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Forced Exposure New Releases for 2/2/2015

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New music is due from Aaron Dilloway & Jason Lescalleet, The Notwist, H-Burns, and Demdike Stare, while old music is due from Sun Ra Arkestra, Dennis Young, and Motorpsycho.


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CUMMI FLU: Z CD (ALB 004CD) 15.50
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.


N 041CD

NOTWIST, THE: The Messier Objects CD (N 041CD) 15.50
When The Notwist returned with their acclaimed seventh studio album Close to the Glass in early 2014, many were enchanted by the epic instrumental track "Lineri." It was the only instrumental track featured on that album, but according to Markus Acher, the band's vocalist, instrumental works had an important role in the album. Indeed, while the band's members pursued solo projects between 2008's The Devil, You + Me and 2014's Close to the Glass, The Notwist also composed instrumental works for several theater productions and radio plays, some of which are compiled here as The Messier Objects. The collection obviously brings to mind the ghosts of library music and '70s soundtracks, but can also be heard as a summary of the band's ever-evolving musical cosmos. The 17 featured pieces range from sample-based electronic collages to the buoyant post-rock of "Das Spiel ist aus." Whether the band is experimenting with modular synthesizers, analog percussion, or even horn sections ("Object 11"), there remains a constant flow of gentle grooves that makes this open-minded collection more than just a companion piece to Close to the Glass.



FATES, THE: Furia CD (EGGS 016CD) 17.00
2014 reissue. Originally scheduled for release on Halloween 1985 (but delayed until Feburary '86), this privately pressed post-punk/broken-folk collective concept LP features personnel pulled from the ashes of The Fall's original lineup and Blue Orchids, the Manchester post-punk band that backed Nico during her live performances in the early '80s. Led by Manchester punk icon Una Baines, The Fates released Furia in 1985 and then disappeared into the annals of UK punk purgatory. With all the DIY traits and snarling attitudes of Manchester's smart-assed punk retaliation, the band delivered a record of haunting, mechanical folk and pastoral drones. This virtually unknown LP, with a backstory that unites sleeve artist Linder Sterling (Ludus), Spider King, Martin Hannett, Tony Baines, Martin Bramah, and John Cooper Clarke with the 16th century Pendle witches, is a vital missing piece in Manchester's self-help anti-pop industry. Lost in the ether, lauded by collectors, and likened by Mark E. Smith to the Third Ear Band, this unclassifiable arty-fact renders tags like "pagan punk" utterly inadequate. File under-ground.


BB 173CD

CLUSTER: USA Live CD (BB 173CD) 18.00
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.

BB 174CD

CLUSTER: Japan Live CD (BB 174CD) 18.00
After Curiosum (BB 038CD/LP, 1981), the last Cluster album to be released on Sky, Roedelius and Moebius turned their attention to solo work. It was not until the early 1990s that Cluster returned to the electronic music stage with Apropos Cluster (BB 171CD/LP, 1990) and One Hour (BB 172CD/LP, 1994). The duo also took to the road for live shows in Germany and Europe, followed by tours across the USA and Japan. Some of these concerts were recorded in digital quality and offer compelling evidence of just how dramatically Cluster's music had evolved -- to what degree Moebius and Roedelius had found serenity as they matured. The tracks collected here are gleaned from live performances in Osaka and Tokyo. In technical terms, and all the more so musically, the recordings are on par with meticulously prepared studio productions. The material thus provides an ideal opportunity to compare Cluster music of the past and the present (1996). Cluster had, of course, gone digital. Few analog sources made the cut, with keyboard samplers now their instrument of choice. It stands to reason that what amounted to an extrinsic decision did nothing to alter the style of such sophisticated artistic personalities, instead merely widening the range of creative possibilities available to them. Cluster were indeed unfazed by the multiple sonic sources now in their grasp. They avoided wallowing in endless narcissism, concentrating instead on relatively few elements of sound and form. Particularly in a live context, this led to immensely serene and engaging music. Tracing the arc of suspense in these improvisations, the equanimity and nuance that Roedelius and Moebius bring to their music becomes apparent, inciting a positive sense of excitement in the conscientious listener. This release consists of tracks from Captain Trip Records' 1997 CD Japan 1996 Live reworked into a new version and presented on vinyl for the first time, and on CD. Includes liner notes by Asmus Tietchens and new artwork.

BB 175CD

SCHNEIDER KACIREK: Shadows Documents CD (BB 175CD) 18.00
Kenya meets Krautronics. Stefan Schneider and Sven Kacirek bring African rhythms into dark electronica. Under the auspices of the Goethe Institute and Unesco, Stefan Schneider and Sven Kacirek have spent a fair amount of time in Kenya in recent years. As they travelled the country, they recorded rare, traditional music in different locations, subsequently releasing two albums of unembellished field recordings to document their findings. Shadows Documents takes a different approach: Schneider and Kacirek graft their acoustically-gleaned impressions of Kenya onto pure electronic templates (with analog accents). Field recordings as such cannot be heard. A central role is played by the repetitive, hypnotic element which is so integral to tribal music with its complex rhythms. Both musicians share a fascination with these very rhythms, a recurring theme in their careers to date: clearly audible in Stefan Schneider's work with Kreidler and To Rococo Rot, as well as on his albums with Hans-Joachim Roedelius. In Kacirek's case we can look to his solo albums for evidence, in particular on the much-lauded Kenya Sessions. The duo's modus operandi differs from that of renowned Krautrock pairings such as Dieter Moebius/Mani Neumeier or Michael Rother/Klaus Dinger (= NEU!), where the drum kit plays a dominant role as the driving force. With Schneider and Kacirek, drums mutate into a sort of synthesizer instrument, almost subliminally melting into the sound of other instruments as a virtual observer, adding a certain nuance here and there, rather than performing a more catalytic function. Played with greater restraint, the drums create variations, translating physique into precision. Synthesizers, meanwhile, assume many of the percussive duties. A prominent guest musician joins the duo on one track: Niklas Addo Nettey, a Berlin resident since the early '80s, played with Fela Kuti 70.



Includes full-color poster. "Sadly, in 2014, we lost a dear friend and our sound engineer for almost a decade, Julia Brightly. This release is dedicated to her memory with all proceeds going to Comes in clear sleeve with a poster designed by Jason Evans and Matthew Cooper. Limited Quantities. Non-returnable. We've played a lot of shows and it's senseless to document them all but every once in a while you get the feeling that something special is happening -- and that it might only happen once. That's what it felt like when in 2011 we assembled a group of friends -- Four Tet, James Holden, Ahmed Gallab of Sinkane and the quartet of horn players who recorded on Swim: Kyle Brenders, Colin Fisher, Rob Piilonen, and Steve Ward, and the four members of Caribou's regular touring band -- under the name of the Caribou Vibration Ensemble. And that's why it felt like it would be a good idea to document it. We gathered for a small tour around ATP's Nightmare Before Christmas festival in 2011 and the music collected here comprises recordings from two shows -- one at Scala, London on Dec 7th, 2011 and one at Concertzaal Vooruit in Ghent, Belgium on Dec 8th, 2011. Opener 'Bowls' is reinvented by combining the album version from Swim with elements from James Holden's own remix. The next track, 'Ahmed, Colin, James, Kieran, Kyle, Rob and Steve,' is an improvised collaboration between all the members not in the regular Caribou touring band and features Ahmed's drum kit triggering all the synthesizer sounds coming from James's modular synthesizer. The release closes with an epic version of 'Sun.' Thanks for listening." --Dan Snaith, Caribou



LAIBACH: Neu Konservatiw PIC. DISC (CSR 038PIC-LP) 28.50
The official release of Slovenian industrial band Laibach's legendary Neu Konservatiw, originally released in a semi-official pressing of 1000 copies in 1985, now a highly sought-after collectors piece. This album, recorded live in Hamburg during the 1985 "Die Erste Bombardierung über dem Deutschland Tour," finds Laibach at their most powerful, orchestral, and anthemic! Cold Spring is now proud to release this gem on a stunning picture disc with new artwork based on the traditional German ehrenscheibe style. Full-color picture disc limited to 1000 copies.


COIL/NINE INCH NAILS: Recoiled LP (CSR 193LP) 26.50
Restocked; LP version. Recoiled is a rambunctious alchemy of magikal Coil sensibilities and hi-tech home circa '90s mixing technique, all fused in the cave-like early studios of Danny Hyde/Peter Christopherson. These were the unrestrained PRE-BIG studio-mix-downs of four songs which long-time Coil admirer/collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde/Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. Recoiled includes a fuller, more opulent version of the track "Closer," which eventually made it onto the opening credits of the movie SE7EN. These five lengthy compositions (just under 40 minutes) are pre-Ableton/laptop generation-type priest-song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumored to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Four of the tracks were released on the download-only Uncoiled. A bonus, previously-unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation. Beautifully remastered.


