Revenge of the Clayton Peacock (PTYT 068CD), was Wire magazine's #5 album of the year. It was widely well-received by press and fans alike as another highpoint in Chapman's late-blooming career, which has been boosted by the public recognition of his talents from the likes of Thurston Moore, Jack Rose, and Will Oldham. The second in the series, 2012's Pachyderm (PTYT 070CD/LP), is a minimalist masterpiece, a single-chord ambient work quite unlike anything Chapman had ever done before. It won him further widespread supportive reviews and a sold-out UK tour with Moore; out of that tour comes the duo heard on The Polar Bear's noise epic "Six, Two, Thirteen." The new record also features Chapman's experiments with cello accompaniment, as well as some pieces showcasing his own atmospheric slide guitar work -- further proof of Chapman's relentless search for new musical adventures. Almost half a century after his 1960s beginnings on EMI's legendary Harvest record label, Chapman, at age 73, is playing better than ever.



EL MAHDY JR.: The Spirit of Fucked Up Places LP (BOOMARM 006LP) 13.00
"Born in Sidi Bel Abbess, Algeria, El Mahdy Jr. is an audio collagist who masterfully splices devotional music into a blunted blend of half time bass and mystic sound. Familiar in its bass weight and its global melt, but completely new and enveloping in its fragility and poise. Boomarm Nation is thrilled to present this re-press of his debut release in a limited run of 500 black vinyl records housed in clear heavyweight poly vinyl sleeve. Each copy ships with a full color sticker designed by Polygon Press, and a download code. Originally released in the summer of 2013, El Mahdy Jr.'s debut LP The Spirit of Fucked Up Places was met with great acclaim; features in The Wire, Fact Magazine, and others soon followed. The first pressing sold out within weeks, and since then El Mahdy Jr. has seen a string of releases for Boomarm Nation, Mala's Deep Medi, Zam Zam Sounds, and Danse Noir."



BEBEY, FRANCIS: African Electronic Music 1975-1982 2LP (BORNBAD 039LP) 26.50
2014 repress; Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.


BEBEY, FRANCIS: Psychedelic Sanza 1982-1984 2LP (BORNBAD 064LP) 26.50
Repressed! Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African 'thumb piano'), it was just sitting there on a piece of furniture in my family's living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for 'unusual sounds' did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my 'serious' English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept 'world music.' Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like 'Agatha' and 'La condition masculine.' But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: 'Let's see what you can do with it!' That's when I really discovered something. Exploring the instrument and playing, I transcended the 'imperfect' aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his 'laboratory.' Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" --Patrick Bebey


FOREVER PAVOT: Rhapsode CD (BORNBAD 066CD) 14.50
"Fashion is what goes out of fashion," Cocteau used to say. Although he died without having been able to listen to the first Forever Pavot album, we must grant the poet the gift of prophecy: the classical opposition between past and future is completely stupid. On these grounds, Forever Pavot has done honorably -- create new things with old ideas in mind. One is tempted to describe Emile Sornin, Forever Pavot's leader, as an expert in demolishing walls. His got his training in the now-defunct group Arun Tazieff, where he developed techniques akin to French film composer François de Roubaix: dreaming his songs, fiddling with them track by track, stacking up sound upon sound, rehabilitating his harpsichord in this narrow world that we call pop music. Sornin's output is discreet, yet rather noisy. Fuzz guitars, wild Farfisa, bass lines mixed in the Bertrand Burgalat tradition, flutes playing, etc. There are the sounds of horseback-riding on "Miguel El Salam," "Rhapsode" has flashes of a huge indoor Western being shot by the ORTF ('60s/'70s French Broadcasting Authority TV), and songs such as "Electric Mami" sound like "Strawberry Fields Forever" sung by The Zombies. The name "Forever Pavot" "...started as a joke. One day I read too fast 'flower power' poorly-written on a school pencil case. It made me laugh," said Emile. As a fan of jazz programming and Turkish psych, he also shoots videos for others (Disclosure, Dizzee Rascal, etc.) and proves at every moment that appearances are often misleading. "I feel a bit like Stereolab or Broadcast, artists who draw from the past to make something new. Ten years ago or so, I was doing hardcore punk, then I did chiptune, pop, garage/folk, recorded on K7, and now things inspired from '60s movie music... the only guideline are my desires. Nobody will be able to get in my way if I want to make a reggae album in three years or an album of French songs. Because I'm the one who decides."


FOREVER PAVOT: Rhapsode LP (BORNBAD 066LP) 18.00
LP version, with printed innersleeve.


BB 182CD

FAUST: Just Us CD (BB 182CD) 18.00
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!

BB 195CD

Conrad Schnitzler's green album (aka Grün), originally released in 1981 on Edition Block. "Schnitzler's tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of 'Der Riese und seine Frau' ('The Giant and His Wife'), bearing little resemblance to Schnitzler's usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but 'Bis die Blaue Blume blüht' ('Until the Blue Flower Blooms') transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumann's Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, 'Bis die Blaue Blume blüht' can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry -- or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options -- an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzler's creative periods are too nebulous to be sure that the green album represents the coda of his '70s music. Still, Schnitzler's musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzler's art would thrive in the decades which followed." --Asmus Tietchens

BB 196CD

Conrad Schnitzler's yellow album (aka Gelb), originally released in 1981 on Edition Block. "The chronology of Schnitzler's solo releases in the 1970s -- and even more so in the '80s -- resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as 'private releases', without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled '12 pieces from the year 1974', pointing to Schnitzler's novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations 'played by hand' into his musical cosmos. Schnitzler's otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzler's musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide open spaces of uncharted musical territory." --Asmus Tietchens



BIBLO: Absence CD (CSIDES 011CD) 17.00
Biblo's new album, Absence, is certainly not a matter of lightness. It's a spellbinding, enchanted journey that begins in a rift that opened in Turkey shortly before the Gezi protests evolved, and travels deep to sift the edges of human unrest and personal unfastening. Recorded amidst the political and social turmoil, Absence is, to say it with Biblo's own words, "about the absence of desire, absence of roots, absence of meaning, absence of justice." But even with substantial context aside, Absence is an emotional and deeply-intimate work that offers an unsettling musical experience for the listener. Absence is filled with haunting sound and abyssal beauty, marked with profound sensitivity and hair-raising despair. The album expresses a deeply troubled and hurt relationship with humanity through the artist's unique musical language, utilizing her own voice, sampling, and electronic means with incredible skill. Absence embodies roughly one year, starting early 2013 till early 2014. During this time, Biblo decided to try and live outside of Istanbul and Turkey (and moved to Berlin, Germany), then came back to Istanbul, witnessing the protests evolve, and decided to stay. The album is a personal testimony of being in this non-place, being torn between places that stand for different concepts to lead your life. "I eventually came to grips with the understanding that life is often about tolerating where you are," Biblo summons, "and that we can be meaningful wherever our place is."


BIBLO: Absence LP (CSIDES 011LP) 20.00
LP version. Includes download code.


CH 4803CD

HUNTER & HIS ORCHESTRA, FRANK: White Goddess CD (CH 4803CD) 14.50
Reissued for the first time and in stereo. Trombonist and conductor Frank Hunter's White Goddess from 1959 is one of the most fascinating and captivating exotica records ever released during the pinnacle phase of the genre. Next to this it is also one of the rarest in its original form so this reissue has been overdue. As the genre-defining piece of music it is, White Goddess stands miles above the average pathetic exotica sounds, with a rather haunting and mystical atmosphere that projects pictures of the dark side of the jungle into your mind. Wordless female chants, multiple layers of grooves, rich and colorful melodies plus a lush instrumentation with even such rare instruments as the ondioline electric piano, a hybrid between Theremin and shawm, are responsible for the imaginative approach of the music you experience when you give a spin to White Goddess. Feel your mind being stained with colors yet unseen, even by your inner eye. This is indeed an unearthly, trippy, yet utterly relaxed musical journey.


CST 9011LP

Originally released in 1972. With Cedar Walton (piano), Hank Mobley (tenor sax), Charles Davis (baritone & soprano sax), Sam Jones (bass) and Billy Higgins (drums).



VATH, SVEN: In the Mix: The Sound of the Fifteenth Season 2CD (CORMIX 048CD) 23.00
With Sound of the Fifteenth Season, Sven Väth has left behind the two-part night & day concept of some of the earlier seasons. For the first time, he mixes a continuous, nearly three-hour set. Vath starts off with a delicate house tune from Stimming and the charming, flirtatiously naive voice of Piper Davis. The lovely piano tones captivate the attention while psychedelic moments arouse curiosity. Vath finishes the short opening sequence with another exceptional track: within Alex & Digby's "Kudlak," children pray to a number of saints, and their sincerity and seriousness appeals to us deep in our inside. Then the party begins. The next chapter is devoted to a classic, wonderfully level-headed New York house sound, creating a peaceful haven in Ibiza's restlessness. Leon Vynehall draws us in with gentle chords to the dancefloor, D'Lonely Al adds a euphoric note. Roman Flugel & Simian Mobile Disco set the tone with an impressionistic, playful approach and a strong, emotional bass line. Sebastian Mullaert melds these scattered energies in a wonderful number with Karim Sahraoui adding multifaceted emotions. With his nervous funk Elbee Bad adds physicality and sex appeal. With the fascinating "Rezo" by Marcel Philipp, the set reaches a first climax. The Lauer brothers combine the playful approach of the first tracks with a powerful, driving groove. With David August's epic "Epicurus" the acoustic space gains depth and richness. With DJ Koze's remix of Moderat's "Bad Kingdom," Väth revives the combination of pop and psychedelia and moves into the third chapter. Koze dissolves the anthemic pop song in poetic, trippy sounds. Reboot's bass line spin the dancers around. With his bright, crystal-clear sounds Benjamin Damage nets this turmoil. Dast manages to square the circle: he sounds physical and empathetic, like a Strictly Rhythm-track, yet his explosive energy rather reminds of thriving techno. With Sable Sheep the beats get complicated and dense. Wonderfully straight, the bass line of Gary Beck moves into the track, you feel its razor-sharp, driving force in your fingertips and your toes. "Sand Storm" by Pig & Dan has the dimensions of a natural event. Gusts of sand grains form a massive sound wave that is sublime and a little scary at the same time. Jurek Przezdziecki & Jacek Sienkiewicz turn to a jazzy tonality. Daniel Stefanik counters with a pitch-black sentiment, its elegance being broken by a bizarre creaking and whistling. Transforming this extreme tension in a thrilling acid track, techno innovator Luke Slater creates clarity and defines a target. MMM pull around the helm and Slam grant us a breather with a timeless party track. Sawlin & Subjected break into the scene with futuristic, intricate industrial sounds. At the finale it is Kolsch's turn: the Dane reconciles madness and beauty with an oblique, funny squeak with an amazing vocal a la James Blake.



DEADWOOD: Sheolic CD (CSR 163CD) 16.50
The desolate new album from Sweden's Deadwood (aka Daniel Jansson of Culted). Recorded 2009-2011, Sheolic mixes dark ambient with black industrial and power electronics, making this the bleakest Deadwood album to date. Cold, distorted waves of nefarious electronics, putrescent vocals and dense, heavy rhythms take you to a new sub-level of despair that delivers on many plains of consciousness. Influenced by the downfall of mankind and the men and women that willingly embrace it; from religious cults to those who choose to act on their own. This is the final part of the Deadwood trilogy for Cold Spring -- beginning with 8 19 in 2005, continuing with Ramblack (CSR 104CD) in 2008, and finishing with Sheolic in 2014. Cover art by Laetitia Mantis.


PSYCHIC TV: Hacienda CD (CSR 187CD) 16.50
Psychic TV, November 5th 1984, Manchester. This was Psychic TV's first show at New Order/Factory's legendary Hacienda club! For this event, Psychic TV were: Genesis P-Orridge, John Gosling (Zos Kia, Coil), Paul Reeson, and Alex Fergusson. This is the complete show with unseen photos. Limited to 1,000 copies.


PSYCHIC TV: Thee Fabulous Feast Ov Flowering Light CD (CSR 188CD) 16.50
Psychic TV in a unique line-up -- a unique show, recorded May 19, 1985 at Hammersmith Palais, London. For this event, Psychic TV were: Genesis P-Orridge, Alex Fergusson, Max Prior, Mouse, Hilmar Orn Hilmarsson, Dave Ball (Soft Cell), Rose McDowall (Strawberry Switchblade, Sorrow, Coil, Current 93). This is a completely unheard show, with unseen photos. Limited to 1,000 copies.


PSYCHIC TV: Live at Thee Marquee CD (CSR 189CD) 16.50
Psychic TV's complete, unheard show, recorded at the prestigious Marquee Club, London, May 20th, 1986. For this event Psychic TV were: Genesis P-Orridge, Alex Fergusson, Mouse, and Matthew Best. Limited to 1,000 copies, featuring an 8-page booklet of unseen photos.


MESEKTET: Towards a Bleak Sun CD (CSR 191CD) 16.50
Ancient Egypt-inspired, monolithic drone/dark ambient. Mesektet created rumbling earth drones that echo through caverns and temples. Vast swathes of ominous drones, primordial vibrations, and ceremonial ambience take you on an immersive journey to the Netherworld. The name "Mesektet" comes from one of the two boats which the Egyptian solar deity Ra travelled in: Mandjet was his "morning boat," and Mesektet the "evening boat." Ra used Mesektet as a boat to travel back to the Netherworld from a long day of shining. The deity's travels were an inspiration for the essence and rich sound of Towards a Bleak Sun. Six lengthy tracks (46 minutes) composed as a soundtrack for the deep pyramids and long travels to the Netherworld.


SHIFT: Altamont Rising CD (CSR 195CD) 16.50
Ferocious and misanthropic new full-length from Sweden's son Shift. Altamont Rising is a calibration of the cosmic equilibrium in seven chapters presented by Shift. The album deals with the consequences of man defying nature with Altamont as an example of what happens when pushed far enough. Three works/events stand as inspiration for the album: Apocalypse Now, Valhalla Rising and Altamont Free Festival. Altamont Rising is a brutal amalgamation of malicious vocals, drenched in heavy, claustrophobic death industrial and harsh noise.


