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Forced Exposure New Releases for 2/16/2015

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New music is due from Plastic Palace People (Jim O'Rourke and Christoph Heemann), Six Organs of Admittance, Sir Richard Bishop, and Jonas Munk, while old music is due from Oorutaichi, The Legendary Pink Dots, The Orb, and Goat.


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TAZARTES, GHEDALIA: Une éclipse totale de soleil CD (TES 005CD) 19.50
2015 repress. Remastered CD edition of Une éclipse totale de soleil, Ghédalia Tazartès' third LP, originally released in 1984. Far away from contemporary music intellectualisms and the works of synthetic noise purists, this album features a new form of musical expression and is certainly one of the most original and creative records of the '80s. The value of this work was at the time underestimated and only a few people had a chance to listen to this beautiful music. The record utilizes collage, Tazartès' unique vocals, trance-ethno backing splices, droning organ, and childish naiveté, in a spirit all its own. Originally conceived in two parts, Une éclipse totale de soleil is here supplemented with a 25-minute piece titled "Il regalo della befana" or "Une éclipse totale de soleil (Part III)," composed expressly for the original 1996 release of this CD edition. The original two parts are constructed from sung passages of Middle Eastern musics, drum machine noises, distorted signals, and the voices of small children. The newer third part takes some of the same sorts of cues but is more in keeping with turntablism or sampling culture, dipping into recordings recycled from pop culture. Tazartès' music compiles fragments from a wide variety of sources in a stunning, idiomatic fashion, still undiminished by the passage of time.


TAZARTES, GHEDALIA: Tazartès' Transports CD (TES 011CD) 19.50
2015 repress. Remastered CD edition of Tazartès' Transports, autodidact and outsider composer Ghédalia Tazartès' 1980 second LP. This album probably represents the most original example of the artist's poetical and personal approach to sound organization. The tracks for Tazartès' Transports, recorded in 1977 at Tazartès' own studio in Paris, are blends of stream-of-consciousness rippling electro rhythms, outer-national singing styles, collaged field recordings, tape loops, and chants. The musique concrète soundscapes and exotic atmospheres take on a perpetual sense of drift and magical imagination. The listener is spellbound from the start to finish, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5, and the lost zones of the closing stages. This edition also includes four "Assassins" tracks, originally released on the 2006 mini-CD Les danseurs de la pluie (TES 063CD). The first two of these bonus tracks were recorded in 1977, around the time of the recording of Une éclipse totale de soleil (TES 005CD), and consist of banking guitar feedback, unhinged hollers, and an unsettling piece of children's screams looped against droning synth tones and electronic pulses. The second two "Assassins" tracks were recorded in 2005; "Assassin 3" is a mystical piece of ecstatic ululations and plangent electric guitar riffs, while "Assassin 4" feels more opulent, with plush synth pads set against strange, strafing distortion, rhythmic exhortations, and surreal, cinematic percussion. This edition concludes with a final bonus track, "Elie," a charming piano piece performed as a duet with Tazartès' young daughter. Once again, Tazartès provides some of the most compelling, weirdly life-affirming music out there.


TAZARTES, GHEDALIA: Les danseurs de la pluie 4CD (TES 063BOX) 66.00
2015 repress. This lavish set includes the complete Ghédalia Tazartès recordings previously issued on CD by Alga Marghen. This edition is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves. Diasporas is the CD edition of Tazartès' 1979 first album, also including "Ferme ta gueule, Zarathustra" (previously issued as side A of Granny Awards (ALGA 036LP)). Tazartès' Transports is the CD edition of Tazartès' 1980 second album complete with four "Assassins" bonus tracks (previously issued as the mini-CD Les danseurs de la pluie (TES 063CD)). Une éclipse totale de soleil is the CD edition of Tazartès' 1984 third album. Originally conceived in two parts, this CD edition is completed by the long bonus track "Il regalo della befana," or "Une éclipse totale de soleil (Part III)" and "Elie," a charming piano piece performed as a duet with Tazartès' young daughter. Tazartès is the CD edition of Tazartès' 1987 fourth album, also including "Whatever Works Singing Wild My Rock Ghédalia" (previously issued as side B of Granny Awards (ALGA 036LP)). Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. Tazartès is an orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition. To hell with the technocrats of noise and the purists of synthetic culture; this music refuses classification and escapes control.