MERZBOW: Nezumimochi PIC. DISC + CD (CSR 200PIC-LP) 34.50
Cold Spring is very proud to present its 200th release: Japanoise king Merzbow's Nezumimochi. The album comes as a stunning vinyl picture disc together with a CD -- neither format is available separately. Both formats contain exclusive and different tracks; the CD isn't simply a copy of the vinyl. Over 90 minutes of crunchy, intense noise, complex structures, and hypnotic samples, all with that special Merzbow touch. Recorded in the summer of 2014. Limited to 500 copies.


DB 170CD

POLLYESTER: City of O. CD (DB 170CD) 17.00
Three years have passed since the release of Pollyester's debut album Earthly Powers (PERMVAC 079CD/LP). The international press celebrated Pollyester as an exciting mixture of Les Rita Mitsouki, cosmic and Kraut rock, and declared them top-notch disco punk newcomers. Several tours in the U.S., Japan and Europe followed as a logical consequence and even Franz Ferdinand's Alex Kapranos and Mr. James Murphy himself quickly became fans of the quartet, which is now reloading with full force on its Disko B/Schamoni Musik premiere. "The City Of Orion," a reproduction of this mystical heavenly body, recreated by man in the Moroccan desert, has been a long-time yearning place for Polly and her three band members and became the major inspiration for the album title. Many of the new songs circulate around the theme of solitude in all its facets, but everyone who is now thinking of a barely accessible concept album is dead wrong, because also in 2014 the band sparkles in a fountain of unbound punk/new wave/disco energy: This is where early Talking Heads hangs around on a DFA bloc party while Tom Tom Club is jamming with Le Tigre in the background. The opener "Cut Diamond" addresses that special second in which you realize a related chemical composition in your counterpart, and the two instrumentals "City of Orion I & II" are desert music à la Pollyester -- the soundtrack for the band's not-yet-realized trip to the origin of their longing. "In My Boots" is Polly's advice for all matters of life: Stay strong in rugged boots -- cowgirls stroll easier. Pollyester also have one eye on the dancefloor as well, to be verified in "Catrina," a song which is dedicated to the protective patroness of the Day of the Dead in Mexico: a marvelous cold fusion of Italo pop, high energy and '80s funk -- surely not the only club hit on this record. City of O. is a brightly glistening album, yet it emanates tranquility and sovereignty at the same time. The best of both worlds in the most beautiful sense of pop.



At a point in time when Johnny Winter had only recently recovered from past addictions and blues giant Muddy Waters faced a decline in his career brought on by illness and the 1975 collapse of Chess Records, it was Steve Paul of Blue Sky who appeared as savior to both musicians. The results of his investment soon paid off and Winter's childhood dream of playing alongside his hero Muddy Waters came to fruition on Waters' 1977 comeback album Hard Again, a return to Waters' original Chicago sound. Its raw, expressive feel harkened back to his Chess Records days, and the outstanding musicianship and intimate exuberance exceeded all expectations, earning Waters a Grammy. The Hard Again tour combined the respected powerhouse of Waters, Winter, and James Cotton with musicians from the Hard Again sessions. Although this particular collaboration was short-lived, it has provided blues fans a rare opportunity to indulge in the work of two hugely important musical figures whose respect for each other is evidently unflinching. Two live albums, Muddy "Mississippi" Waters Live and Breakin' It Up, Breakin' It Down, have allowed a glimpse of the concerts from 1977 and '78, but this Boston performance has never previously seen the light of day. Echoes proudly presents the entire WBCN-FM broadcast of a performance at the Boston Music Hall on February 26, 1977, digitally remastered, with in-depth liner notes and rare photos.



EMIKA: Klavirni CD (EMK 001CD) 15.50
UK-born, raised with Czech roots, and currently working out of Berlin, Emika rose to critical acclaim through album and club releases encompassing bass, dubstep, and techno music, crossing styles and genres in her own very distinct cutting-edge pop sound. She now presents a unique and compelling record of solo piano pieces, offering an almost voyeuristic portrait of her creative process. Klavirni is an album that seeps gently into the soul without demanding unnecessary effort from the listener. It provides a personal, raw, unpolished, and captivating glimpse into the pure essence of artistic endeavor; Emika offers an intimate look into the fundamental process that lies at the core of not just this latest body of work but of the artist as an individual, recalling, "I stayed a few weeks at my parents' home in Milton Keynes in Dec13/Jan14. My favorite piano is there from my childhood, the piano that I did all my grades on. That piano has been the most important instrument in my whole life." A piano diary based on improvisation, the album can be described as "futuristic classical," with piano miniatures recorded precisely as if the listener were sitting behind the piano, and then sampled, stretched, splashed with echoes, and reversed in Emika's homemade Berlin studio. Emika Records continues on its self-chartered journey with a personal, warm, inviting, and moving record from this creatively thriving and enduring talent. CD edition includes email address from which purchasers can request a free copy of the score.


EMIKA: Klavirni LP (EMK 001LP) 25.00
LP version.Includes a physical copy of the score.



RESTRAINT: A Time With No Hands 12" (ENDANGER 002EP) 15.00
"A new Vereker side-project -- techno, rooted in noise and industrial, but spurring all three bloody and yabbering -- with an LP in the pipeline for Berceuse Heroique sister-label Kemal."



It is with great pride and pleasure that Glistening Examples announces the newest collaborative efforts of Aaron Dilloway and Jason Lescalleet. Recorded at Tarker Mills in February 2014 then mixed and mastered at Glistening Labs, this 38-minute LP was carved deeply into 150 grams of virgin vinyl via Direct Metal Mastering at GZ Media in the Czech Republic. These records are sheathed in deluxe poly-lined inner sleeves and presented in 300 gsm uncoated reverse board, beautifully adorned by Australian artist and novelist Matthew Revert. "Aaron Dilloway and Jason Lescalleet worked on through the night until the sun came up, and the results are presented on Popeth, their riveting second full-length LP. Few artists exhibit such routinely impressive understanding of loops not as mere repetitions, but as possibilities for tectonic movement. Their music evolves and devolves simultaneously within the use of these patterns. They also realize the possibilities inherent in a host of experimental techniques. Their methods are not simply demonstrative ends, but tools for the exploration of new vistas. The nest, a recurring theme in their collaborative work, is usually a protective place, a place of comfort. But in the Dilloway/Lescalleet milieu the nest is a place where protection and comfort fray and break open. You didn't come here for protection or comfort, though. The first side, 'Black Mountain,' is a chain of glacial swirls. Icy wheels of sound are punctuated by warbling tape and a ghostly voice. Flip the record and you'll find 'Western Nest' and 'Ewch I Gysgu, Popeth,' two tracks which push the idea of simplistic structure to the limits of its vitally complicated ends. This is the sound of looking at a spiral staircase, or a clothesline, or a power line, or the center line on the highway. It's the result of deeply electric consciousness. There is a gap in the assembly, a terrible and magnificent peace, a true taste of the passage of time, a measure of the hours and their shifting conditions. It's their most perfectly realized report yet. The album is a statement of confidence, an assertion of purpose with the assured possibility of purposelessness." --Matt Krefting, Holyoke, MA 2014


GB 020CD

TOURE, SAMBA: Gandadiko CD (GB 020CD) 17.00
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.



On their second album, the young but experienced duo of Gunnar Halle (trumpet) and Espen Eriksen (piano) use psalms as a point of departure for lovely, challenging and searching improvisations. Their mode of expression ranges from dark and introspective to more rhythmically playful and exalted. The project presents both well-known and less familiar psalms in new and stimulating ways, and at the same time demonstrates the strength and durability that characterizes this material. The duo's debut recording was the critically-acclaimed album Meditations on Christmas in 2010, which featured improvisations based on Christmas hymns and folk songs. Psalm is a continuation of this project, but this time they are using hymns and psalms from the entire church year. "Relating to these hymns and folk songs on purely musical terms, without thinking about how they are usually played, was such an interesting proposition that we wanted to keep going," says pianist Espen Eriksen. He developed a close connection with these psalms when he worked as a substitute organist in his youth. "The challenge of approaching this material and the attraction it holds are in a way two sides of the same coin," according to the two musicians. In many cases the key was to eliminate the original harmonies. "When you're left with only the melody, it's much easier to come up with ideas for both arrangements and improvisations." The duo had already presented a number of church concerts with this material before going into the studio. "In the beginning we were afraid that it might appear offensive and disrespectful to give familiar and beloved festival hymns completely new packaging. But actually we have had only positive feedback from audiences of all ages, and people are delighted to hear the old hymns and folk songs, some of which are quite ancient, in an entirely new way." The album was recorded at the legendary Rainbow Studio in Oslo in the course of two short and intense sessions.