SD 9912LP

IMPRESSIONS, THE: It's About Time LP (SD 9912LP) 14.00
Exact repro, originally released in 1976. The Impressions on this album were Fred Cash, Reggie Torian, Sam Gooden and Nate Evans. Includes the track "Stardust."


DFC 5503EP

ATAHUALPA: Ultimo Imperio - 2014 Remixes 12" (DFC 5503EP) 14.00
Techno was hardly in style when DFC Team (Riccardo Persi, Claudio Collino, and Andrea Gemolotto) started their Atahualpa project. But the trio's innovative blend of synthesizers and Peruvian pan flutes topped charts around the globe, transporting listeners to the world of the last Inca emperor. Upon its release in 1990, "Ultimo Imperio" became a milestone in dance music history. Nearly 25 years later, DFC presents four amazing new remixes and the story goes on. Esta es la historia de "Ultimo Imperio." Hasta siempre Atahualpa!



SKIPSON: Skiption EP 12" (DVR 025EP) 12.50
Knarf Skipson has been there since the very early days of Deep Vibes, and, just like a good red wine, seven years of waiting have been worth the while. This five-track EP brings you nothing but pure sampling madness, wild composing, and some wicked beats that all go in line with the likes of Koze, KDJ or Anthony "Shake" Shakir.



HERVA: Instant Broadcast 2x12" (DSR E4-EP) 23.00
Italian producer Herva is now serving up a double EP offering, Instant Broadcast. This double 12" combines intricate electronic stylings with an off-kilter sampling style, organic instrumentals and plenty of rough-hewn charm. "And the Crunch Goes On" is a fractured, sample-heavy track with sensuous piano notes floating above barreling techno drums. "Slam the Laptop" is deep and lo-fi techno, "Pitch Business" is glistening IDM and "01 (Edit)" is scuzzy dystopian ambiance. Elsewhere, there is blissful and heavenly ambiance, sketchy sound collages that put dusty old soul vocals next to trilling melodies and pounding broken-beat. Sometimes dark, sometimes beautiful, but always unpredictable, Instant Broadcast is refreshingly original.


BNJMN: Coil 12" (DSR E5-EP) 12.50
UK talent BNJMN now steps up to make his debut on Delsin with six tracks of experimental and inventive noise and techno. "Coil" opens his account with screechy, unnerving synth squeals, imposing and throbbing pads, and super-deep kick-drums that come at you from miles below. "Berth" comes rippled with glassy and alien melodies. "Merge" has turbo-charged drums hiding beneath more unsettled synth-based noise. On the flip, "And Suddenly" makes your hairs stand on end with its Gothic, celestial glow and slithering synth patterns, "Blown" is a damaged and degraded bit of icy, thumping and reverb-heavy techno and "Azure" ends on a brain-soothing, chilled-out ambient high.


CONFORCE: Machine Conspiracy CD (XDSR 007CD) 17.00
Delsin presents a reissue of Netherlands-based Boris Bunnik's first full-length album, Machine Conspiracy, originally released on the now-defunct Meanwhile label in 2010. Machine Conspiracy came a few years after Conforce had first emerged and is a magnificent dub, techno, and electro opus that makes for a complete listen from start to finish as well as offering up some key dancefloor tracks. Showcasing the skills that have since made Conforce a household name in underground circles, the album is full of analogue invention, seriously moody atmospheres, and nonstandard textures, patterns, and feelings.



PULSHAR: Blood and Mathematics CD (DESOLAT 007CD) 17.00
Pulshar return to Desolat with another stunning long player filled with a selection of sumptuous productions that further demonstrate their grasp over intimate and deeply ethereal electronic music. The Barcelona-based duo of Pablo Bolivar and Sergio Sainz Vidal have cemented the Pulshar name and reputation as a proponent of dub-heavy, soulful, and, at times, psychedelic electronic music. Their first Desolat long player Inside received critical acclaim and effortlessly bridged the gap between the dancefloor and the home listening environment. They returned to Desolat in 2013 with the deliciously deep and trippy EP Different Drum, and now continue their relationship with the label with Blood and Mathematics. Pulshar maintain their affair with electro, instrumental hip-hop, dub, and psychedelia, distilling these to create a distinctive and soulful brand of electronic music. The new long player represents where the artists are in 2014: all the tracks are written and produced by them, with only one guest appearance: Guti as a featured artist on "Running Away." Blood and Mathematics offers a traditional album experience in which one track effortlessly segues into the next, taking the listener through a range of emotions across the record. Perfectly timed for when the days begin to draw to a close, Blood and Mathematics is a contemporary electronic music listening experience that will be revisited again and again. CD version arrives in a digipak with a download code for the instrumentals.



SKULL DEFEKTS, THE: Street Metal LP (DIAG 014LP) 22.00
Swedish hypno-rok experimentalists, The Skull Defekts, make a perfect addition to the Diagonal roster with the psycho-glam swagger of Street Metal, their follow-up to Dances in Dreams of the Known Unknown for Thrill Jockey. Comprising five tracks, including two extended dancefloor hypnotizers, Street Metal captures the mercurial unit of Joachim Nordwall (vocals, guitar, oscillator), Jean-Louis Huhta (percussion, electronics), Daniel Higgs (ghost catcher), Daniel Fagerström (vocals, guitar, synthesizer) and Henrik Rylander (drums, feedback) in a taut flux of psychedelic rock and avant-techno with raids on arcane pop and percussive, tribal minimalism. Their instrumental "Mission" opens the account with a gritted psych rock stance, all muscular guitar fire and churning, locked drums that would make Goat blush, before "Mammal Combination" buckles down to a bestial, thumping glam stare-down, replete with icily-poised vocals. However, SD really come into their own with "Holy Drums," and its dreadnaught dub, galvanizing current trends for "authentic" psych swag with a crisper, more disciplined approach to rhythm, yoking scything, cyclical riffs to metallic drums for some 20 minutes of grindingly sexy, hip- wise momentum in two parts. "Saturday Mourning" seals the session with a driving, droning dirge, consolidating Bolan-esque sleaze vocals with persistent drums and piercing synths right out of a Goblin soundtrack. It's all a damn fine reminder of Diagonal's wayward, unimpeachable tastes and finds ideal context amongst the likes of Powell, $hit & $hine, Blood Music and Bronze Teeth. Features sick spotgloss artwork by Guy Featherstone.



EFDEMIN: Decay Versions Pt. 2 12" (DIAL 068EP) 15.50
Dial Records presents the second part of Efdemin's Decay Versions. E.R.P. (aka Convextion) starts the second episode of Efdemin remixes with a pure Detroit electro version of "Decay," followed by a rough bouncer from Mojuba boss Don Williams. Johannes Volk's remix of "Parallaxis" signals the Efdemin starship's sonic discovery of foreign planets; meanwhile, back on Earth, Traumprinz delivers a true '90s-style rave hit -- goosebumps all around!



FUGAZI: First Demo CD (DIS 181CD) 11.00
"In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape. Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song ('Break In'). It would be nearly another year before he would start playing guitar with the band. At that time, the studio was still located in the basement of engineer Don Zientara's family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi's longtime sound engineers, joined the band for the initial tracking. The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour. It was decided that the session would be passed out free as cassette copies, with the band actively encouraging people to share the recording. In the spring, Fugazi went out on its first U.S. tour and a few weeks after returning from the road they went back to Inner Ear to record what would become their debut Dischord release, the self-titled 7-song 12" EP. The only song from the demo session that was formally released was 'In Defense of Humans', which appeared on the State of the Union compilation in 1989. Now, some 26 years later, Dischord is releasing the entire first demo including the one song ('Turn Off Your Guns') that wasn't included on the original cassette. CDs are packed with a single postcard."


FUGAZI: First Demo LP (DIS 181LP) 14.50
LP version. Includes download code plus a postcard set featuring photos of the band.



FRANKEY & SANDRINO: Starchild 12" (DPC 052EP) 12.00
After a brilliant EP on Innervisions, Frankey & Sandrino deliver here their debut for DPC. "Starchild" takes the listener into the deepest shades of house, driving, modern, and beautiful at the same time. "Lost," on the flipside, is an epic tune, featuring the brilliant vocals of UK-based singer Jinadu. "Starchild" is already being played by Âme and other DJs, and there are some exciting remixes in the pipeline.



TAJ MAHAL: Main Point, Bryn Mawr, PA, 14th March 1972 CD (ECHO 2005CD) 17.00
Taj Mahal has been delighting audiences for more than 40 years since debuting with Ry Cooder in the heavily influential Rising Sons in 1966. Having originally gained his own foothold with a white audience courtesy of CBS' low-budget sampler The Rock Machine Turns You On, it seemed that he had truly arrived with his self-titled debut LP in 1968. Taj Mahal was already enjoying the fruits of his live work with two albums documenting the Fillmore East and Big Sur appearances from 1971, but his landmark 1972 performance at Philadelphia's Main Point offers a rare opportunity to hear the guitarist's wildly eclectic brand of blues rock with an original, unedited FM broadcast. Although mostly noted for his blues approach, it is how he approaches the blues that truly sets him apart from so many of his contemporaries. At a time when music seemed to be revolutionizing the world, Taj Mahal's inspirational fluency found room in which he could draw on the gospel, Caribbean, and psychedelic influences to explore blues with such graceful ease. Echoes is delighted to present the entire FM broadcast from the March 14th appearance at the Main Point, Bryn Mawr, PA, 1972. With detailed liner notes, rare photographs and professionally re-mastered sound.



TUJIKO, NORIKO: My Ghost Comes Back CD (EMEGO 201CD) 15.50
The aptly named My Ghost Comes Back witnesses the return of Tujiko Noriko after a hiatus, exploring worlds beyond those we regularly inhabit. The results of these travels provided the formula for this, her most accomplished record to date. As rich in ambition as it is skewered in its melodic stance, My Ghost Comes Back is a decidedly more acoustic affair in which a host of guest musicians incorporate mandolin, viola, musical saw, optigan and other such wares into the exotic environment where her unique songwriting now resides. Furthering an exploration of unorthodox arrangements, rhythm and melody, Noriko concocts engaging pop explosions where flickering electronics, staggered rhythms, and shimmering vocals all dance on a plateau of melancholic ecstasy. "My Heart Isn't Only Mine" launches proceedings as a slow-burning landscape of electronics, organ and subdued vocal arrangements which unfold over 14+ minutes, delicately setting the scene for a new kind of record. "Give Me Your Hands" and "Minty You" exude a joyous warmth as pop perfection extends into the ether. "Through the Rain" is a deeply-moving example of just how far Tujiko's craft has evolved with its repetitive keyboard line, melodic development and a striking, ecstatic chorus. Having spent time to refine her means of traversing the line between pop and experimentation, My Ghost Comes Back presents itself as an ecstatic experience. One which encourages repeated listens as a means of unravelling the subtle sonic tapestry within.



SKOTT, JAKOB: Taurus Rising + Amor Fati 2CD (EPR 022CD) 21.00
The third album from Causa Sui drummer Jakob Skøtt expands his one-man-band experiments into vast new territories. Taurus Rising is built from motorik synthesizer arpeggios and heavy-duty live drumming. But rather than simply worshipping endless repetition, Skøtt reaches an impressive array of expressions on each of these five mini epics -- each song is ALIVE -- frequently whirling off track like the wind's direction in a sand storm, leading to some mind-altering melodies and rhythms that'll keep you on your toes. Washed currents of pulsating analog synthesizer scores, pre-fusion jazz sensibility and fuzzed-out electronics all tied together by fevered rhythms. Jakob Skøtt is the drummer in revered Danish experimental psych act Causa Sui and has previously collaborated with artists from Tortoise and Sunburned Hand Of The Man. In a number of different outfits he has also released thru esteemed labels such as Morr Music, Ghostly International, and Darla Records. Furthermore, Jakob has done exclusive live visuals and artwork for Amon Düül II, Earthless, Manual, cult actress Asia Argento as well as The Roadburn Festival. Taurus Rising is released as a single LP as well as a 2CD package, also containing his previous album Amor Fati. All drums for each album were improvised in a single afternoon.



ILLUM SPHERE: Fabriclive 78 CD (FABRIC 156CD) 16.00
Ryan Hunn (aka Illum Sphere) rose to prominence with his club night Hoya:Hoya, started in Manchester, and now he hosts a quarterly residency at Fabric. A formidable production talent has seen him release on labels such as Ninja Tune and Young Turks, while his remix credits include Radiohead and Martyn. His Fabriclive mix, which reflects the eclecticism of Hoya:Hoya's booking policy, is inspired by the sounds one might hear during his DJ sets in Room Two. Artists include: E.M.A.K., Soul Syndicate, Tapes, Powell, Carl Meeks, Musumeci, Streetwalker, Grauzone, Das Ding, NGLY, Osborne, Charles Manier, Legowelt, Kassem Mosse, Demdike Stare, James T. Cotton, E-Dancer, Kenny Larkin, TNT, 2AM/FM, Propaganda, Actress, Vazz, and Nine Circles.



"For a while you can get along pretty good with one another!" answered the electroacoustic craftsman Tim Hecker to the question, "Can a man be friends with a machine?" Since 2008, No Accident in Paradise, the trio of Albrecht Ziepert, Rafa? Stachowiak, and Tino Schmidt, has gotten along very well with its machines. After contributing to compilations on Canadian label Silent Season and Freude am Tanzen, No Accident in Paradise presents its debut album, Asymetria. Drenched in sweat from electronic gymnastics, it's time to rest and relax. The album consists of studio-edited material from five years of live sessions, including tone fragments and samples from such locations as Fusion Festival, the Zollverein Coal Mine Industrial Complex, Bad Schandau's Toskana Thermal Baths, and Time Warp at Mannheim's Herschelbad. Alongside No Accident in Paradise's machines, a collection of diverse instruments brings the album to life: guitar, violin, cello, double bass, piano, saxophone, flute, and step dance all make appearances. While immersed in No Accident in Paradise's organic landscapes of electronic sound sculptures, the mind is not switched off; it's insulated, but everything is still there -- a kind of mental calisthenics in a fully conscious slumber state. At Asymetria's close, Birds Two Cage, the duo of Daniel Stefanik and Stefan Schultz (Juno6), rework "Fragment I" and "Fragment II" to create their own sonic fantasy from tone samples, and prove that experimental ambient music can be wonderfully remixed.