TAZARTES, GHEDALIA: Diasporas CD (TES 088CD) 19.50
Remastered CD edition of Diasporas, Ghédalia Tazartès' 1979 debut LP. Now available as an expanded individual CD, this edition was previously only available as part of a CD containing both Diasporas and Tazartès' 1987 self-titled fourth album, which is also now available in an expanded CD edition (TES 089CD). In addition to the entire original release of Diasporas, this CD includes the first CD release of "Ferme ta gueule, Zarathustra," a composition largely based on materials pre-dating Diasporas, originally issued as side A of Granny Awards (ALGA 036LP). In "Ferme ta gueule, Zarathustra," Tazartès freely connects Raphaël Glucksmann's garbled voix d'enfant with intoxicating, slow-moving, and sustained synth chords, before jump-cutting into bird calls, dissonant arabesque strings, and eccentric vocalizations with a blinding sense of freedom. Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. Tazartès is an orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition. To hell with the technocrats of noise and the purists of synthetic culture; this music refuses classification and escapes control.


TAZARTES, GHEDALIA: Tazartès CD (TES 089CD) 19.50
Remastered CD edition of Tazartès, Ghédalia Tazartès' 1987 fourth LP. Now available as an expanded individual CD, this edition was previously only available as part of a CD containing both Tazartès and Diasporas, Tazartès' 1979 debut album, which is also now available in an expanded CD edition (TES 088CD). Immersive, transporting, and deeply arresting music from the revered autodidact and audio oddity. If you've never encountered Tazartès before, this is an excellent place to start, welcoming you to a unique world of exotic, electro, and acoustic sounds, composed according to a genuinely far-reaching and individual agenda. In addition to the entire original release of Tazartès, this CD also includes the first CD release of "Whatever Works Singing Wild My Rock Ghédalia," recorded in Paris in the early '80s and originally issued as side B of Granny Awards (ALGA 036LP). Spread over five tracks, the piece features a comedic, exuberant vocal set to crackly 78 backing on "Whatever," turns blind corners into ethno-noise trance-outs on "Singing," delivers hyper-rhythmic experiments on "Wild," and closes with a jarring hardcore punk-out in "My Rock Ghédalia." The freedom of expression and taste for exotic, arabesque tonalities is a mighty revelation.


AM 703CD

AMBIQ: ambiq CD (AM 703CD) 17.00
2014 release. German pianist Max Loderbauer, in continuing his work with the Buchla 200e synthesizer system, joins two Swiss musicians and veterans of ECM Records, clarinetist Claudio Puntin on clarinets, mini mallets, and electronics; and percussionist Samuel Rohrer on drums, Kaoss Pad, and electronics to form ambiq, a group dedicated to the exploration of remote musical universes. Their debut self-titled album, released on Rohrer's label arjunamusic records, aims to open doors of perception to the electronic scene by means of enhanced possibilities of instrumental interaction. Rohrer, as an improvisatory sound pilot, is able to elegantly navigate beats and anti-beats. He expands the world of rhythmic functions with his artistic, cross-style overall concept to include striking emotional components. His percussion style flows with an implicit quality into his electronic arrangements, returns enriched with seductive energy, and presents itself as the crucible for the contributions of his fellow passengers. Claudio Puntin's unmistakably smooth sound as he plays on all members of the clarinet family, with the support of mallets and electronics, is familiar from numerous CDs and performances, as well as from film, audio-drama, and theater productions. His live concept of floating electronic spaces and layers of overtones and loops, which he customizes for his clarinet sounds, opens up divine dimensions while creating the harmonic, melodic, and tonal orbit for the satellites of his fellow musicians. With its unique blend of modular synthesizer, drums, electronic rhythms, clarinet, and electronics, ambiq develops mysterious electro-acoustic soundscapes, somewhere between the outer reaches of techno, electronica, and jazz. CD edition features two exclusive tracks, "Talion" and "Tarantula." LP edition pressed on 180-gram vinyl.


AUS 1026EP

JOY ORBISON: The Shrew Would Have Cushioned The Blow EP 12" (AUS 1026EP) 12.00
2015 repress. Joy Orbison has found a sound that marries elements of house, two-step, jungle, techno and dubstep. Both "The Shrew" and "So Derobe" deliver devilishly catchy melodies and bass-lines, full of feeling and soul. Big drops, super-heavy drum programming and grooves that sound like only Joy Orbison could. There's shades of garage, shades of funky, shades of old school R&B. Actress' remix is a raw, unconstructed tool that in the right hands will create huge tension on the floor. Already destined to be as much of a classic as "Hyph Mngo."