DJ SOTOFETT: Drippin' for a Tripp 2x12" (HJP 074EP) 20.00
Epic, protean brilliance from the Sotofett corner, bumping nylon new age and ill chill out against reggaeton and jungle exotica, spilling batucada-style percussion workouts out of clean-heeled house. Each side introduces a new collaborator or two -- Jaakko Eino Kalevi, Thomas "Paleo's Buddy" Mende, JEKS -- Phillip Lauer from Tuff City Kids is here; Gilb'R from Versatile... The knockout punch comes with Karolin Tampere and Maimouna Haugen: "Nondo" -- "Heaven," "Eternity" -- starts out as an electro-lullaby from Côte d'Ivoire, sotto voce and abuzz, before lifting off as a zinging, anthemic, future-house classic. A real tour de force all round.


MOSSE/SIMONE WHITE, KASSEM: Three Versions 12" (HJP 075EP) 12.50
Kassem Mosse remixes Simone White.


Stunning new music from Istanbul! Wild baglama improvisation and mystical male-unison singing, atop the propulsive mass of a Berlin half-stepper, with turbulent detours into dub, radiophonics, and psychedelia. "Kime Ne" means "so what," "what's it got to do with you." The song adapts verses from the seventeenth-century poet Kul Nesîmî, wistfully invoking the Melami strain of Sufism as a touchstone of humility and tolerance in dark times. "Insanlar" means "humankind"... "The Human Beings." RV's mixes are expert, taut and hard-grooving. "2" is the more agitated and dubwise. Side D is etched with Katharina Immekus's lovely artwork.



HALTLI, FRODE: Vagabonde Blu CD (HUBRO 2546CD) 17.00
Accordionist Frode Haltli has a unique ability to communicate, and seems to have a natural talent for swinging between a wide variety of musical styles. He can give life to "black page" music at contemporary music festivals one evening, and play with a bluegrass band the next -- without stepping outside his musical comfort zone. Vagabonde Blu is his fourth album under his own name, but his first true solo album. Here he presents works by Salvatore Sciarrino, Arne Nordheim and Aldo Clementi with a live audience in a room with such powerful and unusual acoustics, that his playing is influenced by the room itself. In 1926, artist Emanuel Vigeland (1875-1948) built a studio in his garden at Slemdal, Oslo. He intended it to function as a future museum for his sculptures and paintings, but he later bricked up the windows and decided that the building would serve as his own mausoleum. Vigeland's urn rests above the low entrance door to Tomba Emmanuelle. The hall has previously been used for recordings by Diamanda Galas, Huntsville, Susanne Sundfor and Stian Westerhus, among others. "As a performer of primarily acoustic music, I always work together with the acoustics and the room. Here the room is such an active partner that it changes my music and my playing radically. I listen and wait, or I play offensively at the room so that it can be difficult to determine whether a sound is coming from the instrument, the echo, a combination of the two, or simply a member of the audience who accidentally touches his jacket. The acoustic performance is re-mixed live by a room." The two Italian composers Salvatore Sciarrino (b. 1947) and Aldo Clementi (1925-2011) were both born in Sicily. In "Vagabonde Blu" (1998), Sciarrino undertakes a close study of tiny air and noise sounds, of notes and chords, and of glissandi and pianissimo. In the encounter with Vigeland's room, an extra dimension is added to the composition when the small, isolated events in the music are magnified by the acoustics. Simple, two-voiced variations of a modal theme are repeated again and again, while the dynamics and tempo are gradually reduced, like a long lullaby that accompanies a child into sleep. Haltli has been playing "Flashing" (1985) by Arne Nordheim (1931-2010) since he was a teenager. In Tomba Emmanuelle, Nordheim's solo work "Flashing" is transformed into a nearly electronic-sounding piece of music.


MOSTER!: Inner Earth CD (HUBRO 2548CD) 17.00
After a hectic summer, touring the festivals with artists such as Röyksopp/Robyn, Lars Vaular, Datarock and Bushman's Revenge, saxophonist and bandleader Kjetil Møster now releases album number two with Møster!, his favorite project. Inner Earth is an acerbic and inquisitive masterpiece that is in many ways a clear contrast to the band's critically-acclaimed first album. This time he is joined by the legendary Hans Magnus "Snah" Ryan, guitarist/vocalist in Motorpsycho; Nikolai Hængsle Eilertsen, bass player in Elephant9 and Big Bang; and the ubiquitous drummer Kenneth Kapstad, also from Motorpsycho and Grand General. The band was formed in connection with a commission for the Kongsberg Jazz Festival in 2010, and released their first album, Edvard Lygre Møster (HUBRO 2527CD/LP), in March 2013 to unanimously glowing reviews. The album was listed among the top five debut albums as well as among the top 10 albums in New York City Jazz Records in 2013, and also achieved an impressive sixth place among the year's albums in Prog Magazine. The debut album Edvard Lygre Møster was a powerful, ecstasy-inducing live album, and according to Kjetil Møster this was the sound of a band that "found itself" on stage in front of an audience. "It was a lucky break that we could record it properly," he says. With this follow-up the band are moving in another direction. Inner Earth was recorded with Jørgen Træen at Duper Studio in Bergen, a few stories away from Kjetil Møster's rehearsal room in the creative melting pot of Bergen Kjøtt. "As the title indicates, we've taken a major step over to the prog camp on the new album," says Kjetil, although the jazz influence is not particularly difficult to identify this time, either. Where the debut album was extremely spontaneous, direct and fierce, this follow-up is a more searching, prog-influenced, psychedelic and slow-moving voyage, like riding on lava flowing to the earth's core. Kjetil Møster (saxophone); Hans Magnus Ryan (electric guitar); Kenneth Kapstad (drums); Nikolai Hængsle Eilertsen (bass guitar).


HONORE, ERIK: Heliographs CD (HUBRO 2556CD) 17.00
Musician, record producer and author Erik Honoré (born 1966) has contributed as a musician and producer to more than 50 records with artists as diverse as David Sylvian, Eivind Aarset, Arve Henriksen and Brian Eno/Peter Schwalm. Heliographs is, astonishingly, his first solo project, and this is a well-integrated and personal debut album that opens up a complete world of sound that the listener can hardly bear to leave behind. Most of Heliographs was recorded in Honoré's home studio in Oslo, but much of the source material consists of samples that were taken from concerts and live remixes. In the early 2000s Erik Honoré had three books published. According to him, the titles and narrative on Heliographs were derived from elements in the first novel he published, Orakelveggen. Many people associate Erik Honoré with the Punkt Festival and Honoré's collaborative partner Jan Bang. They are both artistic directors, and have known each other and worked together since they were teenagers. In 2005, together with Bang, Honoré established the Punkt Festival in Kristiansand, where concerts that have just taken place are remixed live in another room. The idea is to improvise with sampling. In recent years Punkt Festival spin-offs have taken place in Paris, London, Tallinn, Wroclaw and several cities in Germany. A long list of Honoré's regular collaborators from Norwegian improvisational music's top echelon appear on Heliographs, including Ingar Zach (Huntsville, Dans Les Arbres), Eivind Aarset, Jan Bang and Arve Henriksen, in addition to the Dutch violinist Jeffrey Bruinsma from Zapp 4. What really stands out is vocalist and improviser Sidsel Endresen's contribution, which becomes something like a running theme throughout the album. On Heliographs, Honoré's sure hand leads us through everything from lovely, undulating, soaring improvisation to jogging, electronic ambient and sample-based chamber music. This is introvert music with a bite, which is at the same time very direct. Highly recommended! The album will be released both as a CD and as a 180 gram LP in 500 copies with a gatefold sleeve and a CD included.


MOSTER!: Inner Earth LP+CD (HUBRO 3548LP) 22.00
LP version. Pressed on 180 gram vinyl. Gatefold sleeve. CD of full album included.


HONORE, ERIK: Heliographs LP+CD (HUBRO 3556LP) 22.00
LP version. Pressed on 180 gram vinyl. Gatefold sleeve. CD of full album included. Limited to 500.


IP 015LP

"After finishing Hadès, I was thinking of doing a techno EP. But I was mostly listening to Brutal Truth, Assuck, Napalm Death, and Pig Destroyer at that time, so grindcore got me carried away and I went blast beat. This was a blast indeed -- I did this record in a week total, a big release for me."

IP 016EP

SOMATICAE: Pacurgis 12" (IP 016EP) 16.00
"Four malicious, mutant, busted, oozing onslaughts from Amédée de Murcia, edging a little away from noise-core towards the beat-driven imperatives of label-mates Qoso and Low Jack, in the wild west of dancefloor geography (as if his recent Catharsis LP did what it said on the tin)."

IP 017EP

WEST, ROGER: Wasted House 12" (IP 017EP) 16.00
"Amédée De Murcia -- of Industrial heavyweights Somaticae -- slipping outside to play. He came across some dance records at his girlfriend's, says his label rather evasively, and set about wasting them good and proper. 'Very catchy and close to falling apart at the same time, a pretty special take on the ambiguity of the clubbing experience, the way it mixes euphoria and angst.. Uchronian dance music, like the memory of a party that never existed.' Like NHK'Koyxen playing the wrong house."