FUNK45 041EP

MARLBORO MEN, THE: (Ride On) Iron Horse 7" (FUNK45 041EP) 8.00
A long-established classic of the deep funk genre, The Marlboro Men's "Iron Horse" has been filling dancefloors and appearing on want-lists for many a year. As such it's surely a long overdue 45 reissue as is, but what makes this release really special and essential for any funk collector is the inclusion on the flip side of the previously unreleased instrumental version of "Iron Horse," appearing here for the first time as taken from the original 40-year-old master tapes.


GB 019CD

HASSELL & BRIAN ENO, JON: Fourth World Music Vol. I: Possible Musics CD (GB 019CD) 17.00
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.



Fourth studio LP and seventh full-length release from Manchester, UK guitar army Desmadrados Soldados De Ventura. This brand-new set of jams is a very different doggy than the band's previous records. The A-side captures their most ecstatic, cohesive, sun-scorched, celebratory stylings to date, while the B-side demonstrates a disjointed, no-distortion approach to bastardized technicality and deep weirdness.


GM 201CD

AKA: Do What You Like CD (GM 201CD) 14.50
Reissued for the first time. AKA might have been one of the top acts of the Indonesian rock scene in the late '60s and early '70s. It does not necessarily mean that any international audience for heavy rock and psychedelic sounds would have noticed that back then, but we change that now. Do What You Like is a colorful album with a diversity of moods. Of course you find hard-driving, wild, grooving rock with simmering guitars and pumping rhythms. Go to the next song and some gentle, nearly ethereal dreamy psych-pop will alter your mind. Another step ahead on the tracklist and some easy and melodic '60s beat makes you want to dance the night away. The special factor of this album is the musical flavor of Indonesian pop that all of the songs sung in their native tongue show, while the few English tracks can compete against all of the popular hits from those days from American or European acts. AKA know how to heat you up with their psychedelic sound explosions and eruptive beats. They also know how to calm you down again and lay your soul to rest in a flow of gentle harmonies. Fans of '60s power pop with a regional feel presented by bands such as Omega from Hungary and of the '60s U.S. West Coast psych and pop scene will go crazy about this record.

GM 202CD

SILVER BIRCH: Silver Birch CD (GM 202CD) 14.50
Remastered! This cutie actually should be one of the crown jewels of British folk music from the early 1970s, but as things sometimes happen, the greatest art often gets its deserved praise not before the second spring. This is the case with Silver Birch, a group which is still active in a different incarnation up to today. Their only album from 1973 was a beautiful affair with clearly-structured folk tunes, mostly traditionals, based on haunting vocal arrangements and an all acoustic but very rich instrumentation with fiddle, acoustic guitars, harmonium, tambourine and bells for the rhythms, and mandolin, weaving a fine-meshed lattice of melodies on which the enchanting vocals can find a solid footing. Close your eyes while you take a listen and take a journey to the royal courts of King Arthur to the smoky pubs where the peasants celebrate their joy of life. Silver Birch prove their dedication to this music with their vivid, passionate, and often steaming performance, even in the most fragile moments. A grand piece of classic, song-driven folk music that is highly recommended to everybody who loves acts such as Mellow Candle, Dulcimer or the great late Gwydion Pendderwen.



UNSETTLED SOCIETY: 17 Diamond Studded Cadillacs LP (GUESS 129LP) 22.00
Complete recordings (1969-1974) of legendary U.S. acid-punk band Unsettled Society, famous for appearing on the seminal psych compilation Endless Journey back in the '80s. But Unsettled Society have been a total mystery until now. The band came from the New York suburbs and were famous locally for their powerful stage shows, full of strobe and psychedelic flashing lights. In 1969 they released their first 45 for the Charm label: "17 Diamond Studded Cadillacs," which is pure acid-psych, lo-fi basement insanity. It was coupled with "Passion Seeds," a killer moody, atmospheric psych ballad. Between 1972 and 1974 they released two more 45s in a fantastic heavy psych vein, the last one recorded under the Thunder Head name. All of them are included here with sound taken from the original tapes. Includes a fold-out insert with lots of amazing unseen photos and detailed liner notes by Charm Records boss Pete Huntley.


UNRELATED SEGMENTS: The Story of My Life: Complete Recordings 2LP (GUESS 140LP) 33.00
Double LP of '60s punk, garage, moody sounds and proto-hard-rock of the highest order. Complete recordings (1966-1975) of this legendary band from Michigan, including their three killer 45s plus unreleased recordings and alternate takes. Includes master tape sound and an insert with photos and liner notes. Unrelated Segments created some of the most celebrated garage-punk anthems of all time. Tracks like "Cry, Cry, Cry" with its teenage-angst vocals and out of control fuzztone guitar break, "The Story of My Life" with that bizarre and ultra-punk bass line or the moody-punker "It's Gonna Rain" have been included on countless garage comps (Back from the Grave, Acid Dreams, Nuggets, etc.) and have been covered by numerous bands who worship them as '60s punk gods. Sadly, the band never got the chance to record a full album. After three outstanding 45s, they recorded a projected fourth single that never saw the light of day, just when the band had changed its name to U.S. and had started playing in a heavier vein, similar to early MC5. Soon after, the band split up and some of their members formed psych-rock band Lost Nation. On this collection, along with their official 45s and alternate takes/rehearsals, you'll find the unreleased 45 from 1969 plus some demos recorded by an unnamed post-Unrelated Segments/Lost Nation band in 1972. An amazing find which shows the band playing pure Detroit high-energy hard rock.



GEERKEN & JOHN TCHICAI, HARTMUT: Hindukush Serenade LP (HOL 071LP) 25.00
Remembering his old friend John Tchicai and the days when these live recordings were made, Hartmut Geerken says, "When John came to visit us in Afghanistan and in Greece, where we lived in the '70s and '80s, my wife, Sigi, had to extend his bed always with fruit boxes. His height didn't fit into a normal-sized bed as well as his musical dimensions were too far out to fit into the mainstream taste of the masses. It was wonderful to hike with him in the Hindukush mountains up the Salang Pass. Afghanistan was a very peaceful and hospitable country before the westerners destroyed this unique paradise." Every time Hartmut Geerken unveils one of the many tapes he recorded and archived in his extraordinary life, it's an incredible gift. Listening to these tunes almost 40 years after they were recorded, especially in the moment when John Tchicai stops playing and start his wild high-pitched singing, will really make you feel dizzy. Recorded live on May 12, 1977 at the Goethe-Institut Afghanistan in Kabul.


The finest free jazz from Istanbul meets the alto saxophonist who travelled the spaceways side by side with Sun Ra and His Arkestra, and that's quite a thing indeed. konstruKt, the Turkish revelation of the last few years, becomes a sextet ganging up with guitarist Barlas Tan Özemek and drummer Hüseyin Ertunç to create a percussion-based environment where all the elements cautiously contribute to a collective meditation and where two saxophones are free to dance into a dreamy parade. Recorded in 2010 and self-released in a limited CD edition, this expanded ensemble trip to the other world finally gets its deserved double-LP limited edition.


TAZARTES, GHEDALIA: Hystérie Off Music LP (HOL 074LP) 25.00
At the beginning, Hystérie Off Music was conceived as a catalog record, an open field where the author could play with all musical genres and their stereotypes. But it rapidly evolved into an uncompromising clash of field recordings, sampled instruments, and Ghédalia Tazartès' incomparable vocal eclecticism, made of emotional psalms and shamanic hymns. The encyclopedia of genres turns into a childish -- and sometimes scary -- play, and the song titles mislead the listener, introducing a completely new classification. Recorded in the early 2000s and released on CD in 2007 by the French label Jardin Au Fou, it's now available in a remastered vinyl version -- with an excellent cut made by SST in Frankfurt -- for the best listening experience of this cinematic electronic collage. A true movie for the ear.



RANG'ALA: New Recordings from Siaya County, Kenya: Ogoya Nengo and the Dodo Women's Group 2x10" (HJR 070LP) 22.00
Gatefold 2x10" version. Open-hearted, fresh, lovely, bumptious recordings of women's singing, from a village in southwest Kenya. "Dodo" is a type of traditional Luo music mostly used for entertainment at weddings, drinking parties and wrestling festivals. Songs in praise of the happy couple, the hardest drinkers, and the best wrestlers. Ogoya Nengo was born in 1943. Her vocal abilities were discovered when she was herding cattle, as she never attended school, though nowadays her professional name signals both the Magoya clan of her birth and the fees she commands -- "nengo" meaning "price" in Luo -- as the most expensive Dodo performer on the circuit.



AKKORD: HTH030 12" (HTH 030EP) 14.00
Sacred geometry, complex polyrhythms and clinical sound design all collide in the work of Manchester outfit, Akkord, who selected two of their favorite artists to reinterpret their HTH020 EP. The results are breathtaking -- powerful and utterly ferocious. Tri-Angle Records' The Haxan Cloak dissected elements from all four tracks on HTH020, reassembling them into a 10-minute masterpiece, a wall of sound that defies classification. Meanwhile, Hospital Productions label-boss Vatican Shadow assembles parts of "Typeface" and "Greyscale" along with his own sounds to create an intricate, ominous techno trip.



ASLAN, MEHMET: Mechanical Turk EP 12" (HUNTLEYS 014EP) 14.50
Huntleys + Palmers first came across Mehmet at the Family Affairs party that he runs with Miajica in Basel. Since then, he has released a brace of tracks via Highlife, to mounting general interest. Among the interested is Ata (of Live at Robert Johnson fame), who is bringing back his For Disco Only label after eight years of dormancy to release new material by Mehmet. With the Mechanical Turk EP, his first full release, Mehmet delivers a trio of tried and tested Turkish triumphs.



KUSUMA, JONATHAN: Gong 3000 EP 12" (CLICHE 058EP) 14.50
I'm A Cliché's latest release features Indonesia's best-kept secret, Jonathan Kusuma. On the Gong 3000 EP, tracks range from the heavenly to the downright gritty, showcasing the full range of Kusuma's abilities. "The Grand Search" features an endless vertical ascension fueled by an exhilarating groove, as majestic as it is ecstatic. "Gong 3000" is built around the massive sound of a synthetic gong, with a grumbling bass line and ricochet drums. On "Street Siren," a devastating peak-time weapon, Kusuma uses siren sounds, a ruthless rhythm section, and intoxicating synths to create a colossal track, accompanied by Karamika's brooding industrial remix.



ROZMANN, AKOS: 12 Stations/Tolv Stationer 7CD BOX (SOMA 021CD) 70.00
"In 2012 Ideologic Organ released the 2LP set 12 Stationer VI (SOMA 007LP) featuring the last part of a large scale work by the Hungarian-Swedish composer Ákos Rózmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rózmann 's epic masterpiece presented for the first time in its entirety as a deluxe 7CD set. Akos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life, Rózmann dedicated himself to musique concrete, developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early '80s, Rozmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral while continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces. With an unwavering commitment to the creation of music, Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrète, commissioned by the Hungarian composer Miklos Maros, who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklos' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five-minute brief to land 20 years later as a spirit-stretching journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to the 18-year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole. Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th century. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of Twelve Stations was an interpretation of the Tibetan Wheel of Life. Twelve Stations is a unique masterpiece of 20th century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all." --Mark Harwood; Packaged in a hardcover slipcase with a pull ribbon, a 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer.



Repressed! Here it is, Deadheads, the ultimate "Dark Star" is now on vinyl. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Heavy-duty triple gatefold jacket includes liner-notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter, plus two "time maps" which chart the source concerts of "Dark Star." Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc. Taken from over 100 performances of "Dark Star" recorded between 1968 and 1993. Built, layered and "folded" to produce one large, new re-composed "Dark Star." Original recordings of the Grateful Dead in performance have been processed using Plunderphonic techniques.



STARA RZEKA: Stara Rzeka 10" (IGR 005EP) 32.00
Infinite Greyscale presents a new long-form composition by Stara Rzeka. The Polish village of Stara Rzeka and its surrounding countryside were devastated by a huge tornado on July 14, 2012. Stara Rzeka (Kuba Ziolek) was present to witness the aftermath. This self-titled piece opens to the crackle of electricity in the air and a distinct impression of menace. The distortion softens, but never truly fades, as it gives way to song. Eventually this human presence, like the tornado, departs to leave the composition sounding like the land itself; wounded but brimming with life, buzzing and psychedelic.



Marcel Vogel teamed up with a slew of musicians for "Doin' It," most notably Milos Gersi and Gianna Tam on vocals, but also Dr. S. Proper is to be heard with some percussion jabs. Where the original is a reggae hip-hop hybrid, the remixes take the energy up a lot. African Shakedown's Noema creates a pumping mid-tempo groover while Newcastle's NY*AK arguably displays his finest effort so far, creating a very unlikely house monster with a loving nod to Detroit.



SHAMBOK (FEAT. DAVID SION): Waiting for the Heaven 12" (EXIT 005EP) 14.00
Waiting for the Heaven is a cult release from the Discomagic catalog. A dispatch from the early years of Italo disco, it was written and produced by Ricky Persi and Stefano Previsti with vocals by Australian singer David Sion. Three decades later, Italian Records proudly presents David and Ricky together again, with updated versions of this fantastic song from the Dutch duo Shambok. A real floor-filler for all fans of Italo disco.


JL 027LP

SCIENTIST: ...The Dub Album They Didn't Want You to Hear! LP (JL 027LP) 15.00
"Totally killer previously unreleased dub companion LP to Flick Wilson's School Days LP. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby's for the mixing of many of the classic Junjo/Radics/Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased... until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett's What's Wrong With the Youths album. Classic Scientist 1980-style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser."


JV 570032CD

ALLEN, TONY: Film of Life CD (JV 570032CD) 19.00
"For his tenth album, Tony Allen, the co-creator of Afrobeat, has pulled out all the stops. At his side are French producers The Jazzbastards and fellow world-class musicians including Damon Albarn (Gorillaz, The Good the Bad & the Queen, Blur). With Film of Life, Allen has produced an album that has the ring of a true self-portrait, offering an overview of his rich and exemplary career that brings together bebop, Afrobeat jazz and psychedelic pop."



