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Forced Exposure New Releases for 1/26/2015

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New music is due from Damo Suzuki & Mugstar, Gaiser, John Tejada, and Heather Leigh, while old music is due from The Explosives, Scientist, and Cluster.


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BRIAN JONESTOWN MASSACRE, THE: Bravery, Repetition And Noise LP (AUK 003LP) 18.00
2015 repress. LP version, purple vinyl. Originally released in 2001. Bravery, Repetition and Noise is a dark, dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. Brian Jonestown Massacre uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.


BRIAN JONESTOWN MASSACRE, THE: Take It from the Man 2LP (AUK 005LP) 25.50
2015 repress. Originally released on CD in 1996, now reissued on A Recordings, Anton Newcombe's own record label. Released on 180 gram vinyl -- one blue LP & one red LP. The Brian Jonestown Massacre's obsession with the Rolling Stones continues unabated on the brilliant Take It from the Man!; where the group resurrected psychedelic-era excesses on the previous Their Satanic Majesties' Second Request, here they jump further back in time to the Stones' mid-'60s period, with even more superlative results. From the opening "Vacuum Boots" onward, Take It from the Man! is gritty, swaggering R&B-influenced rock, delivered with remarkable assurance and attitude; singer Anton Newcombe is half-madman and half-shaman, and he commands each delirious moment with absolute mastery, emerging not so much a disciple of Mick Jagger but as a serious threat to the throne.


2015 repress. Released on 180 gram blue vinyl. Deluxe gatefold with printed inner sleeves. 2007 release -- originally released in 1995. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus And Mary Chain, Methodrone clearly is the sum of its influences. Thankfully, BJM does a very solid job with them throughout the album's course of over 70 minutes.


KVB, THE: Minus One LP (AUK 109LP) 16.50
LP version on 180 gram vinyl. 2013 release. The KVB release their new immersive and hypnotic album Minus One on A Recordings. The album follows hot on the heels of outstanding standalone single "Run Away." The KVB is the audio/visual project of London youngsters Nicholas Wood & Kat Day, who combine reverb-heavy wall-of-sound guitars, minimal, haunting strings and grinding bass synths, messed up motorik drum machine beats and delay-drenched vocals with a backdrop of imagery to accompany the symphony, that's nothing short of life-affirming.


LES BIG BYRD: They Worshipped Cats LP (AUK 110LP) 19.50
Gatefold LP version. Les Big Byrd unleash their debut full-length release, They Worshipped Cats, on Anton Newcombe's A Recordings. When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, he ran into the guys from Les Big Byrd at a local record shop, and they started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of They Worshipped Cats was conceived and recorded. The album is filled with beautifully melancholic melodies, poems of time-space continuum read through vocoders, cosmic clouds of filtered string machines, motorik Krautrock drums, and 12-string. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. Joakim was brought up in the late '70s by an immigrant mom in Bagarmossen, a Stockholm suburb where kids sniffed glue in the concrete basements, and the local smalltime gangsters did drive-by's long before Sweden even knew what the phrase meant. At the same time, Frans grew up in the very north of Sweden in a small town with 9 months of winter and darkness every year. They each eventually joined different rock bands that brought them out of Sweden and into a different world, which took them across Japan, England, Europe and America. Frans' band Fireside got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with '60s-influenced garage-pop outfit Caesars, as well as his other, more electronically-flavored project, Teddybears. Years later, Frans and Jocke met up again after both Caesars and Fireside had crashed and burned due to drug-fueled intrigues, road-weariness, bad management or complete lack thereof. They decided that they still -- in spite of everything -- had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Sweden's most interesting black metal acts.



TIMBOLETTI: Lindholz EP 12" (ACKER 047EP) 14.00
Timboletti's Lindholz EP opens with "Murrakus" and "Wüstenlauf," which evoke mysterious scenes from an oriental bazaar and incite a pleasant restlessness in the listener. The deep yet uplifting "Makrovic" is invaded by tripped-out samples, reminiscent of radio transmissions from some odd parallel dimension. "Barfuss Bravo" sounds just as alien and is just as compelling, as delirious melodies and delay cascades unfold upon tight, driving rhythm sections. Mollono.Bass's remix is a stardust fantasy flying high upon a standing bassline. In contrast, Caterkarlos shifts down a gear and reflects on the multidimensional anatomy of "Barfuss Bravo" with a smooth down beat version.



CUMMI FLU: Z LP (ALB 004LP) 18.00
LP version; includes download code. There was once a pop music genre that was not actually a genre. It emerged in the late '90s and early 2000s and it was called electronica. This genre was no more a genre than indie or even pop; it simply referred to a compartmentalized and, for the most part, easy listening music that was not good to dance to. As a result, a wide range of musical styles came to be classified under this non-genre just because there was no other suitable classification at the time. And now multi-instrumentalist and composer Oliver Doerell (Dictaphone, Swod, Raz Ohara and the Odd Orchestra) presents Z, an album that sounds like a late electronica manifesto, released under Doerell's alias Cummi Flu. As Cummi Flu, Doerell focuses on sound design. There is not a sound on Z that has been included by chance. The squeak of a computer, the hint of a door shutting, the drawn-out hum of a cello, the sound of Doerell's favorite percussion instrument, the rubber band -- everything here is of equal importance, positioned side by side. Doerell draws from field recordings of all kinds, including children's voices and street sounds, kalimba patterns, and elusive fragments of melodies. Every one of Z's pieces develops in measured, coherent steps into a dense and, at the same time, clearly delineated sound puzzle, though the pieces don't fit perfectly together. This blurring or ambiguity is what makes Doerell's music so special. Sound loops running in opposite directions rustle and squeal. A woman's voice sings a meditative mantra in an unidentifiable language, accompanied by the clang of percussion that is apparently played on an array of kitchen utensils. And in the end, a groove emerges from the tightly woven layers of sound, suggestive of Afrobeat. It bounces and springs to all conceivable heights and depths. Sometimes dreamy and faded, at other times concrete and driving, forming a special kind of loop-based music: intimate, meditative, and timeless. Additional vocals by Lady Ived. Mastered by Nils Frahm. Cover art by Fehmi Baumbach.