TINGS, ROLAND: Roland Tings CD (INT 006CD) 17.00
Roland Tings is Melbourne, Australia's jack-track anomaly with a penchant for acid coastlines and nebulous rhythms. Still fresh off 12" releases for 100% SILK and Club Mod, he dropped the acclaimed Who U Love EP (INT 027EP) in the spring of 2014, in anticipation of his debut self-titled album, now presented by Internasjonal. Forged by Melbourne's forward-thinking nightlife institutions, Tings made his debut in 2012 with the Milky Way EP on 100% SILK, the enigmatic dance imprint founded by Not Not Fun Records co-founder Amanda Brown. Having laid the groundwork of a raw-satin aesthetic inspired by those of Larry Heard and Robert Hood, Tings solidified his sound on Tomita's Basement, released in 2013 on Club Mod and featuring remixes from Maxmillion Dunbar (Future Times) and Jeremy Greenspan (Junior Boys). Functioning as club-ready oddities with neon finesse, his releases thrive as rhythmic visions pushing dancers into his very own modular oasis. Having toured across much of Australia and Europe, he's backed up headline club shows with appearances at MONA FOMA and The Meredith Music Festival as well as support slots for the likes of Tim Sweeney and Juan Atkins for Modular People's Sydney Festival showcase. Now riding with a tight community of Australian producers enjoying recognition around the world, Roland Tings's custom texture continues to fold into a vibrant late-night fabric, reflected in the skillful versatility of this debut album. The CD edition includes two tracks not included in the double LP version, "Venus" and "Pala."


BEC 5772215

BRASSENS, GEORGES: J'ai Rendez-Vous Avec Vous CD (BEC 5772215) 11.00
Twenty-two titles among the most prestigious and revealing of French singer-songwriter Georges Brassens's career, recorded mostly by Jacques Canetti: "J'ai rendez-vous avec vous," "La mauvaise réputation," "Chanson pour l'Auvergnat," "Le gorille," "Une jolie fleur"... And, for the first time, two surprising and moving interviews in which Brassens recounts his childhood, his first steps in the business, and his relationship with Canetti, his friend and producer. Born in Sète in 1921, Brassens made his debut in 1952 and went on to record many songs that are now part of French musical heritage.

BEC 5772236

LEMARQUE, FRANCIS: A Paris CD (BEC 5772236) 11.00
Seventeen classics by French singer-songwriter and poet Francis Lemarque, including "A Paris," "Bal petit bal," "Le petit cordonnier," and "Toi tu ne ressembles à personne." Also included are exclusive interviews in which Lemarque recounts his childhood and adolescence, his debut, his friendship with Prévert, and his songs, and recites "Complainte de la rue" by Raymond Asso. In a career crowned by several Grands Prix du Disque from the Académie Charles Cros, Lemarque wrote almost 400 songs, many of which now belong to the collective memory of French culture.

BEC 5772249

PIAF, EDITH: La Vie en Rose CD (BEC 5772249) 11.00
Nineteen gems from French national treasure Édith Piaf, many recorded with the producer responsible for her debut, Jacques Canetti. Includes such classics as "La vie en rose," "Padam Padam," "l'Hymne à l'amour," "Les feuilles mortes," "Mon légionnaire," and "Mon amant de la coloniale." Also includes exclusive interviews in which Piaf recounts her debut, her meeting with Marguerite Monnot, Louis Leplée's death, and the story of the song "La vie en rose."

BEC 5772305

BREL, JACQUES: Quand on N'a Que L'Amour CD (BEC 5772305) 11.00
Born April 8, 1929 in Schaerbeek, Belgium, Jacques Brel began writing songs at a young age. Later dubbed "The Great Jacques" by Jacques Canetti, he wrote some of the finest works of French chanson before bidding farewell to the stage in 1967. He left behind a legacy of literate, thoughtful, and theatrical songs and a large, devoted following. Jacques Canetti Productions presents 20 highlights from this master of the modern chanson.


JV 33570051LP

MAGMA: Slag Tanz LP (JV 33570051LP) 20.00
"Jazz Village's 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." 180-gram vinyl. Includes download code.

JV 33570056LP

MAGMA: Félicité Thösz LP (JV 33570056LP) 20.00
"Magma first released Félicité Thösz in 2012. Dominated by the celestial voice of Stella Vander, it was the band's first studio album since they re-formed in the early part of the century. With lyrics in French (which is not common in the band's discography) as well as Kobaïan, the language invented by Christian Vander, Félicité Thösz is a trip which will lead you from Japan to the Urals via Central Asia, with a detour to pay homage to Tamla Motown. Powerful, hypnotic, and unclassifiable, there has been absolutely nothing like Magma in the last fifty years." 180-gram vinyl. Includes download code.


KH 9013LP

VELVET UNDERGROUND, THE: Live at the Boston Tea Party, December 12th 1968 2LP (KH 9013LP) 31.00
2015 repress. Double LP edition, pressed on 180 gram vinyl. 1968 was a tumultuous year for The Velvet Underground, with the departure of John Cale, the addition of Doug Yule, a grueling touring schedule and considerable musical transition. Supported by the MC5, the quartet played their final shows of the year at the Boston Tea Party, which Lou Reed once described as his favorite place to play. This legendary live recording finds them playing reworked versions of early classics as well as several songs that would appear on their forthcoming third album, and two tracks that went unreleased in their lifetime. It's presented here together with background notes and photographs. Remastered sound.

KH 9014LP

VELVET UNDERGROUND, THE: The Boston Tea Party, March 13th 1969 2LP (KH 9014LP) 31.00
2015 repress. Double LP version, pressed on 180 gram vinyl. Coinciding with the March 1969 release of their third album, The Velvet Underground played three nights at the Boston Tea Party, which Lou Reed once described as his favorite place to perform. By that time Doug Yule was well-established as an important contributor to the band, and their set confidently reworks some confrontational early classics as well as incorporating some glorious ballads. Their March 13th set is presented here together with background notes and photographs. Remastered sound.

KH 9028LP

ZAPPA AND CAPTAIN BEEFHEART, FRANK: Providence College, Rhode Island, April 26th 1975 3LP (KH 9028LP) 36.50
Keyhole presents a triple LP edition of its double CD set Providence College, Rhode Island, April 26th 1975 (KH 9028CD). Childhood friends and fellow rock visionaries Frank Zappa and Captain Beefheart put aside their differences to tour the US together in the spring of 1975 -- Beefheart's only tour with The Mothers of Invention. The resulting shows found them both in superb form, as evidenced by this legendary 1975 set, preserved in superb fidelity. This edition is pressed on 180-gram vinyl, features remastered sound, and includes an insert with background notes and photos.

KH 9037LP

RAMONES, THE: WBUF FM Broadcast, Buffalo, NY, February 8th 1979 LP (KH 9037LP) 23.00
This outstanding performance by The Ramones was taped for radio broadcast in Buffalo, New York, on February 8, 1979, shortly after Marky Ramone joined the band. It captures New York's punk pioneers at the peak of their powers, tearing through many of their most renowned songs in typically energetic style. It's presented here in superb fidelity, with background notes and rare photos. Digitally remastered.



TEJADA, JOHN: Signs Under Test CD (KOMP 119CD) 15.50
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.



DEMDIKE STARE: Testpressing #007 12" (LOVE 099EP) 16.50
Lucky number seven -- the best Testpressing yet from Demdike Stare and the final installment for the time being. "Rathe" opens the doors of perception to a show-stopping bloom of heavenly voices and half-step jungle, ratcheting the levels to heart-in-mouth effect with panoramic harmonies and ricochet drums that sound like a 2015 update of "Windowlicker," all owing as much to Source Direct as Alice Coltrane. "Patchwork" is a whole other madness. Shocking in a different style, it consolidates swirling, noirish samples nodding to Italian concrète with the kind of two-step swerve heard on Artwork's Red EP -- proper feral, swinging business.



RO MARON: Collected #1 2CD (MPD 001CD) 19.50
Music Pour la Danse presents Collected #1, a definitive collection of classic Belgian club anthems produced by new beat legend Rembert de Smet and the first volume in the label's series dedicated to preserving valuable works by key dance producers from the past. New beat was a short-lived movement local to Belgium, and, along with Italo-disco, a forerunner of European techno. It was mainly influenced by new wave and industrial music, particularly Throbbing Gristle, The Neon Judgement, and Front 242. Its signature slowed-down tempo prefigured DJ Screw's slowed rap remixes and the later slow house craze, and it was a sensation at the time. New beat took the charts by storm without any radio play, and ruled the Belgian dancefloors during its short existence. Rembert de Smet had enjoyed some popular success with his group 2 Belgen, but became part of the new beat scene early, and rapidly produced a staggering collection of tracks in 1988 and '89. Whether working solo as Ro Maron and Agaric or in collaboration with artists like Ferre Baelen (TC Matic) and Maurice Engelen (Praga Khan), he produced records ceaselessly, week after week, knowing that the rich new beat era wouldn't last forever. Mostly released on now-defunct labels like Kaos Dance Records, Antler-Subway, Dance Opera, and MG Records, the best of it and beyond is compiled here, including classic new beat mainstays of Belgium's club Boccaccio, as well as earlier, more primitive works, lazier rhythms, ambient house tracks, and hardcore rave sounds. Includes tracks by Agaric, Edwards + Armani, Phantasia, Reject 707, Kaos 007, Miss Nude, Mr. White, S.M., Air of Gloom, Trance Trax, Le Mystère, Sleepwalker, Beat Beat Beat, Alpha Beta, Little Little, Believe It or Not, Zsa Zsa La Boum, Rhythm Kings, 2 Body's, and Agaric-Bhab.