GREG FOAT GROUP, THE: Live at the Playboy Club, London CD (JMAN 071CD) 14.50
The Greg Foat Group are currently the resident band at the Playboy Club, located in Mayfair, London. Earlier in 2014, a couple of nights were recorded for Jazzman, and the results are here for all to enjoy. Recorded live and direct onto 1" analog tape, the album captures the energy and atmosphere of the group at their regular gig. Awash with library-esque soundtrack-themed jazz grooves with a modal edge, jazz has never been so much fun! This is the third album by the Greg Foat Group on Jazzman, and is the first album to be recorded live at the Playboy Club in over 40 years.


GREG FOAT GROUP, THE: Live at the Playboy Club, London LP (JMAN 071LP) 23.50
LP version.


JBJ 1056EP

YOUNG JESSIE: You Were Meant for Me 7" (JBJ 1056EP) 11.00
Two incredible sides from the legendary Young Jessie. "You Were Meant for Me" is a timeless piece of jazzy, dancefloor blues from the rapidly-changing early '60s era. On the flipside, an equally excellent updated reworking of Young Jessie's 1956 hit "Mary Lou." Cut during his stint with Mercury Records, both sides boast superb production and impeccable musicianship, and of course that trademark, oaky baritone of Obie Jessie himself.


KH 9028CD

ZAPPA AND CAPTAIN BEEFHEART, FRANK: Providence College, Rhode Island, April 26th 1975 2CD (KH 9028CD) 23.00
Childhood friends and fellow rock visionaries Frank Zappa and Captain Beefheart put aside their differences to tour the U.S. together in the spring of 1975. The resulting shows found them both in superb form, as evidenced by this legendary set, preserved in superb fidelity and finally available on CD again, complete with background notes.

KH 9030CD

LITTLE FEAT: Live at Ultrasonic Studios, Long Island, April 1973 CD (KH 9030CD) 17.00
Led by the legendary Lowell George, this terrific band were arguably at their peak when this remarkable set was recorded in the spring of 1973. Featuring classics from their first three albums as well as the 1974 album Feats Don't Fail Me Now, it finds one of the greatest bands of all time in tremendous form, and is presented here complete with background notes and rare images.

KH 9031CD

TAJ MAHAL: Ultrasonic Studios, Long Island, October 15th 1974 CD (KH 9031CD) 17.00
One of the most revered figures in late 20th century American blues and roots music, by 1974 Taj Mahal had devised a unique style drawing on a huge variety of sources. This superb set typifies his eclectic approach and mastery of the guitar, and comes complete with background notes and images.



WEVAL: Easier EP 12" (KOM 318EP) 14.00
Weval's Easier EP follows the duo's exclusive track on Kompakt Total 14 (KOMP 118CD/KOM 310LP). From pawing opener "Gimme Some" and synth power ballad "One" to the introspective "Thinking Of" and anthem "Easier," this is a flowing experience. "We made this EP in two totally different moods," the producers explain. "We were both totally in love with two different girls, but for both of us it didn't work out -- and to be clear, this was not our choice... [then] surprisingly it all worked out with those girls... it gets from cool, euphoric to dramatic and intense at the end."



VA: Le Pop 8 CD (LPM 042CD) 15.50
This is volume 8 in the long-running Le Pop series from Germany's Le Pop Musik. Actually if you count the two special editions En Duo and Les Filles, it's the 10th compilation around songs in the most romantic language in the world: French. For the first time ever on Le Pop, legendary '80s star Etienne Daho is here, singing a beautiful duet with one of the most important figures of the so-called "New Chanson" movement: Dominique A. Stereolab's Laetitia Sadier appears on another duet with Belgian singer Benjamin Schoos. Well-established names like superstar M aka Matthieu Chedid, Fredda, Betrand Belin and JP Nataf present new songs here. But Le Pop 8 also includes a lot of new names. If you need an update of what is going on in the new French pop world, you need to listen to upcoming artists like Juniore, Mustang, Nicolas Michaux, Liz de Lux, Babx, Vianney, Maissiat as well as Francois & The Atlas Mountains. It's chanson, it's alternative pop, it's the perfect combination of two worlds. Rich with melodies, wonderful arrangements, and great voices. Also features the exclusive track "Je mentirais" by French crooner Sammy Decoster. Other artists include: Jimmy Hunt and Etienne Daho. Includes a great booklet in French, English and German.


VA: Le Pop 8 2LP (LPM 042LP) 23.00
Double LP version. Includes download code.



VA: Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 2CD (LITA 103CD) 20.00
"Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic's most ambitious and historically significant project in the label's 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You'll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup'ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You'll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin 'Sipreano' Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it's bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. 34 tracks newly re-mastered. Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations)."



PORTABLE: Surrender 12" (PLAYRJC 034EP) 14.00
"Mesdames et messieurs, Ramona is proud to welcome one of the most delicate flowers in the business back into her flock of loved ones. Alan Abrahams, better known as Bodycode and Portable, returns to Ramona's bosom with his new single, Surrender. Enjoy a five-minute trip to a very emotional place without leaving the dancefloor. Soft synths and a cozy drum rhythm make the perfect bed for the longing of Abrahams' deeply sensitive voice. Includes dub and a capella versions. Ramona has already given herself to the soft and warm sounds of Mr. Portable -- why wouldn't you? Bon voyage, Ramona"



GERSTAFFELEN: Night Flowing North & South 12" (MOSDEEP 021EP) 12.50
No one knows yet who Gerstaffelen is, but with this release the producer becomes a regular on the M>O>S Deep label and is now back with four more of the rawest cuts you could imagine. "Bombara" is a frazzled and gauzy deep techno cut with muffled voices, beams of melodic light and lots of percussive hustle. "Invisible Ghosts" is an equally monstrous track with dark, groaning bass, prickly hi-hat patterns and frenzied synth lines. "Night Flowing North" features celestial and heartfelt melodies darting about between ping-ponging drums and percussive hits before "Night Flowing South" comes over like a classic jack track from Chicago.



BARNT: Magazine 13. CD (MAGAZINE 013CD) 17.00
Barnt: Born in the '70s, kid of the '90s. When his classmates were into grunge, he was exploring techno, when the same classmates discovered techno, he was already taking a closer look into hip-hop (battling in the nationwide DMC and ITF championships), when everyone went to Berlin to celebrate minimal, he was on a trip back in time to inhale early German electronic and rock music -- attracted by the main oppositional poles of this era: accuracy and free rein. Mainly these biographical key points and his (now over two decades spanning) DJ experience are the base for his formula of pathos, calculated dilettantism, and dancefloor functionality that characterize all his productions. Take the infamous "Geffen," or his earlier work with Cologne Tape on the EP Render, the first release on his own conceptual imprint Magazine, which he co-runs with Crato and Jens-Uwe Beyer. Render and his debut solo EP What Is a Number, That a Man May Know It? became instant underground hits in 2010 and the records have been precious collector's items ever since. At that time he was already an established part of the music scene in Cologne, the city where he finished first his Biology and subsequently his Art studies (carving out the two poles "accuracy" and "free rein" in his development again). He still lives in the fruitful atmosphere of Cologne and from here he further evolves his idiosyncratic style, which has already brought him from Robert Johnson to Trouw, from Montreux Jazz Festival to MUTEK Mexico, from Berghain to Burning Man.


BARNT: Magazine 13. 2LP+CD (MAGAZINE 013LP) 31.00
Double LP version, packaged in gatefold sleeve. 180 gram vinyl. Includes CD.


MG 103CD

SINNER DC: The Ambient Mixes CD (MG 103CD) 17.00
Geneva-based trio Sinner DC return with an all-new remix album, featuring 12 new versions and four interludes from their 2012 LP Future That Never Happened. Far from being a patchwork collection of remixes, The Ambient Mixes is a brand-new album; an 80-minute cinematic trip following the tradition of ambient/chillout albums in the vein of The Orb, Le Coeur, and KLF. Dropping on Mental Groove Records, home of Luciano and Miss Kittin & The Hacker among others, The Ambient Mixes comes as Sinner DC have just finished their album MAPS -- a collaboration with Pete Kember aka Sonic Boom, founding member of legendary alternative neo-psychedelic rock band Spacemen 3. Having been a key influence on the likes of My Bloody Valentine and the producer for MGMT and Panda Bear, Sonic Boom's involvement marks another milestone for Sinner DC. Remix artists include: Zwei Kreise, Miruga, Sphontix, Sonic Boom, Ghostape, Devecly Bitte, Pedro Magina, Bigeneric, Lungwah, Velveljin, and Colony.


MN 1009CD

GULAAB: Ritt durch den Hades CD (MN 1009CD) 16.50
Ultra-rare lost psychedelic Kraut-folk from 1979. First time on CD and LP. Taken from the original master tapes. "Gulaab" means "rose" in the Nepalese language. Gulaab is a German virtuoso on the acoustic guitar who served three years as an after-dinner musician in a luxury restaurant in Nepal, playing for an amazing number of well-known personalities of the 20th century during the early '70s. This was a strongly-influential experience that shaped his musical expression big-time, but also let him become an open-minded spirit. Ritt durch den Hades is the result of his experimentation with sounds, atmospheres and a multitude of styles in traditional music from Latin to Eastern Asian elements. It was first released in 1979, vanishing into obscurity soon after, waiting to be rediscovered by a more open-minded generation of music lovers now. Traditionalists be forewarned: This mystic grail of '70s "Kraut folk" stands far out from the average folk and singer/songwriter stuff, combining guitar harmonies of the highest order with a cosmic drone that backs up the hypnotizing picking and trippy swirls of sounds. This album is in fact more like a musical journey than just a piece of music, taking you from secret sacrificial altars in the Andes to the ceremonial places of the ancient Himalayan population with a short stopover for a little "joint venture" in the musical space-centers of highly flown-out German originators like Ash Ra Tempel/Manuel Göttsching, Popul Vuh/Florian Fricke, Witthusser & Westrupp, Bröselmaschine, Dom or Deuter. Now take a ride through Hades with Gulaab.


MF 090LP

MF DOOM: Operation: Doomsday 2LP (MF 090LP) 24.00
Additional 2014 repress on black vinyl. "This special edition 2LP package comes housed in an all new exclusive jacket featuring Doom's infamous metal mask icon embossed out of a metallic silver foil. An absolute must have for the Doom completist. The long awaited reissue of Doom's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as 'Side Zero'. Side B is 'Side One'. And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)'s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol' Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable."



GAISER: False Light CD (MINUSMIN 032CD) 15.50
A key member of the M_nus family for almost a decade, Jon Gaiser releases False Light, his third artist album on Richie Hawtin's label. The 10-track affair shows the American-born, Berlin-based techno innovator to have continued to evolve since his last full-length and again is a very complete and contemporary techno tale. Housed in a 4-page profile pack.



STOTT, ANDY: Faith in Strangers CD (LOVE 098CD) 18.00
Faith in Strangers was written and recorded between January 2013 and June 2014, and was edited and sequenced in late July of 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener "Time Away" featuring euphonium played by Kim Holly Thorpe and last track "Missing," a contribution by Stott's occasional vocal collaborator Alison Skidmore, who also appeared on 2012's Luxury Problems. Between these two points Faith in Strangers heads off from the sparse and infected "Violence" to the broken, downcast pop of "On Oath" and the motorik, driving melancholy of "Science & Industry" -- three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with "No Surrender"-- a sparkling analog jam making way for a tough, smudged rhythmic assault, while "How It Was" refracts sweaty warehouse signatures and "Damage" finds the sweet spot between RZA's classic "Ghost Dog" and Terror Danjah at his most brutal. "Faith in Strangers" is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott's mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott's career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light, lingering on in the mind like nothing else. CD comes packaged in a 6-panel digifile.


STOTT, ANDY: Faith in Strangers 2LP (LOVE 098LP) 23.50
Double LP version.



GAJEK: Restless Shapes CD (MONKEY 053CD) 15.50
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.



OBO: Innhverfi CD (MORR 133CD) 15.50
Using a play on the Icelandic words for "suburbs" and "introvert" for its title, Innhverfi is the debut solo album from Sigur Ros' and Jonsi's touring keyboard player/percussionist Obo -- in his passport it says Ólafur Björn Ólafsson -- and although comprised of no more than seven compositions, it does run the gamut of suburban bliss turned upside-down: After the LP's minimalistic opener "Uthverfi," a track that melancholically opens up after a long, immensely dark and brooding intro, that ultimately offers some respite in the form of playful glockenspiel over layers of slow-moving sonic lava, the equally cinematic "Svartur galdur" leaves much room for Obo's trademark baritone: like a bespectacled puppeteer with fluffy hair, he seems to shuffle and rearrange home-recorded bits and lullaby-like DIY pieces in front of our very eyes, which can't help but follow, as we move deeper into the somewhat forlorn suburban landscape that has inspired this record. Imagine dark, wet streets, overcast little alleys, and suddenly a cat or a candle on a windowsill, breathing slowly. Elsewhere, "Gjallarhornin" -- all spoken words, piano, strings, vibraphone, rearranged like a whirlwind in slow-motion -- makes way for a hopeful oomph deferred and silent-movie era melodies, while "Stilla," an instrumental, commences like early Efterklang, but there's no gaudiness on the horizon: When the subtle electronics and percussions erupt in the end, it all feels just right -- if only for a brief moment. Finally, the subdued birdsong and jazz-inspired piano of "Fyrirbodi" underline that Ólafsson has worked on motion picture soundtracks in the past, and before it all ends, he even throws in a foot-stompin' alt-pop song of sorts. The last stop on this journey into the haunting underbelly of the suburban mind is "Gullregn": a creaking door that opens to unveil his own garden of forking paths, a place where one can still decide, shake things up, jump the fence and run, leave before it's too late. It's pure possibility, presented in a golden light. Although Innhverfi is his debut effort as a solo artist, Obo's musical handwriting has been all over the Icelandic map in recent years: A multi-instrumentalist and a wizard on percussions, he studied piano and later composition in various European cities and has performed and recorded with artists such as Sigur Ros, Jonsi, Emiliana Torrini, Storsveit Nix Noltes, slowblow, Benni Hemm Hemm, múm, Johann Johannsson, Ulfur Hansson and Valgeir Sigurdsson, to name a few. Though few will be able to understand the lyrics in his native Icelandic, one thing is certain: Innhverfi is the very antidote to the affliction and troubles it sketches out.