BB 173LP

CLUSTER: USA Live LP (BB 173LP) 25.00
LP version on 180 gram vinyl. Bureau B presents Cluster's USA Live, a 1996 recording of Cluster's first tour of the USA. This release consists of tracks from Purple Pyramid's 1997 CD First Encounter Tour 1996, reworked and reselected in collaboration with the musicians and presented on vinyl (for the first time) and on CD. Includes new artwork. "The US recordings are loud and impassioned. Some tracks are really loud, the mood is frankly disquieting. Tonal differences aside, this takes us back to Cluster's musical frame of mind in the early 1970s. Given the vast expressive repertoire on which Moebius and Roedelius could draw from almost twenty years of relentless experimentation, perhaps this ought not to surprise us. Furthermore, as artists of the moment, they are able to respond flexibly and immediately to the ambience, the situation, their own condition. Something in the USA was fundamentally different to Japan. On the evidence of the US live recordings we can surmise that the USA tour was anything but introspective. As if Cluster were intent on proving that they were neither purveyors of cozy ambient electronica nor producers of new age muzak. The way they played America was completely unpredictable, sometimes even chaotic. Expansive passages switch abruptly with rhythmic stretches, raw noise erupts in quiet places -- Moebius and Roedelius pull out all the stops. It all amounts to quite an ordeal for the audience, possibly even disappointing one or two listeners in the process. But Cluster's music was always multifaceted, so surprises were never far away. The USA live album does not escort the listener to bright, mellifluous swaths, but to rugged, karstic regions, no less a part of Cluster's world. It is an uncomfortable album with rough edges. Still, it is a good thing that Moebius and Roedelius used these forceful improvisations to conclude their journey together for the foreseeable future. Cluster bid farewell to their listeners twice in 1996: softly and almost lost in reverie on Japan Live (BB 174CD/LP), then not long afterwards they went out with a bang on First Encounter Tour/USA Live. Once again the two musicians had shared the full spectrum of their artistic visions. Alas, a double goodbye does not make the split any easier. Fast-forwarding into the next millennium, however, we are happy to hear the cry: Cluster ahoy!" --Asmus Tietchens.



WILLIKENS, LENA: Phantom Delia 12" (COMEME 028EP) 14.00
Lena Willikens is a secret encyclopedia on everything Düsseldorf (see her involvement in Salon des Amateurs), everything Brussels, and everything new wave; a white Reeboked Taeuber-Arp version of an oddball techno DJ who delicately refuses the obvious pattern of dance communication. "Phantom Delia" (produced with Matias Aguayo), which could be regarded as a tribute to her patroness of choice, Delia Derbyshire, delivers the feverish schizojoy of deviant data music from this moonlit, monstrous, red-eyed, and grinning deity. The sublime pairing of technorotique lunatic lingo ("Howlin Lupus") precedes the question raised on "Nilpferd": can a totally confused hippo recollect its senses?



CARRENO IS LB: Disharmony EP 12" (CORR 033EP) 12.50
Carreno Is LB's Disharmony EP opens with the eerie prelude of "Step 0" before moving into "Step 1" and "Step 2," which elevate tempos with jacking rhythms and metallic, planar shifts before the industrial, atonal sound design and broken, percussive techno of "Step 3" dismantle themselves. "Step 4" turns into the housiest track on offer, with a cheeky Italo-influenced bassline and taut, drum-machine rhythms offset by sliding, pitch-bent organ chords. While the original version of "Step 5" stands as more sketch, cutting out at a crucial moment, Andre Bratten's "Half Life 2 Gravity Tool" remix yields an emphatic, dancefloor-ready adaptation.



Holy Grail territory here from Andy Votel and Demdike Stare's mighty Dead-Cert imprint, who finally bring you this incredible album of previously unreleased industrial-themed recordings made in 1976 by experimental pioneer and Ennio Morricone cohort Alessandro Alessandroni. The concept itself is riveting enough -- the guy who provided that infamous guitar riff for The Good, The Bad and The Ugly (1966) delivering utterly bent and synth-heavy recordings previously unheard by the wider world -- but the material and execution is just nothing short of a revelation, unlocking an uncannily prescient suite of rhythmik pieces that sound completely dissimilar to much library music of the same era. Industrial perfectly encapsulates the heightened state of creativity in the mid '70s surrounding Alessandroni and his close peers Giuliano Sorgini -- together known as Braen Raskovich -- and Morricone, for whom Alessandro also famously whistled the theme to A Fistful of Dollars (1964). Recorded at Piero Umiliani's Sound Workshop in Rome, and made with an arsenal of EMS Synthi VCS3 modular systems, tape loops, and a treated Petrof grand piano, plus a bundle of string instruments, the industrial results (coincidentally issued the same year as Throbbing Gristle's debut release) present a pulsating take on this kind of music, breaching tightly-coiled motorik systems and mood percolators with atonal strings and viral oscillations. Most importantly, the sense of minimalist efficiency and the clarity of the recordings are shocking, pushing the envelope of electro-acoustic music and pre-empting the early notions of an entire genre movement. Artwork by Anthony Shallcross. Liner notes by Shallcross, Jr., aka Andy Votel. Limited to 500 copies.



AUGUST, DAVID: Diynamic Revisited 12" (DIYRV 001EP) 14.00
Diynamic has come up with another great idea for a new series of EPs. Under the title Diynamic Revisited, it sees one artist remixing two older tracks from the label's excellent back-catalog. First up is David August, who has elected to revision tracks by Kollektiv Turmstrasse and Stimming. Kollektiv Turmstrasse's "Last Day" was first released back in 2009 and was a tropical bit of metallic tech-house. David August's revision of "Last Day" transforms it into a much deeper, slower-burning and spiritual track with heavenly chords and buried, deep bass lines. "Der Schmelz" is reworked into a moody, spaced-out track with slowly undulating grooves and haunting synths.



ARAD: Haon 12" (EDLX 040EP) 14.00
Arad is the solo guise of Dara Smith. As half of the duo Lakker with Ian McDonell (Eomac), Smith has released on Blueprint, Stroboscopic Artefacts, and R&S Records. That project, along with his day job as a motion graphics designer, kept Smith fully occupied until now. Haon, Smith's debut release as Arad, fuses years of experience into a veritable feast of intriguing composition. Opening with aptly titled roller "Basswave," the EP ranges through the screwed-up sounds of "Fourty Four" to the staccato march of "Gedup Awa Dat" to warped closer "NCS" -- a record for the headphones and the dancefloor.


EF 064EP

TOMA, NICOLAI: Minifloat 12" (EF 064EP) 14.00
Endless Flight's first release of 2015 is the debut EP from Berlin-based artist Nicolai Toma, who was introduced to the label by Matt Karmil. Unique house music with a first-class remix by Karmil. Enjoy!



EDGAR, JIMMY: FabricLive 79 CD (FABRIC 158CD) 16.00
Born and raised in east Detroit, Jimmy Edgar played raves in the city alongside techno's founding fathers during his mid-teens. By age 18, after conducting ambitious recording experiments, he'd signed to Warp Records. Edgar later established the Ultramajic imprint with fellow electronic auteur Aden. Fresh material from the label provides the backbone for FabricLive 79, and selections from Patrice Scott, DJ Godfather & DJ Starski, and Kris Wadsworth thread the music of Detroit through the mix like a seam. Also includes tracks by Edgar (including a collaboration with Truncate and a track featuring DJ Rashad), Terrence Dixon, POL Style, Vin Sol & Matrixxman, L-Vis 1990, Danny Daze, and Crystal Bandito. Packaged in bespoke slipcase containing die-embossed tin.