NEOS 11001-4CD

HABA, ALOIS: Complete String Quartets 4CD BOX (NEOS 11001-4CD) 44.00
With this collection, one of the major pioneers of microtonal composition in the 20th century receives an extensive and long-overdue tribute. Czech composer Alois Hába (1893-73) systematically used tones located in between the chromatic steps regularly used in occidental music. In his manifold contributions to the leading genre of string quartet, completely documented in this edition of four CDs, Hába splits the whole tone into regular half-tones, as well as into quarter, fifth, and sixth tones. The intriguing musical effects resulting from this method are realized here by the Frankfurt-based Hába Quartett. A listening adventure par excellence!

NEOS 11302CD

PINTSCHER, MATTHIAS: Solo and Ensemble Works CD (NEOS 11302CD) 15.50
With a multifaceted portrait of the internationally renowned German composer (and conductor) Matthias Pintscher (born in 1971), NEOS launches a long-term collaboration with Ensemble Contrechamps intended to comprise several editions in the future. Founded in 1980, this Geneva-based formation has long been among the world's best contemporary music ensembles. Joined by the excellent soloists Sylvia Nopper (soprano), Ernesto Molinari (clarinet), and the Basler Madrigalisten chorus, Ensemble Contrechamps here performs a representative cross-section of Pintscher's oeuvre, ranging from evocative solo works to the densely crafted atmospheres and sound fanaticism of his vocal-instrumental ensemble works. The musical direction here remains in the hands of the composer himself, following a long, internationally successful career as a conductor.



TOLERANCE: Anonym LP (VANITY 004LP) 19.00
"Yikes! This is not a record: it's a ticket pressed in 12" format to get the f- outta this modern era of derivative nonsense in no time flat and get shotgun-expressed into a eerie world of risk taking/PHD-styled lessons in underground experimental extravagance par excellence. Yuzuru Agi's Vanity label delivers the same spinal-tingle-stun-upon-utterance with the same sting as heavyweight/uber strange underground labels like Artifacts, Silver Key, Yetti Wordless, Palace of Lights, Plat-Num Productions, or the gem of Florida's rotten improv scene Spitball Records. Vanity is the sounds in the wild that will exist w/o an audience and make NADA sense, and even less as the flat circle of time moves onward to the future. Even being a major critic in the 'Rock Magazine' and coining the words 'Techno Pop' -- the addictive & lustful Agi's Vanity world has is a hushed jewel in the big-cash phallic swinging underground detectives-types. Reissues are scarce -- the 'boot' of the second Tolerance LP from a couple years ago came and went w/o much of a ceremony -- but this debut (the fourth release of the label landing on 1979) by the Masami Yoshikawa & Junko (no that JUNKO silly willy) Tange is a more wild, varied and EXPERIMENTAL slab to grind on and all the better for it. What lies inside? Lots of nearly ECM-ish acoustic flourishes over effected guitar no wave-ish (scratch that lets say the more equivalent to Japan's own voice-grated guitar duo NOISE-ish) stew of things, sounding more like random Dada-esque experiments in texture and rhythm in a sleek urban-mystery cannon that really makes your brow take some kinda action. It sounds more akin to a Dilaudid-dosed Keith Jarrett trying his best to play along to some crude Thomas Brinkmann record cutting-beat discs, while Law & Order's Brisco and Logan aggressively questioning a dog that swallowed a guitar played by a barbwire criminal (cause 'I WANNA BE A HOMICIDE too@!!') harrowing away in a distant concrete slab. Might as well have Murakami's crew of suave editors from 1Q84 transcribe the unholy soundtrack from Japanese to whatever language your ears need it to be, all while standing in the 'sweet water' that Elisa Lam's decomposing body sunk into it from days lost hidden and rotting in a rooftop hotel pool. Who DOESN'T want to hear that?? The Tolerance debut is just plain O.D.D. = Occidental Dome-Damaged. All said and done, this is from a golden day where risks were taken and experimental music stroked the esoteric exotic fires of danger and lust, all while basking in the outsider glow of idiosyncratic glee. Take chances and be yourself, the evidence is all right here persevered for in the confusing grooves of Anonym. Take it from this VAIN JIT -- it's about the best time you are spend getting 'real' -- REAL STRANGE. And that is R.A.R.E. = Recycled Assumptions Re-Qualified as Extraterrestrials." --John Olson, last minutes of 2014, winter



VA: Nonplace Soundtracks: Scenes 01-25 CD (NON 039CD) 15.50
Nonplace presents Nonplace Soundtracks: Scenes 01-25, the first volume in a series collecting instrumental tracks that were edited for film or television companies or created to be used in conjunction with moving images. All pieces were produced by Burnt Friedman and/or Hayden Chisholm as part of sessions with The Embassadors, or during Friedman's numerous score recording sessions with a cast of musicians that included Joseph Suchy on electric guitar. The set also includes a track by Flanger, Friedman's duo with Uwe Schmidt, and a track by Chisholm's group Root 70. This disc contains an abundance of musical components in a dense, seamless mix of 25 short, cinematic scenes. The musical styles featured range from odd dub rhythms to classical chamber orchestra arrangements to subtle electro-acoustic soundscapes.



FELL & SANDRO MUSSIDA, MARK: Object Relations #1 7" (REL 001EP) 12.50
Object Relations is Mark Fell's 7" label focusing on collaborations between diverse artistic practices. Recorded in Milan, 2014, the label's inaugural edition features a unique combination of Fell's crafty drum programming with the adroit, keening cello improvisation of trained cellist and composer Sandro Mussida. Fell's elliptical microtemporal LinnDrum arrangements are matched and colored with compelling streaks and wooden strikes from Mussida in a tussle of crooked time signatures and rhythmelodic cadence. A departure from Fell's electronic asceticism, perhaps best compared with the early '80s experiments of Peter Zummo and Arthur Russell, albeit effectively shorn of that duo's more melodic affectations.


PRTL 12004EP

RED, DANNY: What Do You Prove/Hail Iyah 12" (PRTL 12004EP) 16.50
2014 release. Partial Records come with two brand new tracks from roots veteran Danny Red whose recording career stretches back to the mid '80s when he was known by his deejay handle Danny Dread. Danny is one of the most respected, lyrically-savvy, and consistently reliable voices on the UK/European circuit, and his classic "Jahvovia" is the best-selling single in that genre over the last few years. He also worked with leftfield on the track "Inspection." Both tracks here come with respective dubs mixed and produced by Dougie "Conscious Sounds" Wardrop.



ART OF BURNING WATER: Living Is for Giving, Dying Is for Getting LP (REPOSE 041LP) 22.00
Art of Burning Water refuse to die despite being one of the most frowned-upon bunch of noise-making twats of their decade. There is no machine behind this band and the UK "underground" rock circle jerk has never approved them or championed them and they do not have friends in high places (but do have high friends). You won't be told to check them out and they will not be seen high-fiving the correct people in the correct places in order to push their way up festival bills with the correct bands. Art of Burning Water are outsiders in the truest sense of the word and very proud to stand outside the golden circle of your love. Art of Burning Water are a steroided immigrant noise punk outfit that does not need to be loved to live. Art of Burning Water love what they do and therefore need not be loved for what they do. This is strong music by weak people. For fans of Keelhaul, Rorschach, Voïvod, Amebix, Godflesh, and Motörhead. Hand-printed sleeve. Limited to 150 copies.