BEC 5161976

GAINSBOURG, CHARLOTTE: 5:55 2LP+CD (BEC 5161976) 26.50
2015 double vinyl reissue, with gatefold sleeve (CD included). Originally released in 2006. "Even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released [in 1986] when she was 13), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoît Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and The Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery. On 'AF607105' -- the most Air-like song here -- she's a stewardess recounting the most glamorous plane crash ever; she performs an autopsy on a relationship on 'The Operation,' finally stating that 'the heart was rejected by the host.' As good as the atmospheric heartache of the first half of 5:55 is, it's on the second half, when Gainsbourg and her crew stretch out a bit, that the album really gets interesting. 'Jamais,' a slightly tough, witty cautionary tale about literally acting like you're in love, is a standout, while the sexy, obsessive 'Beauty Mark' and 'Everything I Cannot See' would make her father proud." --AllMusic

BEC 5161977

2015 double vinyl reissue, with gatefold sleeve (CD included). Originally released in 2009. "Where her previous album was ethereal and ephemeral, IRM is exciting and eclectic. Beck and Gainsbourg bring out the best in each other: His songwriting and production are so sympathetic and wide-ranging that he's like a director guiding Gainsbourg to inspired performances. Meanwhile, she brings an emotionality and presence to Beck's flights of fancy that make them more grounded than they would have been as his own songs. IRM still offers plenty of beautiful French atmosphere, but it's more mussed than on 5:55: The way the strings turn from romantic to a little sinister on the slinky 'Le Chat du Café des Artistes' is decidedly jolie laide, while 'La Collectioneuse' is as eerie as it is lovely. However, the album delivers much more than looser versions of where Gainsbourg has been before. IRM's title track is a hallucinatory meditation... Elsewhere, she dives into deceptively simple folky pop with 'Me and Jane Doe' while 'Trick Pony''s breathy sexuality and strutting beats feel like Beck repaying the favor of sampling Serge Gainsbourg's 'Melody Nelson' on Sea Change's 'Paper Tiger.' The pair gets more daring as IRM unfolds, with Beck casting Gainsbourg as a world-weary siren on 'Dandelion''s bluesy shuffle, and a sneering rebel on the brittle 'Greenwich Mean Time,' which makes more noise than all of the songs on 5:55 put together... 'Heaven Can Wait''s joyful stomp is self-explanatory, but when she sings 'you could learn to crawl where you used to walk' on 'Vanities,' or 'It doesn't take a miracle to raise a heart from the dead' on 'Time of the Assassins,' it adds even more depth. Playful, heartfelt, and unexpected." --AllMusic


BS 009CD

FUTURO ANTICO: Dai Primitivi All' Elettronica CD (BS 009CD) 19.50
Black Sweat Records presents the CD version of Dai Primitivi All' Elettronica, Futuro Antico's 1980 second album, which Black Sweat reissued on vinyl in 2014 (BS 009LP). An outstanding raga-like drone album with a distinctive cosmic vibe, Dai Primitivi All' Elettronica is the second release by the short-lived collaboration between two Italian musicians, Walter Maioli (Aktuala) and Riccardo Sinigaglia, with Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic, and analog electronic music is just perfect. The minimalist repetition with slight changes recalls slow growth, and the cycles afford an opportunity to discover the sounds, to meditate, to go into the music, to join the same journey through both ancient, primitive cultures and modern electronic soundscapes. The sound is completely analog and warm. This reissue maintains the original tape artwork and includes info and photos.

BS 010CD

FUTURO ANTICO: Futuro Antico CD (BS 010CD) 19.50
Black Sweat Records presents the CD version of Futuro Antico's 1980 debut self-titled album, which Black Sweat reissued on vinyl in 2014 (BS 010LP). A hypnotic session from Italian collaborators Walter Maioli (Aktuala) and Riccardo Sinigaglia, the album is the perfect mix of drone synth and ancient flutes, with a distinct analog warmth. The sound even recalls the astonishing 1975 jams of Terry Riley and Don Cherry in Cologne. This reissue maintains the original tape artwork and includes info and photos.

BS 013LP

EMMANUEL, JD: Echoes from Ancient Caves LP (BS 013LP) 25.00
Probably one of the most underestimate artists of electronic music from the early '80s, has been lately rediscovered. An expert modulator of electronic and natural sounds, with this work JD Emmanuel seems to recall and reflect extensively on the poetics of the cyclic and mantric sound investigated by other pioneers such as Terry Riley and La Monte Young. The microtonal patterns of the compositions are animated by dense and minimum pulses that amplify the hypnotic and meditative dimension and can be colored by Tibetan suggestions or guitar glissandi. Flows and reflections of sounds define abstract landscapes but remain always deeply reverent with nature and its micro-cosmic variations. In this way, Echoes from Ancient Caves is ideally connected to the previous experimentations of Rain Forest Music (1981) and Wizards (1982). 500 copies on black vinyl + a download link for the digital edition.