GET 56030LP

NEW EDITION: Candy Girl LP (GET 56030LP) 20.00
"When Maurice Starr uncovered the talents of a Roxbury vocal group in the early '80s at a talent show at Dorchester's storied Strand Theater he saw the second coming of the Jackson 5. The boys didn't win the completion (they came in second) but they did win a deal with Starr & Streetwise records. Starr came up with the name New Edition (as in a new edition of the Jackson 5) and started recording with the boys the day after the talent show at the Strand. This group of kids (all under 15) had their first single 'Candy Girl' shoot to #1 on the Billboard R&B Charts. This led them to their debut album, also titled Candy Girl, which had a lot of pop/early hip hop influences, yet still has a classic R&B feel. Other hits such as 'Popcorn Love' and 'Ohh Girl' and the slow burner of 'Is This the End' make this album well rounded and no surprise as to why they went on to become one of the biggest R&B groups ever. The success of New Edition led to Bobby Brown's solo career, the success of Bell Biv DeVoe and served as a template for the 'boy bands' that followed. But don't let that last line fool you, this album packs a bite with solid production and hooks for days."


GB 020LP

TOURE, SAMBA: Gandadiko LP (GB 020LP) 23.50
Gatefold LP version on 180 gram vinyl with download code. Samba Touré's previous album Albala (GB 004CD/LP) was recorded during the fear-laden atmosphere of 2012, when northern Mali (including his ancestral village of Diré) had succumbed to sharia law and radical Islamist control and Bamako, his adopted home, still reeled in the chaos of the recent military coup. Albala received widespread acclaim and was rightfully recognized not only as the best album of Samba's career but also as an undeniable musical statement about the human toll of war and political crisis. Samba had spent years honing his artistry (including stints playing with Malian blues master Ali Farka Touré and Kora genius Toumani Diabate) and Albala signposted a mature artist, full of sonic imagination and narrative fire. Gandadiko, the title of Samba's potent, diverse and ambitious new album, translates from his native language Songhai as: "Land of Drought" or "Burning Land." The title seems to indicate a return to the dark textures that marked Albala but in fact Gandadiko is a more complex story than that. Touré is known to search for the seeds of his musical ideas in the assorted stack of CDs he listens to while driving through the chaotic streets of Bamako. The out-of-the-box musical inspirations he has picked up for his new album range from Serge Gainsbourg to Bo Diddley via Tom Petty to funky psychedelia, though of course, all the raw material is instinctually filtered through the traditional melodies and rhythms of his Songhai musical heritage. The songs on Gandadiko are in fact framed by a restless eclecticism. Samba's guitar-playing has never been so anxious, exploratory and rock and roll and his voice has never been as smooth and relaxed.



LEIGH, HEATHER: Nightingale LP (ROWF 048LP) 25.50
After an intense one-on-one dialogue with Heather Leigh regarding Golden Lab Records' mission to present beautiful records that showcase styles of guitar in all their extremities, Golden Lab is delighted to deliver what is, without question, an absolutely blinding example of just such a record. Leigh recorded Nightingale direct to cassette, delivering one of those performances in which the pedal steel rages so hard that the vocals never have the opportunity to even make an appearance. Recorded in glorious mono and mastered to really bring out the harshness of those insane tones, Nightingale captures an almost tape-like quality in the pedal steel itself, and its transfer to vinyl only warms it up further into a new zone of somehow cozy metallicism. This is an absolute joy -- a real tear-yr-face-off record that sort of acts as a companion piece to Leigh's 2014 performances with Stefan Jaworzyn as Annihilating Light. 140-gram vinyl presented in a black and silver matte sleeve and limited to 250 copies.



Phil Julian is a UK-based sound artist, composer, and improviser active since the late 1990s, with a prolific output under both his Cheapmachines alias and his own name. His work encompasses sonic textures ranging from harsh squalls of noise to hyper-minimalistic timbres and drones. Studio recordings and live performances within Europe and North America have focused on the use of electronics, particularly unstable and/or chaotic systems, e.g. modular synthesizers, feedback, contact microphones, objects and surfaces, and computer-based works. Julian recorded TRACE at Elektronmusikstudion in Stockholm during his Guest Composer residency in 2013. Using a combination of EMS's vintage analog equipment and various computer processes, Julian recorded and mixed the material on TRACE specifically for diffusion over the Audiorama 17.4 surround sound system, custom built and installed inside the decommissioned torpedo workshop on Stockholm's island of Skeppsholmen. "Open Form," which takes up the A side of the release, is made up of much shorter pieces recorded over the two week residency. "Corona" is an improvised piece using only analog electronics and "Arrival" uses a custom computer patch alongside a complex set of processes running on the huge EMS Buchla synthesizer. The recordings combine the dynamics and space associated with modern composition and electroacoustic works with the density and abrasive qualities more often encountered in noise and contemporary computer music. Sleeve photography by Eddie Nuttall. Mastered by Joe Panzner.



SECOND STOREY: One Sound/Layer Lock 12" (HTH 033EP) 14.00
Formerly known as Al'Tourettes and one half of R&S's ALSO (alongside Appleblim), Alec Storey unveiled his Second Storey project in 2013. "One Sound" is the second single from his 2014 debut LP Double Divide (HTH 031CD/LP), and intertwines Second Storey's electro and bass music influences over six restless, bouncy minutes. Exclusive track "Layer Lock" is equally frenetic, but echoes IDM in its micro-melodies and unconventional structure. Luke Vibert provides a sampladelic version of "One Sound," adding splashes of color in the finest cut 'n' paste style. Cristian Vogel transforms "Layer Lock" into a delightful and confounding shape-shifting head-nodder.



RED AXES: Shem Vol. 1 12" (CLICHE 059EP) 14.50
After their critically acclaimed 2014 LP Ballad of the Ice (CLICHE 056CD/LP), Red Axes present Shem Vol. 1, the first entry in the Israeli duo's Shem series on I'm a Cliché. Blissed-out psychedelic track "Na Da" almost sounds like The Jesus & Mary Chain making techno in 2015. Afro-jazz-inspired "Balma" has an unmistakable house feeling that's enhanced by Portuguese crooner Abraõ. Recorded with Zidan, ecstatic cut "Nu" is a prime example of Red Axes' ability to make club-ready tracks out of organic elements. "Spider Feel" conjures subtle ethnic and cosmic vibes with tape delay, spring reverb, and other vintage effects.