MOTORPSYCHO: Demon Box 5CD BOX (RACD 112CD) 34.00
Still the favorite of many Motorpsycho fans, the iconic Demon Box was also their breakthrough album. It's a testament to their most drastic period of transition: initially a relatively (but not entirely) straight rock band largely met with indifference, it's on this album that "shit definitely falls in place," to quote Tommy Olsson's liner notes. It´s also, notably, the only album in their vast catalog to feature Helge Sten (Deathprod) as a full-time member of the group. This reissue follows the four-CD box set reissues of Timothy´s Monster (RACD 104CD) and Blissard (RACD 110CD), released with the kind permission and cooperation of Voices of Wonder Records. The double-LP and the five-CD box set both present Demon Box as it appeared on Voices of Wonder's original vinyl release. The original 1993 CD release was confined to a single disc, meaning that a couple of tracks had to be left out -- which makes this is the first ever CD release of the full Demon Box album. The third disc of the five-CD box set also includes the two EPs that followed the album (Mountain EP and Another Ugly EP), plus "Home of the Brave," a live recording previously available on a long-deleted compilation. The fourth CD features various outtakes, live recordings, and other rarities, mostly unreleased until now. The fifth disc is a DVD of a previously uncirculated, one-camera video documentation of a full performance from September 19, 1993, at a club called Vera in Groningen, the Netherlands. Dark, shadowy, chaotic, loud, energetic, and primitive, this is still the best audio-visual recording of a complete show from this period.


MOTORPSYCHO: Demon Box 2LP (RALP 312LP) 26.50
Gatefold double LP reissue of Motorpsycho's monumental 1993 second album Demon Box. Still the favorite of many Motorpsycho fans, the iconic Demon Box was also their breakthrough album. It's a testament to their most drastic period of transition: initially a relatively (but not entirely) straight rock band largely met with indifference, it's on this album that "shit definitely falls in place," to quote Tommy Olsson's liner notes. It´s also, notably, the only album in their vast catalog to feature Helge Sten (Deathprod) as a full-time member of the group

RCD 2163CD

SPUNK: Adventura Botanica CD (RCD 2163CD) 17.00
In 1862 Charles Darwin peered between the petals of the Madagascar star orchid and predicted that somewhere there must be an insect that had evolved a snout long enough to reach the nectar inside. He never found one, but 40 years later, in 1903, the hawk moth was discovered, sporting a proboscis exactly the right length. Darwin was speculating on co-evolution, the idea that two species (here, a flower and an insect) might latch onto each other and evolve characteristics that would each benefit the other. And that's just what's going on in this botanical adventure -- or Adventura Botanica -- as Norwegian group SPUNK joins forces with one of Norway's leading modern dance exponents, Odd Johan Fritzøe, to create a sound and movement work celebrating Darwin's legendary, game-changing voyage to Madagascar. Premiered in 2013 at Oslo's trailblazing Ultima Festival of Contemporary Music, Adventura Botanica was the third collaboration between SPUNK and Fritzoe. Inspired by Darwin, this "study of the invisible laws of nature" featured Fritzoe dancing around a three meter high sculpture set among sonic objects illuminated in white, to resemble the star orchid, which were triggered by radio signals. SPUNK provided the accompaniment, feeding off the movements, and allowing their sounds to spontaneously generate in co-evolution with the performance. SPUNK recorded the music on this CD in a studio setting around the same time, as a document of the project, but its lush and ever-mutating jungle of sounds gives a vivid sense of dynamic movement and fertile imaginations as the four musicians extend their sonic probosces into the rich receptacle of the dance amphitheatre. Formed in 1995, SPUNK comprises four of Norway's most innovative musicians: Maja Solveig Kjelstrup Ratkje, Hild Sofie Tafjord, Lene Grenager, and Kristin Andersen. The quartet combines talents spanning vocal experiments, instrumental virtuosity, impulsive improvisation, and a witty sense of play. Here, they engage in vertigo-inducing microtonal slides and exotic, tropical textures. Fans of Ratkje's incredible solo vocal works will find plenty to enjoy in her whistling, muttering, or operatic singing. All four work in the indefinable area between modern composition, free jazz, and total improv, a crossover zone increasingly dominated by Norwegian musicians. SPUNK seem to want to surprise each other as much as their audience, and in this piece, the music was also the seed that fertilised Fritzoe's movements, as he took his cue from their intuitive improvisation. Adventura Botanica: it's the natural selection.

RCD 2164CD

Sidsel Endresen and Stian Westerhus' debut recording from 2012, Didymoi Dreams (RCD 2131CD), was awarded with a much-deserved Norwegian Grammy (Spellemannpris) and was applauded across the borders, with The Guardian concluding about its "power, originality and fearlessness" and the BBC calling it "an enthralling listen." While Didymoi Dreams was a concert recording, Bonita is a live-in-the-studio recording, necessarily so because this is all improvised. Not that it's easy to spot any major differences in that respect, anyone who have experienced this duo on stage can testify about their unique and telepathic musical dialogues, seemingly without the need to even look at each other. Whether on a stage or in a studio, their soundworld is magical, mysterious, beautiful and frightening, all underpinned by the evocative song titles. Sidsel Endresen is one of the leading vocal improvisers in the world and has worked as a professional singer and songwriter since the '80s. In 1990 and 1994 she recorded two solo albums for ECM. The '90s also saw a very fruitful collaboration with Bugge Wesseltoft, resulting in three albums and two more Grammys. Since 2000, she has done solo projects, written film music and collaborated further with international and Norwegian artists such as Helge Sten, Christian Wallumrød, Rolf Wallin, Jan Bang and Håkon Kornstad. She has toured all over the world, written music for several theater and dance perfomances and has been festival composer for the jazz festivals in Bergen and Molde. And these are only some of her credentials. Stian Westerhus is a musician challenging and stretching the limits of his instrument beyond the normal confines of the electric guitar, balancing raw expressiveness against virtuosity and melodic instinct. He has been called the hardest working (jazz) musician in Norway, always on the road, in the studio or working on yet another project. Lately his main priorities, aside from the duo with Sidsel Endresen, have been his solo career and his new "rock" group Pale Horses. A few years ago he also toured as a member of Nils Petter Molvær's trio and did a commission work for Molde International Jazz Festival that included names like Maja Ratkje, Mats Gustafsson, Kjetil Møster, Ola Kvernberg and Trondheim Jazz Orchestra. Bonita is produced and mixed by Stian Westerhus and the mastering is by Helge Sten. Sidsel Endresen (voice); Stian Westerhus (guitars).

RCD 2165CD

ALBATROSH: Night Owl CD (RCD 2165CD) 17.00
Norwegian jazz is as vital as ever and one can but wonder where it all comes from. With Night Owl, their second album for Rune Grammofon, Eyolf Dale and André Roligheten are already five albums into their career and showing a maturity in writing and playing that betrays their age considerably. Their previous album, Tree House with Trondheim Jazz Orchestra, also showed that they can write for a large ensemble, this being a commissioned work from Molde International Jazz Festival in 2013. Night Owl was recorded at Fattoria Musica in rural Osnabrück, Germany, a studio that has hosted many famous musicians and is known for its top quality equipment and ambiance. The music can be described as contemporary jazz with threads to both American and European traditions -- highly original, structured compositions paired with improvisation; playful and melodic, modern and accessible. Eyolf and André met at school in the small town of Skien and have played together since the age of seventeen. The duo formally started in 2006, followed by rehearsals and concerts. They won the annual JazzIntro prize at Molde Int. Jazz Festival in 2008 and the "best band" category at the European Jazz Competition at the North Sea Jazz in 2009, with jury leader Maria Schneider commenting, " most original, great interplay and amazing improvisation, effective and colorful compositions." The same year also saw the release of their debut album Seagull Island, followed by Mystery Orchestra with Grenager & Tafjord (2010), both receiving great reviews, the latter named best Norwegian jazz record of the year in national paper, Dagsavisen. Grenager and Tafjord are both founder members of SPUNK, the all-female improv quartet that has released eight albums on Rune Grammofon. Albatrosh have toured in USA, Italy, Malaysia, Germany, France, Poland, Sweden, Denmark, The Netherlands and all over Norway. Eyolf Dale (piano), André Roligheten (saxophone).

RLP 3164LP

LP version.

RLP 3165LP

ALBATROSH: Night Owl LP+CD (RLP 3165LP) 22.00
LP version.

RLP 3166LP

DETAIL: First Detail LP+CD (RLP 3166LP) 22.00
LP version. If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute, and clarinet player Frode Gjerstad. Since the late '70s, he has been central on more than fifty records and played with a number of prominent free jazz musicians including Evan Parker, Derek Bailey, Peter Brötzmann, Louis Moholo, Han Bennink, and Paal Nilssen-Love. Foreningen norske jazzmusikere named Gjerstad Jazz Musician of the Year in 1996, and the Norwegian Jazz Forum awarded him with the Buddyprisen in 2008. He founded Detail in 1981 with close friend Eivin One Pedersen (1956-2012) and legendary free jazz drummer and Spontaneous Music Ensemble founder John Stevens (1940-1994). The group became a quartet with the addition of bassist Johnny Dyani, and toured of Norway in March of 1982. They performed at the Molde International Jazz Festival in the summer and toured again in the fall. Pedersen left the group after the tour, and the remaining trio of Gjerstad, Stevens, and Dyani went straight to Stavanger and recorded Detail's first two albums, Backwards and Forwards/Forwards and Backwards (1983) and Okhela «To Make a Fire» (1984). So the intended quartet never got to make a record, but some live recordings do exist. This recording of the first performance from the fall 1982 tour, at the Henie-Onstad Art Centre outside Oslo, captures not the full quartet, but a variation on the trio: Gjerstad, Pedersen, and Stevens, without Dyani, who couldn't make it to the gig. The main reason for the delay in releasing this historic recording, according to Gjerstad, is that he couldn't listen to it because there were too many feelings involved. After the tour, his close friend Pedersen suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after finally listening to the tapes, he realized how good everything was. It's almost unbelievable that Pedersen had just turned 26 at the time of this recording. Stevens is also incredible, quite different from what one might be used to from the Spontaneous Music Ensemble -- more open, possibly. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. Frode Gjerstad: tenor and soprano saxophones, bass clarinet, alto flute; Eivin One Pedersen: piano and keyboards; John Stevens: drums.