OBO: Innhverfi LP (MORR 133LP) 18.00
LP version. Includes download code.



LAWRENCE: A Day in the Life CD (MUSIQ 046CD) 17.00
This is the brand-new ambient and beyond album by Hamburg DJ/producer Lawrence, dedicated to his long-lasting relation with Toshiya Kawasaki, man of action behind labels like Mule Musiq, Endless Flight and Mule Electronic, and the artist Stefan Marx. Besides co-running the label Dial and the Mathew Gallery in Berlin, Lawrence is constantly releasing music on his own labels and befriended platforms like Smallville Records. Furthermore, he regularly contributes to Kawasaki's imprints Mule Musiq and Electronic. The music he shares on his latest album isn't linked to a special place or event. He mostly produced it on his DJ trips around the globe, including Toshiya's homeland, Japan. Back in his cozy backyard studio in Hamburg, he finished all the pieces and mixed them down with a lot of joy. In terms of style, this album is ambient and opens the genre wide open with its very own musical and emotive language. A track like "Nowhere Is a Place" spreads smoothly-twisted spectral vibes with blurring sounds that could easily originate from alienated instruments like a damaru or a conch horn. Sometimes soft, sizzling noise slides under gentle, balanced ambient air, as in the track "The Visit." In other arrangements, he lets the chords dance with cute, smacking electronic glimpses or odd, slow-motion melodies, reminiscent of the work of Hans-Joachim Roedelius and his love for the gentle swing. For Lawrence, this album is "a triple buddy record," as not only is his emotional content included in the finished product, but also his friends, Stefan Marx -- who is in charge of the artwork -- and Mule Musiq-head Toshiya Kawasaki, who was also profoundly involved in the outcome. The genesis of A Day in the Life resides in its emotional content -- it is a weightless one where all feelings are stored supremely in what you can hear, see, and hold in your hand.


LAWRENCE: A Day in the Life LP (MUSIQ 180LP) 25.50
LP version.



TRUFFAZ & MURCOF, ERIK: Being Human Being CD (MUNDO 003CD) 15.50
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.



LOUCA, MAURICE: Benhayyi Al-Baghbaghan (Salute the Parrot) CD (NAWA 002CD) 20.00
Salute the Parrot signals a departure for Maurice Louca from his first solo album Garraya -- in which he composed electronic music unaccompanied -- into the realms of acoustic orchestrations, both composed and improvised. Featuring guest performances by Alan Bishop (Sun City Girls, Alvarius B.), Sam Shalabi (Land Of Kush, Shalabi Effect), Tamer Abu Ghazaleh (Alif), Khaled Yassine (Anouar Brahem/Alif) and vocals by Egyptian Mahraganat MCs Amr 7a7a and Alaa 50, to name a few. Those who may have heard live iterations of Salute the Parrot at Louca's jaw-dropping shows across the Arab world and Europe over the last couple of years, will encounter a much more complex and hard-hitting work of many influences. From psychedelic to Egyptian Shaabi, Louca shatters the confines of musical and cultural labeling with a work that is truly unique. The album's new live and acoustic elements, coupled with limited pre-recorded material, present ample space for improvisation and fluidity within its composition. Its eight tracks offer a unique record of this new vision, and prepare the ground for future live performances of Salute the Parrot, which will never sound totally the same. For the design of the album artwork, Louca collaborated with Egyptian visual artist Maha Maamoun, whose videos and photographs address the form and function of images that are found in mainstream culture, to act as a lens through which familiar images are seen in novel and insightful ways. Salute the Parrot's artwork aptly conveys the abstract and microcosmic character of Louca's sound in three subtle variations, one for each of the album's formats.


LOUCA, MAURICE: Benhayyi Al-Baghbaghan (Salute the Parrot) [Green Vinyl] LP (NAWA 002X-LP) 25.00
140 gram green vinyl LP version.


NEOS 11013CD

LIGETI, GYORGY: Cello Concerto - Mysteries of the Macabre - Piano Concerto CD (NEOS 11013CD) 15.50
György Ligeti (1923-2006) counts among the most eminent figures in music history. Numerous of his works have entered the collective memory of human mankind and essentially belong to the international concert repertoire of today. This new CD release includes brilliant new interpretations of three concert works from different stages in Ligeti's artistic career. Fascinating sound extremes in his "Cello Concerto" from the '60s meet the ludicrous theatricality of his "Mysteries of the Macabre" from the '70s and the stunning polyrhythmic effects of his "Piano Concerto" from the '80s. All three works here are presented by celebrated soloists of the younger generation and the internationally-acclaimed Plural Ensemble from Spain under its chief conductor and composer Fabián Panisello.

NEOS 11219CD

HOLSZKY, ADRIANA: Musica Viva 19 CD (NEOS 11219CD) 15.50
Adriana Hölszky, born in 1953 as a Romanian German in Bucharest, studied composition at the Music Academy there with Stefan Niculescu. She moved to Stuttgart in 1976 where, alongside her concert activities as the pianist of the Lipatti Trio, she studied composition with Milko Kelmen. In 1989 her opera Bremer Freiheit was given its world premiere at the Munich Biennale for contemporary music theater. This was the road to success for Adriana Hölszky. After having served as a professor of composition at the Music Academy in Rostock, Adriana Hölszky taught composition in Salzburg until November 2013. Hölszky's works for choir often create a menacing atmosphere, focusing on the abysses of human existence -- demanding the highest level of accuracy in artistic interpretation.

NEOS 11316CD

VA: Folk Songs CD (NEOS 11316CD) 15.50
All six works here take a critical but also inspired look at one of Luciano Berio's bestselling compositions -- "The Folk Songs." Pieces by Luciano Berio, Farangis Nurulla-Khoja, Vito Zuraj, Marta Gentilucci, Mariana Ungureanu, Marko Nikodijevic, and Jamilia Jazylbekova. Performed by Ensemble Experimental (Detlef Heusinger, conductor),

NEOS 11407CD

JUHART, LUKA: Deconstructing Accordion CD (NEOS 11407CD) 15.50
Luka Juhart is a musician, outstanding accordion player, and music teacher. There is a determination, a stubborn conviction even, in everything he does. For a number of years now, he has been tirelessly devoted to collaborating with contemporary composers, commissioning their new works, entering into a creative dialogue with them, producing to date, either alone or in various ensembles, over 40 premieres of new pieces. His approach to contemporary music in any case forswears any closure, and as an accordionist he has never operated merely in the space prescribed by the institution of Central European music tradition. He has already delved into contemporary free improvisation, a musical undertaking that transposes a musician trained to render written-down music perfectly into entirely unpredictable situations, confronting him with hitherto unknown risks. Part of his opting out from music specialization is also his interest in composition, out of which, in 2013, the piece "hrUP" for accordion emerged. Luka Juhart is presenting compositions written for him, compositions which he had co-created or co-revised, and compositions which have influenced him. There is communication between the composer and the musician, except that Luka goes a crucial step further; he goes even deeper into the musical work, presenting in his first score "hrUP (noise)" his own creative impulses. The accordion's new sound profile builds on ideas which are not so much new as they are pushed, unjustly so, to the margins of the instrument's sound potential, where they have remained unused or even hidden somewhere between the air buttons, valves, reeds and bellows.

NEOS 11411-14CD

VA: Donaueschinger Musiktage 2013 4CD/SACD (NEOS 11411-14CD) 44.00
Stereo/5.1 multichannel hybrid CD/SACD release that can be played on any CD player. Each year in October, NEOS presents the essence of the previous year's Donaueschinger festival. The works from 2013 featured on this three disc set include: SACD 1: Enno Poppe - Speicher for large ensemble (2008-2013); Klangforum Wien, Enno Poppe, conductor; SACD 2: Bernhard Lang - Monadologie XIII "The Saucy Maid," for two orchestras in one quartertone apart (2013); SWR Sinfonieorchester Baden-Baden und Freiburg, Wolfgang Lischke/Christopher Sprenger, conductors. SACD 3: Georges Aperghis - Situations for 23 soloists (2013); Klangforum Wien -- Emilio Pomàrico, conductor; Alberto Posadas - Kerguelen; Triple concerto for amplified woodwind trio and orchestra (2013), Bläsertrio Recherche - SWR Sinfonieorchester Baden-Baden und Freiburg, François-Xavier Roth, conductor. SACD 4: Walter Zimmermann - Suave Mari Magno - Clinamen I-VI; For six orchestral groups (1996-1998/2010-2013); SWR Sinfonieorchester Baden-Baden und Freiburg, Pascal Rophé, conductor; Philippe Manoury - In situ for orchestra and ensemble (2013); Ensemble Modern - SWR Sinfonieorchester Baden-Baden und Freiburg, François-Xavier Roth, conductor.

NEOS 11415CD

LEGUAY, JEAN-PIERRE: Etoile - Trio - Azur CD (NEOS 11415CD) 15.50
Members of Deutsche Radiophilharmonie Saarbrucken/Kaiserslautern: Irene Assayag (harpsichord); Joachim Fontaine (conductor); Dominique Merlet (piano). Three works, three worlds, three journeys. Each is related in scale, density, in the tortuous nature of the journey it undertakes, and in its joint desire for action and contemplation; each is rooted in its need for space and time, and in its desire to take on a substantial journey, a quest, a conquest. Listening to them, one might well consider these works as a large-scale trilogy. However, the idiomatic nature of each instrumental setting, and the specific principles, which are followed in each composition, emphasize the three different approaches. All three pieces belong to a group of large scale compositions, which are written without separate movements yet each with a unified trajectory which undergoes multiple twists and turns. Jean-Pierre Leguay was an organ student of Andre Marchal, Gaston Litaize, and Rolande Falcinelli. He studied counterpoint with Simone Ple-Caussade and composition with Olivier Messiaen, before becoming titular organist at Notre-Dame-des-Champs in Paris from 1961 to 1984. In 1985 he was appointed titular organist at the Cathedral of Notre-Dame de Paris. He has won numerous prizes for organ, improvisation (on the organ and piano) and composition. Internationally recognized as a concert organist, composer and improviser, not only at the organ and piano, but also in a group, Jean-Pierre Leguay pursues his three-fold career in France and abroad, throughout Europe, Canada, the United States and Asia. He became a "Chevalier de la Legion d'Honneur" on January 1, 2013.


NW 80753CD

ERICKSON, ROBERT: Complete String Quartets 2CD (NW 80753CD) 30.00
"Robert Erickson (1917-1997,) one of the important American composers of the late twentieth century, is fondly remembered as an influential teacher who counted such figures as Pauline Oliveros, Terry Riley, Morton Subotnick and Paul Dresher among his students. The quartets chart his evolution as a composer over the arc of his career. The first was written in 1950 while he was still in the process of finding his compositional voice and is the most 'classical' of the four, looking back to the Second Viennese School. The Second Quartet (1956) is acknowledged as the watershed moment in his career, the work where the compositional tropes that would characterize his music henceforth first manifest themselves in full. The final two come from the last stage of his career just before he was struck down with the debilitating disease that would, for all intents and purposes, end his creative life in 1987. Solstice was written in 1985, almost thirty years after the second, and Corfu followed shortly after in 1986. The quartets are fundamental to any understanding of his work and receive their world-premiere recordings here."

NW 80754CD

SMITH, STUART SAUNDERS: A River Rose: Music for Violin CD (NW 80754CD) 15.00
"Stuart Saunders Smith (b. 1948) describes himself as 'a confessional composer who focuses on revealing in his music the most personal aspects of his life, in the belief that the revelations of the particular speak to the universal.' These six works feature the violin, unaccompanied and in a chamber context, and span four decades of compositional activity. Minor (2001) and Hearts (2004) -- the unaccompanied violin works on this album -- offer a Janus-faced comparison of two interrogatory paths. Minor is unifocal, a soliloquy that delves into and elaborates upon a singularity. Hearts, on the other hand, is a series of miniatures that articulates a complex idea by moving from perspective to perspective, like a photographer trying to capture a sculpture by taking pictures of it from many angles. Both works, though, evince the characteristics of Smith's compositional language: free atonality, occasional nods toward the extended triadic harmonies of avant-garde jazz, the intuitive use of pitch cells, and registral displacements that create implied counterpoint and compound melodies within single lines. The four chamber works on this album -- Three for Two (1972), A Gift for Bessie (1971), A River Rose (2005), I've Been Here Before (2008) -- rely to varying degrees on elements of what Smith calls 'music of coexistence' -- music where each performer's material is set, but its deployment in time in relation to other performers is not fixed. Smith has sometimes referred to this practice as writing parts without a score. The scores for these works do not appear to be especially complex -- they look similar to his conventional solo and chamber scores -- but by adjusting the synchronic relationships of the performers, Smith creates sounding objects that are breathing, vivid, and complex beyond the confines of intellectualism." Performed by: Airi Yoshioka, violin; Maria Lambros, viola; John Novacek, piano; Sue Heineman, bassoon; Lee Hinkle, percussion; José "Zeca" Lacerda, vibraphone.

NW 80757CD

HODGE, HUCK: Life is Endless like our Field of Vision CD (NW 80757CD) 15.00
"Talea Ensemble: Jim Baker, conductor; JACK Quartet; Huck Hodge, piano, melodica & computer. The music of Huck Hodge (b. 1977) draws extensively, if obliquely, on experiences from his northwestern American heritage. Uniquely Northwestern light patterns act as an inspiration in much of his music -- the way that a piercing slant of light, breaking through a dreary Seattle cloudscape, casts an intense, otherworldly chiaroscuro on the landscape -- the ethereal yellowness of the light in bas-relief against the yawning darkness of the sky. These stark contrasts in light and dark find their way into his striking combination of pure and dissonant harmonies, widely spaced orchestrations and vast, diffuse timbres. The works on this CD, written over a period of half a dozen years, display a breadth of conception that is refreshing to encounter in such a young composer while also indicating the process of rapid development that has characterized his trajectory so far."