REBOTINI/SCSI 9: Cm (Chloé Remix)/Angel 12" (IMMER 005EP) 14.00
Two sublime cuts from SCSI 9 and Rebotini. Chloé's classy remix of Rebotini's "Cm" constantly moves forward, but stays open for any sonic scintillation. Originally released in 2009 on Citizen Records, it boasts deceptively simple chords sitting on a tightly executed rhythm foundation -- a perfect blend of the Black Strobe co-founder's powerful minimalist electro and Chloé's dark and sensual textures. Russian producer duo SCSI 9's "Angel," originally released in 2001 on Salo, is a particularly atmospheric representative of the first wave of electronic 21st century blues, a strong-willed and emotive piece of music that nevertheless keeps its cool.



SUZUKI & MUGSTAR, DAMO: Start from Zero LP (IMPREC 393LP) 22.00
Limited edition of 500 copies packaged in a heavy duty gatefold sleeve. On a long hot summer night in 2012, a meeting of minds happened in Liverpool, England. Damo Suzuki visited the city to play a show with Mugstar. After a flurry of emails, Damo asked Mugstar not to practice or figure out any music prior to the performance, as he believed it should "start from zero," leaving the whole performance to be entirely improvised on the spot. It proved to be quite a night: the shamanic presence of the legendary Damo Suzuki immersed in the full-on, intense sound of Mugstar -- one of the leading bands currently exploring fresh and uncharted areas -- as they forge forward through the deep space of Kraut/psych. The music that emerged that evening moved through driving, head-spinning double wah-wah attacks, eerie, ethereal passages and onto an extended motorik coda, all powered along by thunderous bass and drums. Damo settled in immediately, a master of his own unique art. Surging along with Mugstar as "sound carriers," absorbed in the energy and atmosphere through to the show's exhausting end, it's a great pairing.


JL 027CD

SCIENTIST: ...The Dub Album They Didn't Want You to Hear! CD (JL 027CD) 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 570051CD

MAGMA: Slag Tanz CD (JV 570051CD) 14.00
"Jazz Village's exciting new Magma series primarily focuses on classic recordings, reissued in celebration of the band's 45th anniversary. However, Slag Tanz -- a masterpiece of symphonic metal -- has previously only been heard in live performance. Not surprisingly, the album radiates with all of Magma's singular intensity. Powerful, hypnotic and unclassifiable, there has been absolutely nothing to compare to them in the last fifty years."



TEJADA, JOHN: Signs Under Test 2LP+CD (KOM 321LP) 25.50
Double LP on 180 gram vinyl, with CD. L.A.-based synth mastermind John Tejada returns with new album Signs Under Test, comprised of all-new material. This latest effort sees the studio wizard digging deeper into his modules, unearthing particularly dreamy tracks that rank among John's most accomplished work to date. From the get-go, Signs Under Test presents itself as a whole new ball of wax, reaching even further into the depths of John Tejada's hot-wired synth machinery, while cranking up the already stunning levels of musicality on display in his oeuvre. Opener "Two 0 One" serves as a prime example for the sonic aplomb in place, thanks to its beautifully-rendered melodies and finely-tuned textures -- a perfect storm made of cozy melancholy and celestial bliss. This expertly-wrought piece serves as a particularly strong entry point for the album, setting the bar high for its successors. An unabashedly brilliant listen, the album continues its thrilling journey with existential bleepfest "Y 0 Why" and the bass-heavy "Beacht," followed by the intricately arpeggiated "R.U.R." and brooding electronica vignette "Vaalbara." The second part is ringed in by the undulating "Cryptochrome" -- more proof of John Tejada's uncanny ability to craft tracks that operate as distinguished bouncers as well as introspective meditations. The deliberate vivacity of connecting cuts "Rubric" and "Penumbra" only confirms the growing suspicion that this might be a timeless masterpiece we're dealing with. As gorgeous as it sounds, texture isn't the only star here: a surprisingly diverse set of rhythm patterns suffuses the mesmerizing synth licks -- take for example the multilayered "Endorphins" effortlessly switching between straight techno stylings and vintage breakbeat ornaments. Meanwhile, electronic landscape painting "Meadow" purrs away on its road to redemption, priming the listener for closing cut "Heave in Sight," an atmospherically-rich composition that marries abstract storytelling with a flurry of reversed synth sounds. This album makes for a quite personal listening experience, taking the listener up close with its details and idiosyncracies, "maybe even more than before, as I've tried to cut out distractions and really focus on the production." The result is a record that is not meant to be trendy, even though it's a product of analog hardware connoisseurship: "Everything is built from the ground up using hardware synths -- mostly analog, but that's a bit annoying to say nowadays. It's not a record that fits in with any current stuff, but something that hopefully holds up as it ages. Something that hopefully reveals more on repeated listens." This mission has been more than accomplished with Signs Under Test.


HUNTER/GAME: Speicher 83 12" (KOM EX083EP) 12.50
Hunter/Game presents two hand-cranked live jams rich in atmospheric detail and flattening punch. Due to the somewhat non-negotiable nature of a live hardware jam, you'd be forgiven for expecting a certain sloppiness in the details. Let us introduce you, then, to Hunter/Game, the duo of Italian producers based in Milan and New York who seem to effortlessly combine the intimate intricacy of a studio layout with the powerful punch of a stage combo. "Hexagon" and "Bermuda" sneak into anthem territory, patiently adding layer after layer of sonic imagination to a strong assortment of core beats.



DISAPPEARS: Irreal LP (KRANK 192LP) 14.00
LP version. "Irreal, the fifth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence -- hazed dub landscapes give way to the group's most experimental and open music yet. If their last album Era confirmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity -- it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace, and control. Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void."



KESSLER, BRYAN: Say Hey 12" (LOW 003EP) 12.50
Low Hanging Fruit ups the ante set by Bryan Kessler's 2014 full-length Cologne Is for Brainfuckers with this album sampler. Lead singer and guitarist for neo-punk nutters The Pollywogs and equally public as a prolific DJ and dance music producer, Kessler has released on Get Physical (with a remix by DJ Hell), Cómeme, and LIKE. From the impressive bounce of the title cut to the schizophrenic "True Love After Almost Rape," the hard-hitting "Factum," and the gothlicking "Lyden," this release easily cuts through the cesspool of generic tech house and rearranges the remains for the sickest techno taxidermy imaginable.



CONTENTS ARE, THE: Through You LP + 2x7" (PICCHU 005LP) 30.00
"The Contents Are's debut album was originally issued in 1967 in an edition of just 100 copies. Hailing from Quad City, Iowa, these four young men recorded one incredible song after another, their ambitions well beyond that of the typical group at the time. This record, more rumored than heard, lives at a wild nexus in American culture, simultaneously expansive and reflective, searching for answers in society through music and art. The great German label Shadoks first reissued this legendary set almost ten years ago, and we're very happy to bring you a new deluxe edition of Through You, this time with the very special addition of the band's two non-album 45s, originally released on the ROK label (these two singles are seeing their first ever reissue on vinyl; previously only available as CD bonus tracks, and well worth rediscovery). Let this record turn you on to new horizons."