LEGENDARY PINK DOTS, THE: 10 to the Power of 9 (Deluxe Edition) 2CD (RBL 046BOX) 41.00
"Essential! Deluxe limited edition 2CD in velvet bag with gadgets pin (glow in the dark) and postcard. Both volumes in one CD. A complex story about conspiracy, magic, and spirituality. Minimal synths, guitars, syncopated rhythms that are making weird, psychedelic, and transcendental noises which are of course accompanied by the distinctive voice of Ka-Spel. Lying on your sofa, pumping up the volume and just dream away on their ethereal sounds. 10 to the Power of 9 is a dark and exceptional trip into their warped and bizarre musical psyche. For sure one of the best concept albums of the band."



DUCH, MICHAEL FRANCIS: Tomba Emmanuelle LP (SOFA 543LP) 22.00
Tomba Emmanuelle is Michael F. Duch's second solo album for the double bass. It was recorded in May 2013 at the Emmanuel Vigeland Mausoleum in Oslo. The piece was commissioned by Ny Musikk Bergen in 2012. Whereas Duch's solo debut Edges (3DB 010CD) focuses on the music of Morton Feldman, Christian Wolff and others, Tomba Emmanuelle explores different registers, timbres and acoustic effects of the instrument in relation to the room it is being performed in. The Vigeland Mausoleum is probably one of Northern Europe's most unique concert venues, and highlights the acoustic phenomena that the piece is based on. Michael Francis Duch (b. 1978) is one of the foremost double bass-players on the Norwegian contemporary music scene. Since 2012 he has been associate professor at the Institute of Music, NTNU, Trondheim. He has established himself as a solid interpreter of Cornelius Cardew's music, documented through releases with the trio Tilbury/Davies/Duch. The album Cornelius Cardew: Works 1960-70 was included on The Wire's list of best releases in 2010.


MICROTUB: Star System LP (SOFA 544LP) 22.00
Consisting of three fully microtonal tubas, Microtub explores group tuba music from the perspective of microtonality. Color-coded sculptural scores are used to define areas of harmonic space in just intonation, presenting geometric structures to be explored by the players over time. The 3-dimensional graphic scores used on the album Star System are subsets of the Hayward Tuning Vine, which arose out of a desire to visualize the harmonic space implicit within the microtonal tuba. Each of the balls represent pitches, and the struts between them musical intervals. In "Star System" (side A), the musicians orbit once around the star-like structure, revealing the harmonic space implicit within it. In "Square Dance" (side B), the various squares and rectangles within the score are gradually explored by the musicians, analogous to a slow dance through harmonic space. Star System was recorded at Sjobygda Art House in Selbu, Norway in April 2013. Mixed by Espen Reinertsen and mastered by Helge Sten. Microtub: Robin Hayward (microtonal F-tuba); Kristoffer Lo (microtonal C-tuba); Martin Taxt (microtonal C-tuba).



YOUNG, DENNIS: Reel to Real CD (STAUB 137CD) 17.00
Dennis Young is best-known as the marimba player/percussionist for the legendary early '80s NYC band Liquid Liquid. Reel to Real is a lovingly-assembled archive collection of his rare and unreleased solo recordings from 1982-1983. Dennis Young: "Back in 1982 at the age of 24 I bought my first recording equipment a -- two-track Teac reel-to-reel-tape recorder. I already owned a number of analog synthesizers, an electric & acoustic guitar, various effect boxes, and a full drum set. The music was recorded live over a two year period (1982-1983) when I was still playing in Liquid Liquid. I was busy with the band but I still found time at home to experiment with my own sound using various instruments and vocal effects. In early 1984, I bought my first four-track cassette machine which ended my live reel-to-reel recording phase. The tapes were boxed up and put into storage for the next 30 years. About six months ago, I was going through some old boxes and happened to find the tapes again. I was curious to hear what I had on those tapes so I purchased another Teac reel-to-reel-tape recorder. To my surprise there was a lot of music to choose from these recordings, so after hours of listening I came up with a set of songs that I thought was the best representation of my work from this period. Thanks to Staubgold, I am able to share this unique recording experience with you, the listener."


SL 002EP

Two Rootikal re-dubs on this Paradise Bangkok 7".


SR 383LP

WISHART, TREVOR: Red Bird: A Political Prisoner's Dream LP (SR 383LP) 15.50
Sub Rosa presents another installment in its Early Electronic series, a silver vinyl reissue of Trevor Wishart's Red Bird: A Political Prisoner's Dream, composed between 1973 and 1977 using the studio of the University of York, and originally released in 1978 by York Electronic Studios. Wishart's compositional interests deal mainly with the interpolation by technological means between the human voice and natural sounds. He has been very active since the early 1970s in the area of electro-acoustic music (first with tape manipulation, later with computer pieces) and music theater pieces. He pays special attention to musical education, collaborative performance projects, and solo practice using original vocal techniques. In 1973 he did his doctoral dissertation at the University of York in musical composition. Since the mid '70s he has been doing systematic research into vocal sounds and speech articulation and the possibilities for their notation and musical organization, giving special emphasis to computer technologies. He is the author of a number of theoretical books on musical composition, philosophy, and sociology and has contributed to the design and implementation of software tools used in the creation of digital music.


SF 095CD

GERGIS, MARK: Radio Vietnam CD (SF 095CD) 15.00
Radio is an audio compass; the radio antennae, a divining rod. Positioned anywhere, it opens an exclusive window directly into the location in which it sits. Signals received on the medium wave (AM) and FM bands reveal programming intended for a local population by governmental, independent, pirate, or corporate media broadcasters. Anything from low-powered ethnic minority transmissions, high-powered westernized pop stations, and omnipresent state-run radio can be found on these bands. Shortwave bands expand the breadth and scope, pulling in regional and international receptions. Everything received factors into the experience. Music, news, talk shows, advertisements, station IDs, cross-phased interference, errant or intentional static-generated sounds, distant detritus, and random broadcast anomalies all become equally relevant. This disc continues the Sublime Frequencies locale-specific radio collage series with Vietnamese radio recordings culled and assembled from signals received in Hanoi and Ho Chi Minh City between December 2013 and November 2014. Inside the 70-minute program are moments of outstanding folkloric, traditional, and pop music, including performances on the electric guitar and the dan bau (a one-stringed guitar-like instrument), eclectic Vietnamese folk and rock stylings, dramatic effects-laden radio theater and musical segues, new wave pop forays, traditional percussion and vocal chants, news segments, dynamic radio bumpers, jingles and advertisements, comedic interludes, phoned-in karaoke sing-a-longs, English-language programming, early-morning exercise regimens, and coded messages from the outer ether. The grand total sum of these radio recordings doesn't aim to present a certified ethnographic study of contemporary Vietnam. Rather, the material here aims to distill and replicate the excitement, engagement, and discovery gained during heavy exposure to Vietnamese broadcasts over an eleven-month period during the teenage years of the twenty-first century. CD comes in a beautiful digipak with full color images, a booklet, and liner notes by Mark Gergis, who recorded, compiled, sequenced, and produced the project for Sublime Frequencies on location in Vietnam.

SF 096LP

VA: Music of Tanzania 2LP (SF 096LP) 25.50
Music of Tanzania is a spectacular collection of field recordings gathered by Laurent Jeanneau between December 1999 and March 2000. This debut volume of Sublime Frequencies' exploration of indigenous Tanzanian music compiles sacred and profane songs and dances of the Hadza, Datoga, and Makonde people. Highlights include stoned ecstatic dancing in a Hadza encampment; a drunken celebration of preteen sexual initiation from a Makonde fishing village; baboon imitations performed on the malimba; electrified Islamic trance percussion; and useful tips for amateur hyrax hunters. Many of these poignant, exhilarating performances come from dwindling minority groups whose way of life stretches back to the Stone Age, and who are capable of creating breathtaking music with anything from agricultural tools to tin cans and plastic tubes. Laurent Jeanneau is absolutely fearless in his pursuit of rare, exceptional and vibrant performances. He views his ongoing documentation of ethnic minority music as an act of resistance to globalization, state-sanctioned "peasant traditions," and cultural homogeneity, and accordingly spends months living under harsh and dangerous conditions in order to capture impromptu performances in their everyday cultural context. Using this method, Jeanneau has self-produced almost 100 albums preserving threatened musical traditions from some of the most remote regions on earth, in addition to compiling multiple volumes for Sublime Frequencies. This limited edition double LP tip-on gatefold package includes striking photographs by James Stephenson and detailed liner notes by Jeanneau.