NW 80762CD

TUDOR, DAVID: Music from the Tudorfest: San Francisco Tape Music Center, 1964 3CD (NW 80762CD) 45.00
"In the spring of 1964 Pauline Oliveros organized a festival celebrating the work of pianist David Tudor, which featured compositions by Oliveros, George Brecht, Toshi Ichiyanagi, Alvin Lucier, and John Cage. The Tudorfest was a watershed event in the brief history of the San Francisco Tape Music Center, which not only provided its members with an opportunity to collaborate with Tudor, but also to promote their own work. Co-sponsored by KPFA, the Tudorfest demonstrated the artistic diversity of the avant-garde, from the minimalistic explorations of barely audible piano sounds (played by Oliveros and Tudor) in Ichiyanagi's Music for Piano No. 4 (1960) to the instrumental chaos of Cage's Concert for Piano and Orchestra (1957-58) and Atlas Eclipticalis (1961), the often thunderous electronic outbursts in Tudor's interpretations of Cage's Cartridge Music (1 960) and Variations II (1961). Oliveros's collaboration with Tudor, Duo for Accordion and Bandoneon and Possible Mynah Bird Obbligato (1963-64) combined theatrical elements, improvisation, and a mynah bird named 'Ahmed.' The Tudorfest placed the Tape Music Center at the forefront of developments in new music around the country. Its success owed a great deal to David Tudor's influence. The performances on this 3-CD set have never been previously issued. It is the definitive document of this seminal event and constitutes a major addition to the discography of American experimental music."



HORSE LORDS: Hidden Cities LP (NNA 075LP) 18.00
"The second LP from Baltimore's Horse Lords?. music that is alternately tight and loose, real-time risky and process oriented, reconciling the sweaty force of a killer basement show with the icy precision of conservatory training. On opening track 'Outer East' the band showcases its considerable range and sick chops: over a low-slung motorik groove, Andrew Bernstein spins a smoky web of sax-into-delay that recalls Terry Riley's 'Reed Streams'. The song turns an unexpected corner five minutes in as guitarist Owen Gardner?who has structurally altered his frets into a just intonation tuning system?carves beguiling arabesque figures on top of Max Eilbacher's insistently funky bass. Sam Haberman then breaks in with a fierce drum solo, from which the whole band erupts into a relentless forward moving ecstatic riff that blurs the difference between prog, no-wave and minimalism. It's a compressed lesson in the effortless eclecticism and muscular playing that makes this band so mesmerizing live. Following 'Outer East' with barely a pause, 'Life Without Dead Time' rides a mutating polyrhythmic grid that showcases the synthesizer and signal processing chops of Eilbacher (whose solo LP Red Anxiety Tracers came out to critical acclaim on Spectrum Spools last year). A gradually building ramp built of field recordings, tape manipulation and modular synthesis, 'Tent City' introduces the second long-form composition on the album, 'Macaw'. A floor burner at their live shows, 'Macaw' builds rhythmic tension and release before coalescing into a unison burst of festivity and abandon. Bernstein's woodblock figure pulls away from Haberman's steady beat and the resulting groove plays out like a krautrock duel-in-the-sand between two offset patterns competing for dominance in a vivid strobe effect. By the ten-minute mark, Gardner's guitar hits a Bo-Diddley-meets-Group-Doueh sweet spot and the track lifts off in a final spiral of ensemble unison hammering. A coda for extremist signal processing, 'All That Is Solid' manipulates and processes the record's preceding riffs into liquid pools of unrecognizably alien new forms, setting you down on the other side of 'Hidden Cities' at once startled and becalmed. It's vital, thrilling, and utterly transcends its many influences to arrive at a new place on the map for forward-thinking American rock music."



MOVE D: The Km20 Tapes Volume 2 (1992-1996) 12" (OMKM 202EP) 16.50
Here is the second in the lost tapes series from a true boss of German electronics, Move D.



REEL HOUZE: Optimo Music Disco Plate Two 12" (OMD 002EP) 12.50
Optimo Music is delighted to present an archival 1996 release from London's Reel Houze, the duo of Dominic Dawson and Rob Mello. "The Chance" builds nearly 11 minutes of dubbed-out disco madness from a sample of Dinosaur L's "Go Bang." The track features one of the all-time greatest Moog solos, played live by Rob Mello, as well as frenetic percussion from DJ Harvey (he's playing a toilet seat!). "No Difference" is the closest thing we can imagine to Basic Channel doing disco. Loose, long, extremely dubbed-out and mesmeric, in the right hands it's a swinging, sexy club hypnotizer.



STEFFI: Power of Anonymity 2LP (OSTGUT 018LP) 23.50
Double LP version.


STEFFI: Power of Anonymity CD (OSTGUT 032CD) 17.00
Berlin-based DJ and producer Steffi returns with her second album Power of Anonymity on Ostgut Ton. "I wanted to start working on my new album without any personal or external expectations and I was seeking an emancipated, unshackled approach in the album's construction. I intended to include electro and IDM elements as these are my roots: it's the music that I first started DJing. After almost 20 years I got the feeling that I've come full circle, so I wanted to make an album that I, as a DJ, would like to carry in my record bag. My first LP -- Yours & Mine (OSTGUT 016CD/008LP) -- is very conceptual, it has a certain vibe that not only fits the club but also works on a stereo or in the car. Power of Anonymity is much more about how I see the dancefloor these days, and my aim was to take that vision into the studio. I asked myself what would happen if I could produce day after day without DJ gigs and travel interrupting my flow. These long stints in the studio allowed me to divide my time into three single blocks: initially I would only do jams and make sketches, followed by a phase for arranging and editing all recordings, and then a mixdown period for the album. Concentrating on creating Power of Anonymity has inspired me to carry on tapping deeper into my creative vein. I'm looking forward to the next time when I can step into the studio. Being focused is the key." --Steffi, Berlin, August 2014



SHAG: 1969 LP (OSR 027LP) 25.50
Shag was born from the ashes of garage band The Shags (of "Stop and Listen" fame). In the late '60s, they moved from Milwaukee to California, where they played at all the major venues and ballrooms, supporting famous bands like Jefferson Airplane and The Who. In 1969, the band recorded a demo at Pacific High Recordings in San Francisco, at the same time as the Grateful Dead were recording their classic Working Man's Dead album there. The demo was in fact a fully-finished album of bombastic psychedelia, acid-rock and proto-prog with loud fuzz-wah guitars, long tracks, crazy percussion and killer flute. Here's the first-ever vinyl reissue of these lost recordings. Master tape sound, including an insert with liner notes and photos.



VA: U Know Warsoul 12"/PIC DISC (PETS 046EP) 17.50
Welcome to Warsaw: home to a new generation of creative minds. The city's buzz strikes Pets Recordings founders Grzegorz Demianczuk and Wojciech Tarañczuk (aka Catz 'N Dogz) every time they return to their homeland. This EP is a celebration of two particular creative outlets who've impressed them on every trip: labels U Know Me Records and Warsoul. A dense brew of soul, house, hip-hop, and bass, this is Pets' most personal curation to date. Featuring tracks by Teielte & Sonar Soul, Envee, Archeo, and Innocent Sorcerers. Enjoy.



DJ KOZE: All The Time 12" (PHP 024EP) 14.00
2014 repress. Stefan Kozalla aka DJ Koze aka Adolf Noise offered two outstanding tracks for his debut on Philpot. "All the Time" will take the Tanzfläche by storm with its shuffling beats, twisted sequences, and a bass line from beyond. That is the perfect counterpart -- lush chords cover a majestic drumbeat, breakdown -- mayhem! For all those who miss harmonies, sometimes.



VA: Four Jacks Pt. 2 - 15 Years of Poker Flat 12" (PFR 154EP) 14.00
This is the second installment of Poker Flat's anniversary EP series called 4 Jacks. John Tejada's "Sweat (On The Walls)" is a stone-cold minimal house classic, and it's in expert hands here with the low-down groove of Sebo K. Daniel Dexter's "No House for Old Men" was a beautifully melodic single that lit up playlists and dancfeloors in 2011, and a new remix by Tom Taylor & Gareth Whitehead adds a rich palette of melodic color and harmony. Josh Wink delivers "Groove", which bounces with tongue-in-cheek energy, while Anaxander reveals quirky, classic deep house inclinations.



RICKS & THE RAVES, JIMMY: Daddy Rolling Stone 7" (POPC 131EP) 8.00
Two low-down, sleazy, moody popcorn masterpieces from the deep, deep baritone-voiced Jimmy Ricks and his backing group The Raves. "Daddy Rolling Stone" is a great mid-tempo cover of Otis Blackwell's signature piece with a swinging, early soul feel, while "Homesick" is a downbeat, bluesy piece which evokes the atmosphere of traditional gospel spirituals.


POTOMAK 825171

2014 repress, new higher pricing. Includes a large format 12-page booklet. Originally released in 1981, Kollaps is the seminal, form-destroying debut album by German industrial pioneers Einstürzende Neubauten (trans. "Collapsing New Buildings"). The band's use of junk metal, power drills, jackhammers and other surprising instrumentation would come to define their challenging and continually inventive career, making them not only one of the originators of industrial music, but one of the world's most influential and far-reaching forces at the intersection between avant-garde and rock music. Formed in 1980 in the wave of the Dadaist movement Die Geniale Dilletanten, after a series of devastating live performances and personnel changes (one of which briefly involving electronic musician Gudrun Gut), the band's line-up cemented itself with core members Blixa Bargeld, F.M. Einheit (previously of Hamburg-based post-punk band Abwärts) and N.U. Unruh. On Kollaps, a violent collision of urban primitivism and punk sensibilities, the trio declared war on every conventional way of listening, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. At a time in Germany in which the wall encircling West Berlin transformed the city into a state-subsidized, near-paradisiacal freak-enclave for artists, Einstürzende Neubauten offered cathartic cascades of noise, employing steel parts, tin drums, drills, hammers, saws and untuned electric guitars, all crowned by Bargeld's bloodcurdling screams and feverish, apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Years later, with the fall of the Berlin wall behind it, Kollaps still sounds as radical and extreme an artistic statement as ever.



CASSEGRAIN: Centres of Distraction 3x12" (PRG 007LP) 31.00
Cassegrain continue their empowering run of techno electronics with Centres of Distraction, their debut album on Prologue. Leading us on a 10-track expedition into a wilderness of rugged, challenging sonics, the album marks the production duo's development from adventurous new-bloods to full-fledged techno explorers. Over the course of the last five years, Alex Tsiridis and Hüseyin Evirgen, now both firmly entrenched in Berlin, have created a heavily detailed rhythmic language of morphing synthesis, high-end processing, and club-chiseled production. A nod to the classic '90s electronic album format -- spanning a wide range of tempos and genres -- Centres pf Distraction covers a lot of ground. After the opening club-ready syncopations of "A Study of Splashes," itself a warm and addictive cut, the duo set out on a new exploration in purist electronica, beginning with "Resilin." Morphing from abstract and reduced broken beats into a stirring melodic piece, it's the most song-structured we've heard them. And so change and contrast are to continue as key themes. "Centres" drops with its funky, off-center lines and rattling percussion, to be quickly followed by the mighty "Intrude - Restrain." "New Hexagon" charms us into a deep hypnosis with its percussive and rhythmic synthesis, highlighting the intricacies of the duo's drum programming. The serene mid-tempo tones of "Glasshouse" create yet another dramatic change in focus as a temporal, high-pressure, and high-intensity atmosphere is built and then gently deconstructed. But Cassegrain also stands for high-end dance music, and "Scythian" is perhaps the peak of the album in that respect. An unrelenting and timeless shock of electricity, the stuttering, frenetic energy winds its way around the heart of Cassegrain's current club sound. Again dropping the tempo in search of refreshing alternatives, renowned Greek cellist Nikos Veliotis (of the Mohammad group on PAN and In Trance 95 on Minimal Wave) contributes his growling, measured strokes to "Empress Cut in Segments." An intense soundtrack of sublime cacophonic peaks, once again tapping into a newly developed taste for melody and progressive structures. The album approaches its end with "Arcane," the type of psycho-techno that Cassegrain do so well -- metallic lines overlapping and modulating to full effect -- the tension palpable. This is the prelude to the beautiful "Seldom Cloud" that sums up all of the more experimental, melodic studies found on the LP. Floating bells and ethereal bodies swarm in a fitting conclusion to the album.


LSP 3988LP

BURTON, GARY: A Genuine Tong Funeral LP (LSP 3988LP) 12.00
A "Dark Opera Without Words" by Carla Bley; featuring Gary Burton (vibes), Larry Coryell (guitar), Steve Swallow (bass) and Lonesome Dragon (drums). "A Genuine Tong Funeral is a dramatic musical production based on emotions towards death -- from the most irreverent to those of deepest loss. It is meant to be performed on a stage, with lights and costumes. The Funeral was written throughout the year 1967, except for 'Sient Spring,' which was commissioned by Steve Swallow as a string-bass piece and was written between January and March of 1966, and 'The Survivors' and 'The New National Anthem,' which were written in 1964. All of the pieces featuring the Quartet were written specifically for Gary Burton when in July of 1967 he expressed interest in recording the 'Funeral.' Any similarity to Chinese music or folklore, other than in the Funeral's underlying Oriental dramatic quality, was not intended." --Carla Bley



SLOATH: Deep Mountain LP (REPOSE 043LP) 25.00
Limited edition 400 only vinyl LP. For fans of Melvins, Harvey Milk, Bardo Pond, Mainliner, etc. Upon releasing their now sold-out self-titled debut album in 2010, Sloath have finally delivered Deep Mountain. In place of the wide, white spaces of the debut, shorter tunes slam corkscrew riffage home with a newfound rhythmic propulsion. Behind the filthy power chords (redolent at times of Harvey Milk or Melvins), the overblown scut of Les Rallizes Dénudés or Mainliner, and the state-altering sonics a la Bardo Pond, a mud-scuffed classic rock sensibility informs the songs and their structures. Having submitted to the influence of Creedence, ZZ Top and the Groundhogs, Deep Mountain is no doom-rock trawl -- with the exception of blissful, glacial centerpiece "The Toucher," the songs here are for the party or the road trip. Some history: 2007: Five veterans of Brighton's rock scene gather with the intention of playing slower, louder and heavier than any of them have previously. Initial songs are developed with the aid of weapons-grade skunk, Polish beer and a heady cocktail of cheap rum and apple tango. Tunes built from super-distorted power chords and crushing, throbbing, squalling drone stretch at times past the half-hour mark. Early gigs are marked by deafened, blissed-out audiences, blown amplifiers and mid-set fist fights with venue managers. 2010: debut album finally released on Riot Season, featuring three monolithic slabs of psych-sludge, but the band has already moved on, having written and discarded a whole LP's worth of new material, before holing up in their practice space to record six brand-new numbers for album number two. The songs are shorter and faster, unlike the mixing process, which due to various members' life-stuff takes four years to complete. In the interim, various comings and goings leave the band stripped back to a four-piece, working on yet another batch of new material in twice-yearly spurts of activity. 2014: New songs are debuted at a couple of riotous February gigs before the band scatters once more to the four corners of the globe. LP #2 Deep Mountain is finally completed and handed in to Riot Season. Touring plans are laid and delayed... Thus far Sloath have shared stages with Acid Mothers Temple, Decapante, Kogumaza, Om, Part Chimp, Bardo Pond, The Unit Ama and White Mice. They intend to hit the road in support of Deep Mountain.