DUST: C U in Hell 12" (MNQ 666EP) 12.50
Classic electro-dark "See You in Hell" from Suicide Commando covered by the NYC-based combat techno collective Dust. Edition of 150 copies on 160-gram single-sided black vinyl.



O'DWYER, AINE: Music for Church Cleaners Vol. I and II 2LP (MIE 029LP) 27.50
"Over the course of several months, Áine O'Dwyer was given access to the pipe organ in St Mark's Church, Islington, while the cleaners were at work. Primarily a harpist, this was a rare opportunity to grapple with the 'king of instruments' and apply her sense of melodic, structured improvisation in a new context. Since it's impossible to exert complete control over such a recording environment, she entered into the sessions with a Cagean mindset, embracing extra-musical sounds. This gave the recordings a unique character and concept. With the door left open to serendipity, it can seem that the sonic environment coalesces in sympathetic harmony. Here, the synth-like whoosh of the vacuum cleaner, a child's laughter, various echoed clatters and chatter become part of the music. Improvised music is inevitably influenced by the presence and expectations of an audience... Áine capitulates to the 'request from the ladies' by not staying 'on one note for a long time,' but already did 'bring music' -- that is, the graphic score reproduced in the gatefold. At the end, we can hear that even the recording device itself is subjected to the relentless advance of church cleaning. The album is multifaceted and conceptually satisfying in many ways. It's simultaneously a series of solo improvisations, a site-specific piece of performance art, rich in chance elements, and even qualifies as a field recording, where the transcendent and menial meet. Despite the absence of cheers and applause, it's also a live album. In this new extended incarnation, it becomes almost a kind of minimalist opera, with a subtle plot of polite contention softening amid curiosity about the trumpet that takes us out of this most concrete of recordings with a single psychedelicized blast. Metaphysical themes are hard to avoid using an imposing instrument traditionally intended to inspire them. The titles hint at Áine's meditative concerns while playing. Here is an Irish lapsed Catholic mind (as Cranley told Dedalus) 'supersaturated' with the religion it rejects: the double meaning implicit in 'church cleaning,' the forbidden 'deep sounds,' the pensive, often brooding hue of the music itself, heavy in every sense. Throughout I hear the dark depths of thoughtfulness, warmth, and mischievous wit that is quintessentially Áine. Originally released as a cassette on Fort Evil Fruit [in 2012], this expanded vinyl edition features new artwork and doubles the album's length, making for a truly immersive experience" --Paul Condon. Includes download code; housed in a gatefold sleeve.



GAISER: False Light 3LP (MINUSMIN 032LP) 34.00
A key member of the Minus family for almost a decade, Jon Gaiser presents False Light, his third artist album on Richie Hawtin's label. The ten-track affair is a cohesive tale of contemporary techno. Says Gaiser of his working methods: "I've always been a big fan of analog gear, both old and new. I'm also a big fan of new digital technologies that create sounds that have never been heard before. I prefer to have the best of both analog and digital worlds working together, to make the most creatively flexible production environment as possible." Gaiser is revered as a live performer for creating immersive on-the-fly soundscapes using Ableton MIDI controllers and Maschine, and regularly performs at some of the world's best festivals and club nights, including Hawtin's own ENTER. nights at Spanish club Space Ibiza. False Light was written with a specific approach in mind, as Gaiser explains: "My main idea while working on this album was to go into the studio and have as much fun as possible. I wanted to create something where each track complemented each other, where all of the tracks relate to each other in a way so that the whole album tells a story. But ultimately, I wanted it to be a fun story." And it is: everything here comes with a playful percussive line, a wiggling synth lead, and the sort of bassline that cannot be ignored. The opener, "Strangers," immediately establishes a squelchy groove with ghoulish voices bringing lots of dark energy to the thumping drums. From there, Gaiser keeps up a high tempo with "Oozewave" and its spritely, squealing synths, "Say What" and its rubbery drums and percolating bassline, and the superbly synthetic and rolling "Droplets," a classic Gaiser track. The second half of the album unfolds through kinetic, funkled affairs like "Reflekts," with its pained and lingering synths, and the tightly coiled and apocalyptic "Driftwork," and then shuts down with the lush, ambient textures and liquid synths of "Way Out." Tied together by a keen sense of rhythm and a playful sense of off-kilter melodic charm, False Light is Gaiser's most complete artistic statement yet.


MIR 100352LP

KOZLOV & ARSENAL, ALEXEY: Reconciliation LP (MIR 100352LP) 39.50
2011 release. Russian jazz-rock band Arsenal, led by Alexey Kozlov and formed in 1973, are a bright example of a postmodern approach to repertoire with their mixture of seemingly incompatible genres. Over the years, Kozlov's music has moved through bop, cool jazz, and avant-garde, and he continues to display his eclecticism with Reconciliation.

MIR 100361LP

PELAGEYA: Pelageya LP (MIR 100361LP) 34.00
2012 reissue. Russian folk-rock singer Pelageya Sergeyevna Khanova's 2003 debut self-titled album. Pelageya sings folk songs from different nations in different languages, and romances and compositions written by the members of her group. At age nine she was awarded the title "Best folk-singer of Russia in 1996," and in 2009 she was named "Best female soloist of the year" by Nashe Radio.

MIR 100371LP

CHERNAVSKY, YURY: Automatichesky Komplect (Automatic Kit) LP (MIR 100371LP) 34.00
2013 reissue. Automatichesky Komplect (Automatic Kit), originally released in 1984, is an early work by Russian producer, composer, and songwriter Yury Chernavsky. Chernavksy was named a Meritorious Artist of the Russian Federation, and has worked with many Russian stars and composed hundreds of popular songs. His musical interests, particularly at the time of Automatichesky Komplect's release, were oriented toward R&B and electro-fusion.

MIR 100385LP

AUKTYON: Ptiza (Bird) LP (MIR 100385LP) 39.50
2013 reissue. Legendary Russian band Auktyon's 1993 album Ptiza (Bird). Founded by Leonid Fyodorov and Oleg Garkusha, the band originally played post-punk and new wave, but later came to be influenced by European and Central Asian folk music, avant-garde jazz, the poetry of Russian futurist Velimir Khlebnikov, and aspects of Russian high culture and literature.

MIR 100387LP

ZOOPARK: Illuzii (Illusions) LP (MIR 100387LP) 39.50
2013 reissue. Originally released in 2000, Illuzii (Illusions) collects highlights from the career of legendary Russian Soviet-era rock group Zoopark, founded in 1980 by Mikhail Naumenko. Naumenko was a rock outcast, concentrating his work on electrified hardcore blues, although his Russian-language poetic songwriting made him a favorite in the hippie underground. His inspirations included T. Rex, B.B. King, and Chuck Berry.