SBR 5041LP

DRAKE, NICK: Family Tree 2LP (SBR 5041LP) 31.00
2015 repress on vinyl. Comprising recordings made at Nick Drake's family home and in France before his 1969 debut, Family Tree offers a unique insight into a nascent songwriting genius. Spread over four sides of 180 gram virgin vinyl, its 29 songs range from folk standards and compositions by his mother Molly to early versions of future classics taped by his Cambridge friend and arranger Robert Kirby at Cambridge in 1968. Mastered at Abbey Road and featuring 29 rare tracks (one previously only available on iTunes), as well as a deluxe gatefold sleeve, rare photographs and a lavish insert including lengthy sleeve notes, this lovingly assembled set is sure to become a prized item amongst lovers of Nick Drake.



ROSKA: Hyperion EP 12" (TEC 081EP) 12.50
Roska returns to Tectonic with three diverse cuts showcasing a deep, dark, tribal sound. The Hyperion EP kicks off with the title-track pounding in at 120bpm -- hard and heavy but relaxed and grooved, calling upon the listener to look up and out toward infinity. Chasing the rhythm with spooky voodoo melodies and sinister pads, Roska delivers a menacing seven minutes of tribal neck popping. "Off," a less moody and minimal affair, is choking with attitude and ruff-neck bounce and a bassline grunting like a hungry prehistoric beast. Closer "Only Human" is deep, colorful, and melancholic, with hints of electro.



TRUTH & J:KENZO: Devil's Hands/Invaders 12" (TEMPA 095EP) 12.50
The fourth Tempa remix 12" -- following Modeselektor's 2009 remix of Headhunter -- brings together remixes of two of the label's deadliest tracks. On the A-side, label figurehead Youngsta remixes Truth's sinister "Devil's Hands" into a throbbing 4/4 monster -- amping up the chiming melodies and chasms of sub-bass of the original. On the B-side, Truth show off their own remixing skills, bringing even more alien dread to J:Kenzo's already dubbed-out original.



SUN RA ARKESTRA: Live in Nickelsdorf 1984 4LP BOX (TROST 118LP) 70.00
4LP box set version. The great Sun Ra Arkestra, live at Jazzgalerie Nickelsdorf, Austria on March 11th, 1984. This is a recording of the entire -- nearly three hour -- performance. Personnel for this show was Sun Ra (piano, synth, vocals); John Gilmore (tenor saxophone, clarinet, evi, vocals); Marshall Allen (alto saxophone, flute, kora, percussion); Danny Ray Thompson (baritone saxophone, flute, percussion); Eloe Omoe (Leroy Taylor) (alto saxophone, bass clarinet, percussion); James Jackson (basoon, flute, drums, vocals); Ronnie Brown (trumpet); Rollo Radford (standup bass); Don Mumford (drums); Matthew Brown (congas, dance); Myriam Broche (dance); Greg Pratt (dance). Vinyl box limited to 1,000 copies.



LANA TRIO: Live in Japan CD (VAF 012CD) 14.50
After two weeks in Japan, Lana Trio arrived back in Norway with new impressions of the country far away from the comfortable north. During their time there they used this input in their concerts, contributing to the already scorching, energetic Lana Trio sound. Several of the concerts were recorded, but the gig at Jazzspot Candy was the ultimate Live in Japan album. Stylistically, the music of Lana Trio is closely related to so-called free improvisation and free jazz. However, labeling the music as one style is not enough, as it also contains traces of what they hear and have heard; both popular and unpopular music. Live in Japan was recorded at Jazzspot Candy in Chiba outside of Tokyo, a small venue brimming with jazz history, and contains both sets from that night in the order they were played. Lana Trio is: Kjetil Jerve (piano); Henrik Munkeby Norstebo (trombone); Andreas Wildhagen (drums).


BEC 5156022

H-BURNS: Night Moves CD (BEC 5156022) 17.00
He was known at first as a traditional singer-songwriter with simple arrangements of acoustic guitar and vocals, a French cousin to Will Oldham and Jason Molina. Then he became the leader of a rough and enraged band who recorded Off the Map (BEC 5161299/5161300, 2013), an electric storm of a record, with Steve Albini at Electrical Audio in Chicago. But the truth is we hadn't seen anything yet. H-Burns is back to prove once more that it's possible to stay true while endlessly reinventing oneself. Calmer, poppier, cleaner, more Californian, but still anxious and sorrowful, Night Moves was produced by the all too rare Rob Schnapf (who has previously worked with Beck, Elliott Smith, and Guided By Voices) with a group including A. A. Bondy (Verbena) and Troy von Balthazar (Chokebore). The result: 11 songs orchestrated around theme of nighttime in Los Angles. A restless and troubled night with the insidious threat of an earthquake lurking in the shadows. There are ghosts there too, those of Elliott Smith, Brian Wilson, Neil Young, Roy Orbison, and Bruce Springsteen. LP edition includes CD.


WA 2014CD

VA: Bali 1928, Vol. II Tembang Kuna: Songs from an Earlier Time CD (WA 2014CD) 11.50
The second volume in World Arbiter's five-disc series of 1928 Balinese vocal recordings continues the first release of these recordings since they were first pressed to 78 rpm discs in 1929, the only commercially released recordings of music made in Bali before World War II. Originally recorded by a team from the German labels Odeon and Beka on a 1928 expedition to Bali and intended for a Balinese public that lacked any discs of its own music, many of these records have been reduced to single remaining copies by the ravages of time -- when the labels' warehouse manager learned that the Balinese didn't own record players, he destroyed the original discs in a fit of drunken rage. Now, after a decade of global sleuthing, World Arbiter has located a surviving copy of every known vocal disc that escaped destruction, even one slumbering under a pile at an east Balinese raja's palace. The unaccompanied singing has been restored to the point that the listener is practically sitting inside the masters' throats to experience their microtonal miracles. The lyrics, fully translated from several archaic and remote tongues and included in the liner notes, reveal intensely urgent erotic and romantic meanings. These extensive notes are supplemented with a 110-page PDF, including an in-depth essay by Edward Herbst, contained on the disc and available online. Arbiter will continue to release its complete recovery of 111 three-minute sides, with five discs planned for the series, and a complete anthology to follow. Fully funded by a grant from The Mellon Foundation. Includes performances by Ida Bagus Oka Kerebuak, Ida Boda, Ni Dayu Madé Rai, Ida Bagus Ngurah, Ni Lemon, and the duo of Idu Bagus Wayan Buruan & Ida Madé Tianyar.



"Russian label Ygrok follows its first release from Kjofol with 002, a 2-track EP from an anonymous producer from the Ygrok family. The label name which translates to 'gambler' or 'player' was the spirit bringing together two young DJ's who could not be more different. A1 opens with steady orchestral notes as whispers float in the background. A ghostly whistle signals the beginning of takeoff - simple, beautiful and cinematic, a lead string takes you on a flying emotional peak. Timeless 909 programming, two graceful energetic builds, and nothing else. B1 takes a step deeper and groovier, the after hour answer to the A side. Bubbling, weightless synthesizer floats off into space as the main melody comes twinkling and swirling into view. A touch of electric guitar, deft syncopated minimal funk in the finest Russian style, and the trip gently lands you in another galaxy.Mastered by Helmut Erler @ Dubplates & Mastering."


KJOFOL: Bruit Distinct 12" (YGROK 003EP) 16.00
"Kjofol returns with a dazzling follow-up to YGROK-001 at the start of 2014. He takes his chilling, precise sound a step further and deeper with four tracks of impeccable production. The groaning static hisses, hung piano atmospheres and disembodied vocals of the opening track show that he is all business. Fusing live-sampled drum kits with micro impulses and seismic sub bass, Bruit Distinct shows Kjofol's talent to make a propulsive dancefoor killer without needing to push the kick drum. The EP takes a beatless interlude, alternately ecstatic and sinister, in the form of 'Aisthe?sis.' Airy, and with a funk nonetheless, it shows Kjofol pushing the boundaries of his skills. The mayhem hinted at on the A side breaks through in force with 'Caracte?re Numineux.' A long form journey, it builds its energy in fits and starts of clanging melodies, bleeps and haunted spaces before reaching a bizarre, maniacal climax. Not for the faint of heart. The EP closes out with 'Faure?,' a droning beat exercise in six minutes. A swinging, rolling groove dotted with machine groans and spurts. Mastered by Rashad @ Dubplates & Mastering."

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