RC 043EP

ECHONOMIST: Hysteria EP (feat. Black Soda) 12" (RC 043EP) 12.50
Echonomist is back on Rotary Cocktail, this time with vocal support from the amazing Black Soda from South Africa. Petros delivers two original mixes which sound like classic, inspired Detroit tracks with deep bass lines, melancholy synths, groovy chords and driving analog drum machines to provide the perfect soundbed for Black Soda's distinctive, hypnotic vocals. Additionally, youANDme and And.Id deliver just the kind of emotional interpretations that touch our souls in the right moments with their beautiful remixes.


RB 051EP

COMANCHERO, ROY: Lucid Memory EP 12" (RB 051EP) 14.00
Roy Comanchero is a DJ and producer. He doesn't like modern tools like laptops, but loves cheap, vintage machines. He is traveling and looking for golden, shiny beaches like those of Cancun, Miami, Gold Coast, and Nice... and making music every day.


HOM 002

HOUSE OF MUSIC: House of Music Issue Two MAG (HOM 002) 0.01
House Of Music is a small (24-page, 6"x9"), black and white free magazine released by Rush Hour. Featuring Rick Wilhite, Hunee, San Proper, Sadar Bahar, Soichi Terada, Vincent Floyd, Invisible City Editions and many more...


RODRIGUES, BENNY: Master French 12" (RH VD18-EP) 12.50
Strong one on Voyage Direct from Rotterdam's Benny Rodrigues. Here are two undulating, hypnotic, heads-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough -- like all of Rodrigues' best productions -- both cuts are built around mesmerizing late-night grooves and intoxicating chords. "Master French" kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. "Z" is an altogether breezier affair, with repetitive, new age-inspired synthesizer melodies seemingly drifting over a rock-solid house groove.


POPULATION ONE: Theater of a Confused Mind CD (RHM 013CD) 17.00
Deadly Population One album from Terrence Dixon on Rush Hour. Under the Population One codename, Detroit citizen Terrence Dixon has realized some of his most vivid, esoteric portals to the Motor City mindset. Theater of a Confused Mind is Dixon's second album in this mode and marks a timely return to Rush Hour 20 years after his debut album, Unknown Black Shapes, and the Hippnotic Culture 2LP, whose "Rush Hour" track inspired the label's name. In both the literal and figurative sense of the album's title -- theater as a space for performance or an operating table, and equally in terms of psychogeography -- Theater of a Confused Mind plays out an affected Afro-futurist narrative over eight tracks of haunting and furtive sci-fi techno. It's riddled with cryptic connotation, systemic from the track titles to its deft, subtle mix-down, all drawing upon the city's emotions, industrial architextures and post-industrial panoramas to better express its sense of soul. Between opener "Out of Control," where Dixon is the voice-in-Detroit's-head, a dark interpreter whispering to himself "Detroit, Out of Control/As I Walk Through The Mists Of Detroit/And You Don't Know What We Be," and through to the mind-blowing sci-fi projections of closer "All of a Sudden," it renders a unique perception of Detroit's enduring export. Tracing circuitry like grid-iron avenues, Dixon deviates down back alleys, through warehouses and across mental space, divining the ghosts of jazz in the coiled double bass of "For Only You," or long-lost S.O.S. transmissions in the tribal patterns of "Code Urgent," while the prickling electro of "Battle for Space" condenses that fractured flux at the album's core, and the chaotic harmonies of "My Own Shadow" encapsulate a Kafkaesque sense of raving paranoia.



MUNGO'S HI-FI: Serious Time Riddim No. 2 7" (SCOB 043EP) 11.00
Mungo is back, proving that mother knows best and that classics of the dancehall still form the foundation of reggae. Yet higher heights can still be achieved in fat production and a great performance by outstanding vocalist Marina P. Features the title-track from Mungo's Hi-Fi's forthcoming album, Serious Time.



WARSNARE: Endgame EP 12" (SECLUS 030EP) 19.50
Endgame is an 8-track mini-LP on 12" vinyl. The sound of this release filters Warsnare's familiar eclectic style through a lens focused on the accelerating destruction of civilization. Split down the middle with two versions of every song, these tracks are bold, bassy, and cinematic. Warsnare emerges from the creative melting pot that is South East London, carving out a unique sound from the remains of pop culture. Having produced soundtracks for award-winning short films and AV installations, as well as an arsenal of releases, Warsnare produces music impossible to pin down.



Oliver Huntemann's beloved globetrotting mix series PLAY! is set to touch down for its highly-anticipated fifth edition in Vienna. Having journeyed through four of the world's best nightclubs on four continents, PLAY! 05 is the most recent glimpse into Oliver's DJ mindset. "Schnitzel" is a deeper, darker shade of the classic Huntemann sound, with long synth trails and inky tones, perfect for diving deep into the after-hours, while "Vienna" takes the flip-side stage on this two-track EP.



VOGEL, CRISTIAN: Polyphonic Beings CD (STRIKE 151CD) 15.50
Producer Cristian Vogel, born in Chile and in raised in Bristol, England, represents an inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which authorship, previously pronounced dead, returned in full force. The former punk, who had completed studies in composition (20th century classical music in Sussex) conveyed a powerful force in his music, which now finds its place very naturally as electronic music; back then, it did more than just shake up the concepts of techno. Vogel went under for a time and lived in Vienna before arriving in Berlin nearly two years ago, where he made his first new and daring attempt to assimilate everything that electronic music represented to him on one album: The Inertials (STRIKE 137CD). Shortly after that, his mystical, floating ambient work Eselsbrucke (SR 375CD) was released, which already spoke the language of the new city. He now presents a new album entitled Polyphonic Beings -- a true masterpiece in the inimitable Vogel style, as his fans will no doubt claim. Polyphonic Beings begins, after two minutes of an irritating noise wave, with a surprisingly classic dub track and grows darker and more abstract from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel's own cosmos. He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the "atomic layers of ourselves." And so it is. We are what we hear. This is the definitive Cristian Vogel. "In his 1972 lecture entitled 'Four Criteria of Electronic Music,' the composer Karlheinz Stockhausen touches on a compelling idea. When we hear music, we are modified on levels we are not able to perceive -- he refers to the "atomic layers of ourselves." It struck me that if indeed we are embodying music so deeply into ourselves, then surely we begin to resemble that music -- in some sense, we become what we hear. I propose then, that we expose our cells to the wildest music quality, to the deepest transformations. I have faith that this music can be abundant and that it opens up new ways of being which are unimaginable without having heard it. So with much love and gratitude, I am proud to present my latest music release, Polyphonic Beings -- it takes the form of studio recordings which I put together over the last 12 months at various locations around the world. I am thankful to all those who have helped and guided me. Enjoy what this music brings to you." --Cristian Vogel (Copenhagen 2014)


VOGEL, CRISTIAN: Polyphonic Beings 2LP (STRIKE 151LP) 20.00
2LP version. Includes download code.



MISS KENICHI: The Trail CD (SINNBUS 052CD) 15.50
The Trail is the third album by Berlin-based artist, musician and singer-songwriter Katrin Hahner aka Miss Kenichi. Though her first two, low-key albums were more than well-received in her homeland, The Trail is a huge leap forward, the work of a mature and confident performer, its songwriting subtle and captivating, its arrangements imaginative and complex. The album was recorded in Berlin's Chez Cherie studios, accompanied by longtime collaborator Earl Harvin (Tindersticks) and with the help of a number of other musicians, amongst them Terry Edwards (Gallon Drunk, Tindersticks) and Chris Bruce (Meshell Ndgeocello, Chris Connelly). Grown to a full band, Miss Kenichi will hit the road for extensive touring all over Europe in early 2015. CD housed in a digisleeve with a poster-booklet.



TM404: Skudge White 008 12" (SKUDGEW 008EP) 12.50
The man with more machines than you drops three tracks of syncopated science on Skudge.



TOTLAND, OTTO A.: Pinô LP (SONIC 019LP) 25.50
LP version. Otto A. Totland's modern compositional elements are most widely-recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K. Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the five-minute A-side of Sonic Pieces' 7", Harmony from the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style. Initial track "Open" fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios. With Pinô, Otto A. Totland appears out of the Norwegian landscape, sharing an achievement that will provide relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland's compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O'Halloran.



APPLE AND THE THREE ORANGES: Baby Brings Out the Best of You 7" (SOUL7 040EP) 11.00
Pure Californian funky soul sunshine from drummer and bandleader Edward "Apple" Nelson, who first featured for Jazzman way back on our California Funk compilation with the tough and gritty "Curse Upon the World." Originally issued in scant numbers on Apple's own Sagittarius imprint, "Love Brings Out the Best in You" is a far lighter affair, a breezy northern soul dancer that lilts away like a hot Cali afternoon.



PEOPLE IN FOG, THE: Deep 12" (SOV 003EP) 12.50
Highly-respected Japanese producer DJ Sodeyama presents an EP under his The People In Fog alias in order to express his music in more deeper and emotional ways. He even choose "Deep" as the EP, and all the track's titles contain the word "deep" -- a funny but straightforward way of thinking, if you want to deliver the right moods on the dancefloor. "Deep Woods" is also remixed here by U.S. house legend Elbee Bad, as a vinyl-only exclusive. Limited to 500 copies only, without repressing.



MARK E: Avion EP 12" (SPC 127EP) 14.00
Mark E hails from the West Midlands, an area of the UK that was at the heart of the Industrial Revolution. It was also hit hardest by the decline of UK industry in the 1970s, and again by the economic crisis of our own time. Its distinct atmosphere manifests in the music of artists as diverse as Black Sabbath and The Specials, as well as in Mark E's 2014 full-length, Product of Industry (SPC 122CD/LP). Following that release, Mark E presents the Avion EP, featuring two new tracks and two remixes of Product of Industry highlights by Alvin Aronson and Laszlo Dancehall.



VA: Caribbean Audio Odyssey Volume One 10" (STAGO 057LP) 19.50
Caribbean Audio Odyssey is a reflection of Stag-O-Lee's love for early Jamaican music. When one traces back the roots of ska to the early sound systems and Mento, it doesn't take a genius to discover calypso. Here's 10 little jewels from the '50s -- recorded in Jamaica, Trinidad, Tobago and Bermuda. If you don't enjoy 'em, consult a doctor! "CALYPSO, the infectious rhythms and melodies of the Caribbean area originated in Trinidad. It is really the musical expression of the Afro-West-Indian population. There are various explanations for the origin of the word 'calypso,' but it is most likely that it stems from the African word 'Kaiso,' which means 'bravo.' The lyrics (in a dialectic English) and the melody are usually made up at the spur of the moment. The words very often have a double meaning. The topic is sex, but frequently deals with current events of social and political happenings. The rhythms are enticing and therefore popular for dancing." --from the liner notes; Calypso in the Caribbean includes a range of genres, including: the Benna genre of Antiguan and Barbudan music; Mento, a style of Jamaican folk music that greatly influenced ska and reggae; ska, the precursor to rocksteady and reggae; Spouge, a style of Barbadian popular music; Cadence-lypso, which mixed calypso with the cadence rampa of Haiti and Dominican traditional music; and soca music, a style of Kaiso/calypso, with influences from Cadence-lypso, soul, funk and Indian musical instruments.


VA: Music from Planet Earth Volume 2: Aliens, Teenie Weenie Men, Moonbeams & the Gayway to Heaven 10" (STAGO 060LP) 23.50
It's a perennial starting point for conspiracy theories, the perfect excuse for lost homework or any kind of irrational behavior. Alien intervention solves everything. Things from other planets are a sustainable reason for many unanswerable questions and, across the music industry in the late '50s and early '60s, in the wake of a slew of space-based exploitation movies, a series of 45s and suitably unearthly concept albums emerged to capitalize on this burgeoning, bizarre and mysterious idea. Everyone was viewing far off planets with wonder, amazement and the occasional well-directed sound effect. No-one really knew what aliens could do, so the potential for music to accompany whatever they did was limitless. Over 50 years after these sides were released in a fit of futuristic creativity, we're still asking about the potential of water on Mars, puzzling on the rings of Saturn and wondering if anything really did happen at Roswell. "Aliens stole my dog!" screams the headline in the National Enquirer. Of course they did." --Dave Henderson, MOJO magazine, 2014; Features tracks from Cees & His Skyliners, Kenny Hollywood, Danny Wheeler, Dr. Samuel J. Hoffman, Carl & The Spindletoppers, Russ Garcia, Joe & Rose Lee Maphis, Rusty Wellington, Attilio Mineo, Jean-Jacques Perrey, and Sun Ra.


SR 398CD

JEAN D.L.: Early Nights CD (SR 398CD) 15.50
Early Nights can be seen as a music box of musical and nocturnal atmospheres. Belgian musician Jean D.L. guides us on this album through a collection of fragments and pieces of recollection collected over a period of seven years. The music, both recorded live and at home, meanders between improvisation, experiment, drone and ambient guitar, exploring the places where it originated. Jean D.L. develops a universe at once intimate and noisy, made of hazy soundscapes. Jean D.L. has worked solo but has also collaborated with the likes of S. Biset, B. Drugmand (aka Impostor), Sébastien Karkoszka, Zbigniew Karkowski, Mauro A. Pawlowski, Teun Verbruggen, Antoine Boute, O, Noir, Jozef Van Wissem, Justice Yeldham, Jean-Philippe De Gheest, Paul Labrecque, Anla Courtis, Jozef Dumolin Trio (feat. Eric Thielemans & Trevor Dunn), Damo Suzuki Network, and Sandrine Verstraetes.