MIR 100388LP

CASSIOPEA: Zemlya-Luna-Transit (Earth-Moon-Transit) LP (MIR 100388LP) 34.00
2013 release. Alternative synth-pop band Cassiopea compose eccentric, naïve, simple, and very affectionate songs; they also perform in Venetian masks and costumes resembling intergalactic hares. Ilja Cherepko, Alexandr Liberzon, and Sergej Sokolov compose music based on children's films, logical problems, amateur collections of poems, and Peter Jackson's 1992 film Braindead. Insane creativity from healthy individuals; blatantly paranormal. Zemlya-Luna-Transit (Earth-Moon-Transit) includes a remix by Logika Metro.

MIR 100392LP

LAERTSKY, ALEKSANDR: Detstva Chistie Glazenki 2LP (MIR 100392LP) 55.00
2013 reissue. The works of Aleksandr Laertsky are almost impossible to hear on the radio -- he is the unsurpassed master of profanity. His work in the late '80s spurred on a movement of satirical and cynical rock and punk music in Russia. Originally released as a cassette in 1992 by Laertsky Rec., Detstva Chistie Glazenki is one Laertsky's key works. This reissue, the first ever on vinyl, is pressed on 140-gram vinyl and presented in a gatefold sleeve with original artwork by Laertsky.

MIR 100399B-LP

KOLIBRI: Manera Povedenia (Manner of Behavior) LP (MIR 100399B-LP) 39.50
2013 reissue. Mirumir presents a reissue of Kolibri's 1990 debut album Manera Povedenia (Manner of Behavior). Formed in 1988, Kolibri play an eclectic brand of baroque pop blended with elements of post-punk, cabaret, and chanson, and dominated by vocal harmony.

MIR 100400LP

ZVUKI MU: Skazki Bratiev Grimm LP (MIR 100400LP) 39.50
2013 reissue. Mirumir presents a reissue of beloved Moscow post-punk band Zvuki Mu's 2005 final album, Skazki Bratiev Grimm. Lead singer and songwriter Pyotr Mamonov is one of the most revered and eccentric figures of the Russian art scene, whose absurdist lyrics are as playful and disturbing as his vocal style and explosive on-stage presence. The band's sound combined starkly simple yet textured melodies with synthesizer sounds; their debut self-titled album was the first Russian work to be produced by Brian Eno (MIR 100432LP).

MIR 100401LP

HZ: Vskrytie Pokazhet (Dissection Will Explain) LP (MIR 100401LP) 34.00
2013 reissue. Mirumir presents a reissue of Russian underground band HZ's 2012 album Vskrytie Pokazhet (Dissection Will Explain). Founded in 1989, HZ play songs mostly consisting of one couplet each with durations of 30-50 seconds. They incorporate blues, jazz, punk, pop, chanson, and country into their music, though they began as a punk band. The band's name is an abbreviation for a Russian phrase that translates roughly to "dick fuck."

MIR 100404LP

AVIA: Zhizn I Tvorchestvo Kompozitora Zudova 2LP (MIR 100404LP) 55.00
2013 reissue. Mirumir presents a reissue of Leningrad conceptual art rock band AVIA's 2009 compilation Zhizn I Tvorchestvo Kompozitora Zudova. The band formed in 1986 and rose to prominence with their parodic anti-establishment performances. Their name was a protest in itself, with "A" standing for "anti" and "VIA" a well-known acronym for "vocal-instrumental ensembles" (a genre also known as "estrada"), previously the only form of state-sanctioned popular music. Zhizn I Tvorchestvo Kompozitora Zudova includes AVIA's 1986 debut cassette, Iz Zhizni Komozitora Zudova, live recordings from 1987, and other rarities.

MIR 100405LP

PUGACHOVA, ALLA: Ispolnyaet Chernavskogo (Alla Pugachova Sings Songs of Yuri Chernavsky) LP (MIR 100405LP) 34.00
2013 release. Mirumir presents a compilation of Yuri Chernavsky compositions sung by iconic Russian performer Alla Pugachova. Chernavksy, a Meritorious Artist of the Russian Federation, has worked with many Russian stars and composed hundreds of popular songs. Pugachova began her career in 1965 and, in 1991, became the last person to be named a People's Artist of the USSR.

MIR 100409LP

MEL NITSA: Doroga Sna (Road of Sleep) LP (MIR 100409LP) 34.00
2013 reissue. Originally released in 2003, Doroga Sna (Road of Sleep) is Russian folk-rock band Mel Nitsa's second album. The band fuses Russian, Irish, and other North European folk influences with guitar pop rock. Natalia "Hellawes" O'Shea, the lead singer and primary songwriter, is an academic and a specialist in medieval European languages and cultures; her expertise lends the typically complex fantasy-laden lyrics a degree of authenticity.

MIR 100410LP

KOZLOV & ARSENAL, ALEXEY: 13. Selected Works 2LP (MIR 100410LP) 43.00
2013 release. Mirumir presents a compilation highlighting the work of eclectic Russian jazz-rock band Arsenal, led by Alexey Kozlov. Includes a wide range of tracks recorded between 1982 and 2011. Kozlov and his group, formed in 1973, are a bright example of a postmodern approach to repertoire with their mixture of seemingly incompatible genres.

MIR 100412LP

SHNUROV, SERGEY: Lyutik (The Buttercup) LP (MIR 100412LP) 34.00
2013 release. Mirumir presents Russian musician and songwriter Sergey Shnurov's second album, Lyutik (The Buttercup). Shnurov founded the ska-punk band Leningrad in 1997, and led the band until it disbanded in 2008.

MIR 100422LP

LIVER, ALEXANDR: Kanikuly V Opere (A Holiday At the Opera) LP (MIR 100422LP) 34.00
2013 release. Mirumir presents Kanikuly V Opere (A Holiday At the Opera) by Alexandr Liver, keyboardist and singer for acclaimed Russian experimental rock group NOM. Liver is a central contributor to NOM's absurd and surreal character.

MIR 100602LP

ARIA: Mania Velichiya (Megalomania) LP (MIR 100602LP) 39.50
2013 reissue. Mirumir presents the first vinyl reissue of legendary Russian metal band Aria's 1985 debut album, Mania Velichiya (Megalomania). Heavily influenced by Iron Maiden, Aria's heavy sound was largely unprecedented in the USSR at the time, and the band would go on to become one of the most popular Russian metal bands.

MIR 100604LP

ARIA: Igra s Ognyom (Game With a Fire) LP (MIR 100604LP) 39.50
2013 reissue. Mirumir presents the first vinyl reissue of legendary Russian metal band Aria's 1989 fourth album, Igra s Ognyom (Game With a Fire). Heavily influenced by Iron Maiden, Aria's heavy sound was largely unprecedented in the USSR at the time, and the band would go on to become one of the most popular Russian metal bands.

MIR 100605LP

ARIA: Krov za Krov (Blood for Blood) LP (MIR 100605LP) 39.50
2013 reissue. Mirumir presents the first vinyl reissue of legendary Russian metal band Aria's 1991 fifth album, Krov za Krov (Blood for Blood). Heavily influenced by Iron Maiden, Aria's heavy sound was largely unprecedented in the USSR at the time, and the band became one of the most popular Russian metal bands throughout the 1980s and '90s. Krov za Krov includes songs inspired by the mythical disappearance of a battalion of the Royal Norfolk Regiment in 1915 during the Gallipoli Campaign, the Book of Revelation, and Mikhail Bulgakov's 1940 novel The Master and Margarita.

MIR 100613LP

KRUIZ: Culture Shock ALS LP (MIR 100613LP) 34.00
2013 reissue. Mirumir presents the first vinyl reissue of Russian band Kruiz's Culture Shock ALS, recorded in 1989 during their speed metal era but unreleased until 2008. The album was originally scheduled for release just after Kruiz's European tour on which they opened for Metallica and Slayer, but was shelved due to contractual issues.

MIR 100614LP

KIPELOV: Reki Vremyon (Rivers of Time) LP (MIR 100614LP) 39.50
2013 reissue. Mirumir presents the first vinyl reissue of the 2005 second album by Kipelov, the Russian metal band formed by former Aria vocalist Valery Kipelov. His powerful vocals and serious, topical lyrics form the main components of the work, in a departure from the later Aria albums.

MIR 100615LP

KIPELOV: Otrazhenie (Reflection) LP (MIR 100615LP) 39.50
2013 release. Mirumir presents Otrazhenie (Reflection) by Kipelov, the Russian metal band formed by former Aria vocalist Valery Kipelov. Includes songs inspired by the relationship between Wolfgang Amadeus Mozart and Antonio Salieri, and by Georges Bizet's 1863 opera Les pêcheurs de perles. Recorded with the Globalis Symphony Orchestra.



STOTT, ANDY: Faith in Strangers 2LP (LOVE 098LP) 23.50
2015 limited vinyl repress. Double LP version.


MR 7262EP

CRIME: Crime 7x7"+CD BOX (MR 7262EP) 75.00
Despite having independently released the first punk rock single on the US west coast, Crime's legend has never spread beyond a comparatively small but extremely adamant cult. The fact that they only released three singles during their existence is certainly a factor in the lack of recognition afforded them. Probably more significant is the fact that Crime's music and image set them apart from what soon became discernable as the typical punk rock scene. The amphetamine blues lead guitar bursts that responded to the vocal lines in nearly every song, as well as the frequently dispassionate vocals, set them apart from the bandwagon-jumping art-schoolers (who were all too often devoid of rock and roll attitude), as did their carefully cultivated look and their anti-social attitude. Crime compiles the complete recorded legacy of the band fans have come to refer to as San Francisco's first and only rock and roll band. It includes three facsimile reproductions of Crime's original singles and four more 7"s featuring ten tracks recorded from 1977 through '79 and unreleased at the time, among them a "Be Bop a Lula/Peggy Sue" medley unavailable elsewhere until now. The records are accompanied by a 20-page booklet with an extensive band interview by Michael Lucas, photos and memorabilia, plus a special text written by film director and Crime fan Jeff Feuerzeig (The Devil and Daniel Johnston). Includes a CD with all 16 tracks.

MR 7263EP

PSYKIK VOLTS: Totally Useless/Horror Stories #5 7" (MR 7263EP) 8.50
One of the lost DIY classics from '79 gets a deserved facsimile reissue. Formed in 1978, Psykik Volts were a group of 18-year-olds from West Yorkshire, UK, influenced by The Clash, Sex Pistols, etc. The band broke up soon after this self-financed Peel favorite came out on Ellie Jay Records, but in their brief time they produced a rough and off-the-wall new wave gem.

MR 7266EP

EXPLOSIVES, THE: The Explosives 7" (MR 7266EP) 8.50
Austin's The Explosives (who would go on to be Roky Erickson's backing band) lived up to their name in the late '70s and early '80s, packing more power than their so-called punk rock peers. That's because they were not actually punk rockers themselves. Like Elvis Costello (saddled with the same inappropriate tag at the time), they played something that had been out of fashion for a while: music of rhythm with a jangly melody; something called "rock and roll." This is a facsimile reissue of their blasting 1979 debut.



YOST, PHIL: Touchwood's Dream LP (YOST 001LP) 18.00
"Known for occupying the fringe of the Takoma roster alongside Craig Leon and Charlie Nothing, multi instrumentalist Phil Yost recorded two classic albums, Bent City & Fog-Hat Ramble, for the label before releasing his third, Touchwood's Dream, on his own. Using Soprano Sax, Flute, Bass, Guitar and Percussion, Yost creates a unique form of Psychedelic Folk-Jazz that reflects the natural beauty of the San Francisco Bay Area he called home. Euro Import with Paste-on covers."



WRONG ASSESSMENT & MAX_M: Toe Tag EP 12" (PAR 002EP) 14.00
A collaboration between two artists who have blended their respective musical styles to forge a three-track extended player. M_Rec boss Max_M, a well-known and experienced purveyor of the genre, delivers his undeniable touch and joins Wrong Assessment, a young Milanese artist who combines gritty synth lines with rumbling drum patterns. This three-tracker dictates a path from the spacey synths of "Toe Tag," on which the two artists join forces, to the truly captive nature of Max_M's "Nose Out," all the way to Wrong Assessment's "Scaphoid," which sums up the three tracks with a dashing, percussive synthesized rhythm.


PERL 103-2EP

MELCHIOR PRODUCTIONS LTD: Meditations 4-6 12" (PERL 103-2EP) 14.00
The second part of Thomas Melchior's Meditations series.



HEIB: Formel 1 12" (RANDFORM 004EP) 14.00
Ultra-reduced minimal techno by Heib, the second installment in his Formel 1 series.



GHOSTFACE KILLAH: 36 Seasons LP (SALV 501LP) 25.00
"On 36 Seasons Ghostface once again delivers exactly what the hardcore Wu-fans crave: desperate tales from the dark side over soulful boom-bap tracks. The soundscape is provided The Revelations [Brooklyn's acclaimed soul band/production team]. Their hard-hitting tracks match the intensity of Ghost's violent narrative. His co-stars on 36 Seasons are legendary lyricists and storytellers in their own right, 3 of the greatest of all-time: AZ, Kool G Rap and Pharoahe Monch. The album also features vocal contributions from Blue Note Records' rising star Kandace Springs and gritty soul singers Rell and Tre Williams."