SF 092LP

VA: The Travelling Archive - Folk Music from Bengal: Field Recordings from Bangladesh, India and the Bengali Diaspora LP (SF 092LP) 18.50
The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar. They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site. Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls. The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi (small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum. This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future. Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.

SF 093LP

VA: A Distant Invitation: Street & Ceremonial Recordings from Burma, Cambodia, India, Indonesia, Malaysia and Thailand LP (SF 093LP) 18.50
A hallucinogenic splatter-drift audio meltdown through the streets and back alleys of Southeast Asia recorded and assembled by Seattle-based multi-sword-wielding artist Jesse Paul Miller (Factums/Secret Records/Liver & Bacon/Big Tribal Balls). This limited edition LP includes street and folk music, situational ambience, radio excerpts, and psychedelic atmospheres from Burma, Cambodia, India, Indonesia, Malaysia, and Thailand. "We heard them from a distance, bells in the back alleys of Surakarta ... Then, one day, two weeks later, we walked around a corner and there they were, a troupe of roving gamelan musicians and a monkey with a mask ... If one wanders the streets of Southeast Asia, they will undoubtedly hear a variety of fascinating sounds; those created by street musicians, sellers in markets, horns from temples and mosques, woven with insect songs, birds, dogs, motorcycles. Intended to engage and entertain a host of spirits and gods, festivals and processions are frequent in certain regions. They can be extremely vibrant and overwhelmingly powerful energy situations. In rituals, the use of random multiple layers or instrumental vibrations can be intended to confuse or scare off bad spirits, and this can be very disorienting for the living listener also. Street musicians combine older instruments with electrical delivery systems in the form of genius portable battery-operated-waist-pack mini-horns connected to keyboards, karaoke machines, and folk instruments -- sometimes with effects. These musicians sit roadside; in some places they hop on buses between stops. In markets and along roadsides, sellers manipulate their voices to advertise using delay effects. Food cart proprietors use an incredible array of sonic methods to attract customers. They tap on objects, use steam whistles; sing like birds, use bits of Western jingles (and much more). Buddhist, Hindu, and Muslim broadcasts can be heard blasting through loudspeakers. With the addition of amplification, there is usually some form of distortion inherent to the speaker systems, often magically enhancing the voices, mixing in with the urban or rural soundtrack. The sonic tapestry of any space can reveal poetic insights. There is the perspective that all audio events in an environment, regardless of their form, can be heard musically. The vitality and depth of human expression, whether awe-inspiring or minute in all of its multitudinous manifestations, is for now, intact in Southeast Asia, and very much alive." --Jesse Paul Miller; This limited edition LP comes in a full-color tip-on jacket with a two-sided insert including photos by Linda Peschong & detailed liner notes and personal impressions by sound artist & compiler Jesse Paul Miller.


DUNNING, MATT (DIRECTOR): The Stirring of a Thousand Bells DVD (SF 094DVD) 14.00
Gamelan is one of the ancient music traditions of the world. In Solo, on the island of Java Indonesia, it's still a part of everyday life and an important cultural custom. A complex wonder of human invention, it comes from a timeless world of aural tradition, contemplation, and relaxed living. These two films by Matt Dunning capture the essence of the gamelan tradition, in the context of the changing modern world. The Stirring of a Thousand Bells, the main attraction of this DVD, is a 35-minute sequence of audio/visual beauty centering around Gamelan Sekaten; a rarely-witnessed event that is performed once yearly at the Sekaten festival which marks the birthday of the prophet Mohamed. Sekaten is Java's most cosmic music festival, where the old world and the new are colliding, creating captivating images and sound. Srimpi Muncar is a form of Javanese classical court dancing held at the Mangkunegaran palace and is the feature of a bonus 15-minute film included on this DVD. This short blends aspects of the dance and its enchanting melodies with a variety of sublime images from throughout the island of Java, allowing the viewer to experience this magnificent island through eyes and ears. Feel what it's like to be lost in a world of history. DVD comes in a digipak with access to an online high-definition version available with proof of purchase.



VA: African Gems CD (SWP 043CD) 15.50
This is some of the best traditional African music ever recorded. The music is the star -- of course -- then comes the wonderful musicians who performed it, but it was the recordists who make it possible for us to listen to the genius in African music captured on these magnificent tracks. After having released the 22-CD series "Historical Recordings by Hugh Tracey," it is time to pay homage to some who came after him. Thanks to Charles Duvelle, Jos Gansemans, Benoit Quersin, and David Fanshawe, for these great recordings. Over 73 minutes of magic. Each track is a gem. There is nothing coincidental in this music: it is based on a deep understanding of interconnectivity -- consequently also of time and space -- and has been developed over many centuries. Yet it sounds so modern! Each track has its own swing, and this danceable quality is a profound thing: it is participatory, revitalizing, communal, relaxing, healing.


BK 008EP

ATOM TM: Ground Loop EP 12" (BK 008EP) 11.50
When The Bunker label first heard Uwe Schmidt's compilation of tunes organized as a satirical history of acid house released under the Atom TM moniker -- Acid Evolution 1988-2003 -- they started hounding him about performing this material live at The Bunker. In 2013 they were also treated to a solo techno set of the Ground Loop material and they asked Uwe to flesh out a few of the clips he'd put online with a view to releasing a record for The Bunker, and here they are: two brand-new Atom TM dancefloor acid explosions that stand alongside the best of his work.

BK 010CD

REAGENZ: The Periodic Table CD (BK 010CD) 14.00
Composed, arranged and performed live at The Bunker New York 10 Year Anniversary, January 2013 by Jonah Sharp & David Moufang. Few projects in electronic music have remained at the very cutting edge for as long as Reagenz, a collaboration between San Francisco-based Jonah Sharp and Heidelberg-based David Moufang. Their first self-titled album Reagenz, was released during a foundational moment for ambient and electronic music: 1994. At the time, Jonah's main project was Spacetime Continuum; an early signee of seminal label Astralwerks. He also ran one of the first independent electronic music labels on the West Coast, Reflective Records, recording with the likes of Pete Namlook and Bill Laswell; while David was founding acclaimed duo Deep Space Network, starting to record solo records as Move D, entering into a fruitful collaboration with Pete Namlook, as well as running his own Source Records imprint. Following several well-received live appearances in Japan, Reagenz was reformed in 2009 for a full-length album "Playtime" on the respected Berlin label Workshop. Since then, the project has been ongoing, touring to present live shows in both the U.S. and Europe. There has also been a special collaborative extension of the project when Reagenz met Magic Mountain High (Moufang w/Juju & Jordash) under the name The Mulholland Free Clinic at 2013's Unsound Festival in Krakow. Moufang, working as Move D, is now highly in demand as a DJ, while Sharp is also busy with solo gigs and a collaborative project with DJ Spun. Now, 20 years after their first project, comes The Periodic Table, a stunning live album captured at The Bunker New York's tenth anniversary party at Public Assembly, Brooklyn, in January 2013. This triple LP/CD album also serves as the first full-length release from relatively new label The Bunker New York. Recorded using a full stage of gear/all-hardware set up that included a Roland TR 909, Roland TR 606, Roland JX-3P, Roland SH101, Anyware Instruments TinySizer, Nord Micro Modular, Doepfer Dark Time, Akai MPC 1000, Electro Harmonix Memory Man Delay and a Moog MidiMurf, The Periodic Table incorporates elements of house, techno and ambient in an organic flow that few artists could replicate. Watching the two musicians on stage makes tangible the sense of decades of shared experience between them very apparent. Recorded with almost the same equipment they used to record their debut 20 years earlier, The Periodic Table is a testament to the power of live electronic music, its ability to transcend time and remain, when delivered with skill and art, one of the most powerful live music experiences possible. Far from being locked into any cul-de-sac of "dance" genre or DJ tools, The Periodic Table presents a living, breathing model.

BK 010LP

REAGENZ: The Periodic Table 3x12" (BK 010LP) 27.50
Triple LP version with download code.



COHRAN, PHIL: On the Beach 2LP (TIZONA 012LP) 24.00
2014 repress. "More than just a reissue, this is one of Cohran's most sought after spiritual jazz records from the Afro Arts Theater-era, now available as the complete, original concert. Scattered over two LPs, the complete live versions of all the songs are finally available for the first time ever. The artwork has been restored to reflect the original release from 1968. It features an intense pedigree of Chicago musicians including Pete Cosey (Miles Davis/Muddy Waters), Henry Gibson, Louis Satterfield, Donald Myrick (all of Earth Wind & Fire) and members of the Spencer Jackson Family. This expanded issue is a must own."



HOLMES, DAVID: '71 - Original Soundtrack CD (TOUCH 001CD) 17.50
Inspired by a number of conversations between director Yann Demange and music producer David Holmes, the majority of '71's score was created before the film was shot. Musically influenced by John Carpenter's Assault from Precinct 13 and Escape from New York, John Paul Jones' "Four Minute Warning" and Tony Conrad's "The Pyre of Angus Was in Kathmandu," the music pulses with the tension and potential terror of war-torn Belfast streets in 1971. "Holding it all together is David Holmes' terrific score, chiming guitars and drums hovering over a rubble-bed of sampled sounds and remodulated chords, plaintive melodies emerging from a bedrock of discord and disquiet... Demange uses Holmes' eerie score (to which he listened on set) to generate both growing tension and weirdly uncanny unease." --Mark Kermode; "A terrific soundtrack by David Holmes which ratchets up the tension and gives you this sense that things are eerie, things are uncanny, things are slightly out of wack." --Kermode and Mayo's Film Review


TEG 78509LP

BIG L: Lifestylez Ov Da Poor & Dangerous 2LP (TEG 78509LP) 20.00
2014 repress. "In 1995, fresh off the success of Nas's landmark debut album Illmatic the year prior, Columbia Records released Lifestylez Ov Da Poor & Dangerouz, the first LP by a relatively unknown Harlem MC named Big L. Few at the time would realize that Lifestylez -- which was only a modest commercial success at the time -- would go on to be considered a true classic of the era, comparable to Illmatic itself. Armed with a cocky Uptown attitude, a sharp wit and production from the likes of Lord Finesse, Buckwild and Showbiz, Big L established himself as one of New York's hip hop heavyweights with an album that balanced radio appeal with uncompromising hardcore lyricism. Remastered from the original tapes and pressed on loud double vinyl."



KOPP, JONAS: Red Plented EP 12" (TRESOR 272EP) 12.50
Jonas Kopp's Red Plented EP weaves Kopp's discursive repertoire into a single and concise narrative, covering both familiar ground and exploring new and spellbinding territories, along with just a hint of cosmic neo-retroism that makes this a welcomed edition to the Tresor catalog. Despite having just a single release on the label so far, "X" featuring on DJ Hell's 2013 Kern Vol. 2 compilation, Kopp has been a ?rm ?xture at the club since 2011. Jonas Kopp is the next in the line of contemporary luminaries that Tresor proudly welcomes to the fold.



VA: The Afrosound of Colombia Vol. 2 CD (VAMPI 156CD) 16.50
Vampisoul is back with a fresh batch of funky, folky and psychedelic tropical bangers from the deep vaults of Discos Fuentes (and its other properties, Tropical and Machuca). As previously stated in the first volume of this series, the term "Afrosound" is an invented concept appropriated from Discos Fuentes. If the term seems a bit vague or slippery, rest assured that with this second installment you will come closer to understanding the Afrosound aesthetic. This Afro-vibration was sent out from the cold, misty high mountains and bounced back down to the flattened plains, meandering rivers, verdant valleys, steaming jungle and whispering shores of the azure sea, where it was resold to the original regions that inspired it and traveled to further lands beyond the horizon, like Mexico, Peru, Venezuela, Argentina. There were also several smaller coastal-based labels like Curro and Tropical that did much the same thing, but maintained a local base of operations for their work. You would have found this sound in little moldy hardware, musical instrument and dry-goods stores, or broadcast on radios in buses, cars, trucks, fishermen's canoes, even lashed to burros. It blasted in bars, hotels, on beaches from transistors. It was played on the booming sound systems at the outdoor black champetero parties under the palm trees and in the palenques, social clubs and house parties in working-class barrios, on crackling loudspeakers blaring from street festivals, in plazas. This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. Afrosound is not really something tangible that can be tied down and bound to a critic's rules. Nor is it some venerable folkloric strain passed down through generations from time immemorial. It's a modern bastard hybrid, syncretic and synthetic, spawned in the studio, co-opted by government, commodified by an industry that could only have been born in the era of the global village. The unifying factor of this second volume is still the same: African roots or influences and the period of experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers and engineers.


WP 060

WAX POETICS: #60 MAG (WP 060) 11.99
"On the covers: front: The 40th Anniversary of Blondie; back: SZA. Contents: Fatima; Jordan Rakei; Stick Against Stone; Taylor McFerrin; The Budos Band; Eddy Senay; Harvey Mason; Marsha Ambrosius; Onyx; Raekwon; Robert Crumb."



HARDING, ALDOUS: Aldous Harding CD (WOOME 010CD) 17.00
Aldous Harding is a Christchurch local, whose records are released in New Zealand by Lyttleton records (home of the mighty Marlon Williams and Delaney Davidson). Lyttelton is a gorgeous port town to the north of Christchurch. A home for Maori for about 700 years, Lyttelton Harbour was discovered by European voyagers passing by on February 16, 1770 during the Endeavour's first voyage to New Zealand. Today it is one of New Zealand's busiest ports. In popular culture it is best known as the location for most of the exterior scenes in Peter Jackson's 1996 horror movie The Frighteners. It is also a town surrounded by many historic buildings, many of which have been turned into bars. Aldous Harding's music has been the best thing that has ever happened to these bars, where wayfaring loners shuffle in at the wrong times of day. She has been the savior of those falling in home-cooked opium furrows. She has kept sailors in check with cheek and a strong-songed tongue. And now she will be all yours for an album-length period of time, and you may have your picnic and feast upon the music. So lucky one, close your eyes. Turn your nose towards river water. Twitch your ears as rabbits do. Settle in. Listen to this one closely.

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