KLANGWART: Transit LP (STAUB 133LP) 18.00
LP version. For 18 years now, the electronic duo Klangwart have self-confidently occupied their very own niche between avant-garde and pop. Markus Detmer and Timo Reuber, the two "elder statesmen" of neo-Krautrock, have since become regarded as the most authentic heirs to the psychedelic sound gurus of the '70s. Titled Transit, their new album after Sommer (STAUB 099CD) is a real masterpiece: nine tracks of otherworldly beauty -- energetic, organic, unpredictable. Thousands of sound-snippets are assembled into a kind of vegetative music. Pulsing beats interact with weightless, floating sounds. Everything is in a constant flow -- sometimes in slow-motion, other times at a tearing pace. Transit stays at any time highly concentrated and dense. The longest track clocks in at only five minutes -- unusual for Klangwart. The production by sound guru Joseph Suchy appears almost three-dimensional, whereupon space is an equal element of composition. That's cosmic music for the 21st century.



2002 release. DJ Dolores (Helder Aragão) made his name in the febrile yet fecund "mangue beat" scene in the northeastern Brazilian city of Recifé in the '90s, composing theatrical and film music as well as DJing. For his aptly titled debut album, Contraditório?, he teamed with Orchestra Santa Massa, integrating his laptop with rustic folk instruments like rabeca fiddles and maracatu drums. The resulting album, which David Byrne called "great" and RootsWorld described as "a field recording made in a space station," went on to win a BBC World Music Award.



LEMZO DIAMONO: Marimbalax CD (STCD 1076CD) 16.50
1997 release. Mbalax is the popular Senegalese music and dance style invented in the late 1970s and early '80s by young men such as Youssou N'Dour, Thione Seck, and Omar Pene. The generation that followed them put its own wild spin on the style and called it marimbalax -- hard mbalax. This errant offspring's leading torch-bearer was Lamine Faye, a guitarist in Omar Pene's band, Super Diamono, who soon formed his own powerhouse, Lemzo Diamono. Keening voices, frenetic tama drums, thundering sabar drums, synthesized xylophones, and, above all, Faye's hard-rocking guitar: that was marimbalax. For this, Lemzo Diamono's international debut, Sterns Africa has selected the best tracks from the band's first three Senegalese albums, first released in 1992 and '93.



VA: V: Five Years of Artefacts - Chapter Four 12" (SA5YEARS 004EP) 14.00
Jonas Kopp, Dadub, Eomac, and Chevel split this fourth EP in Stroboscopic Artefacts' fifth anniversary series. Kopp pumps the drums hard on "Shibu," and its siren-like synths, heavy kicks, and hi-hats make it pure peak-time material. Dadub's "Force Continuum Abuse" begins with sparse and off-kilter percussion before fierce breakbeats cut through the walls of reverb. On "I Am Starting to Believe," Eomac's echoing synths hang free in spacious mid-range, intermittently making way for elusive vocal snippets. Chevel displays his acute focus on percussion and minimalism with "Alicia," working a groove out of tripping drums and metallic percussion.



TAIKO: Perfect Wait EP + Biome Remix 12" (SUBALT 007EP) 12.50
UK talent Taiko delivers four hard-hitting takes of bass music, showcasing the diversity of the 140 realm and the versatility of his production. Truly taking the listener on a trip, "Perfect Wait" opens the EP with force: menacing synth lines, heavy bass, and vast spaces accumulate to an energetic masterpiece, bound to make serious impact wherever it is unleashed. As the name suggests, "Bloomerang" hits unexpectedly in every aspect. Sophisticated rhythms and lush melodies complement each other, creating another mesmerizing blend. Dubstep veteran Biome's remix of "Perfect Wait" melts the original into a merciless roller that leaves the listener breathless.



BODZIN & MARC ROMBOY, STEPHAN: Kerberos/Styx (The Synthapellas) 7" (SYST 702EP) 14.50
After the great success of Kerberos/Styx (SYST 100EP), Stephan Bodzin and Marc Romboy have decided to release a very special edition of their legendary synthapella concept, this time with special versions of "Kerberos" and "Styx." Not only for fans -- a must for record collectors and ambient fans!


WIRE 372

WIRE, THE: #372 February 2015 MAG (WIRE 372) 9.50
"On the cover: Mica Levi (From underground pop star to acclaimed film composer, the artist also known as Micachu is a modern polymath); inside this issue: Invisible Jukebox: John Carpenter (The veteran film maker and composer is spooked by The Wire's mystery record selection); The Primer: Hiphop mixtapes (A user's guide to the major playas in rap's underground economy, from 50 Cent to Lil B); Inside the Red Bull Music Academy (In Tokyo, Derek Walmsley investigates the utopian ideals of the global music brand's banner event); Global Ear: Florence; Ohio punk 1975-80 (The Rust Belt's weirdest, compiled by Edwin Pouncey); Matana Roberts; The Pop Group; D'Angelo and the Vanguard."



ELIA Y ELIZABETH/SINGLE: Alegría/Soy Una Nube 7" (VAMPI 45061EP) 8.50
Elia y Elizabeth were a sister duo who in a brief yet dazzling career during 1972 and 1973 achieved great success in their native Colombia. Following the acclaimed compilation La Onda de Elia y Elizabeth (VAMPI 160CD/LP), Vampisoul presents a double-A-side split 7" featuring "Alegría," one of the highlights from that collection. On the AA, Elefant Records duo Single perform the Elia y Elizabeth song "Soy una nube." Formed by Teresa Iturrioz and Ibon Errazkin, Single are long-time Elia y Elizabeth fans and their exquisite cover is the realization of the kindred spirit shared by these two outstanding duos.



BRENNER, VYTAS: La ofrenda de Vytas LP (MRSSS 531LP) 25.00
Vytas Brenner was born in Germany in 1947, but his family left for Venezuela when he was just a child. His musical career would start after his family moved again, this time to Barcelona, where Brenner formed the Vytas Brenner Quartet with his brother Haakon and local musicians Toti Soler and Jordi Sabatés. With the addition of singer Jeanette Dimech in 1966 they became Brenner's Folk, the origin of the more successful Pic-Nic, which continued without Vytas and Haakon when their family returned to Venezuela. After some years devoted to his music studies and a few collaborations, Vytas started his own band in 1972, with which he would become of the leading musical innovators in Venezuela over the following years. Released in 1973, La ofrenda de Vytas is their first album and presents a truly unique fusion of traditional Venezuelan music, Latin American rhythms, and progressive rock. Traditional instruments (harp, cuatro, maracas, percussion) augment guitars, piano, organ, bass, synths, and drums; the album is constantly inventive, creating a captivating atmosphere through well-crafted compositions and impressive playing. Vinilísssimo presents the first vinyl reissue of this masterpiece of Venezuelan symphonic folk music. 180 gram vinyl in a gatefold sleeve.

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