CHOCOLAT: Tss Tss CD (BORNBAD 067CD) 14.50
In 2006, Jimmy Hunt (then a proverbial punk troubadour usually found in bars) and Ysael Pepin (bassist for Demon's Claws) started to jam here and there in one of the rooms of an apartment located above the late Zoobizarre in Montreal. Brian Hildebrand, Martin Chouinard, and Dale MacDonald eventually joined and the quintet recorded their first garage EP in two winter afternoons. Chocolat soon received praise in both languages all over Canada (La Presse, Exclaim!, Voir), participated in Les FrancoFolies de Montréal in 2007, and, in 2008, were one of the first bands signed to Grosse Boîte, the French-focused subsidiary of Dare to Care Records. Their acclaimed 2008 debut album, Piano Élégant, featured Beatles-esque melodies, a clearer sound, and an addictive chanson side. During the two years that followed, between disheveled yet jolly performances, Chocolat strung together shows and insolence, and, in 2010, even performed at the XXI Olympic Winter Games in Vancouver. After a brief hiatus during which Hunt released his first solo album, Hunt and Pepin began laying the foundation of an abstract project called Fantôme. The few demos Hunt recorded consisted of linear sequences with drawling riffs interspersed with rhythmic breaks and rudimentary electronic effects. Realizing that Chocolat represented the ideal band to play these, Hunt got the members together and invited his close friend Emmanuel Ethier to replace MacDonald, who had left for Europe. After only three practices, Hunt booked some studio time. The band recorded live for a few days, and, in general, they stuck to the second or third take for each track. This allowed them to take advantage of the spontaneity of Pepin and Hildebrand's garage games played on Hunt's mechanical tracks. Tss Tss is an album recorded between friends; pop music and hypnotic rock at white heat.


CHOCOLAT: Tss Tss LP (BORNBAD 067LP) 18.00
LP version.


DECERF, JEAN-PIERRE: Spaces Oddities: 1975-1979 LP (BORNBAD 068LP) 19.50
LP version. Jean-Pierre Decerf was born in the Paris suburb Neuilly-sur-Seine in 1948, lived in Paris until 2003, and now lives as a hermit in a remote village in the Touraine. From the early '70s to the mid '80s, this self-taught musician composed about 20 albums of production and library music with generic cover art and titles (Out of the Way, Keys of Future, Pulsations, etc.) that evoke interstellar travel. These experimental discs, made with love, humility, and rudimentary means, had no ambition other than to accompany other peoples' images. By exhuming these obscurities from the dustbin of history, Born Bad Records have decided otherwise. Archaeologists with an agenda, they seek to give Decerf the renown he deserves: that of an innovator whose rhythmic, synthetic compositions inspired the harbingers of the French touch (Air comes to mind), and were sampled by many East Coast rappers, including the Wu-Tang Clan.


BB 186LP

POPULARE MECHANIK: Kollektion 03: Populäre Mechanik Compiled by Holger Hiller LP (BB 186LP) 25.00
LP version. Bureau B presents the third release in its Kollektion series, a volume highlighting the music of Populäre Mechanik, the 1980s post-punk/jazz project of Ton Steine Scherben founder Wolfgang Seidel. Seidel describes the development of Populäre Mechanik after his departure from Ton Steine Scherben: "The music of Ton Steine Scherben soon lost its fascination for me, so before long I quit the band. I was far more intrigued by the music performance club Zodiak Free Arts Lab run by Beuys student Conrad Schnitzler. The Zodiak had one white room and an empty black room, the latter used for concerts. And what concerts they were! A poster announced: 'Totally free music. Everyone plays. Anyone plays. Everyone can do it.'... I teamed up with Schnitzler, but there was no room for a drum kit in his little studio. Instead, I started playing around with synthesizers and transposed the rhythms I had played on drums, prompting Schnitzler to nickname me 'Sequenza.' As the years passed by, however, I started to miss the drums, so in the late 1970s I replied to a small ad and found a few musicians roughly the same age as me. Our stories were similar, having begun with rock music in the 1960s. We were not the kind of folk who wallowed in nostalgia, having grown disenchanted with the direction rock had taken. Rock was clearly developing into a soundtrack for squares. Punk was far more attractive to us. It reminded us of the 1960s, rather to the annoyance of the punks. Still, we maintained a certain distance. We shared punk's dislike of the way rock and roll had developed, but beer-fuelled nihilism was not our style. Devo and XTC were the kind of bands we really got excited about. And there were also jazz musicians who wanted away from the entertainment circuit for sophisticates. These two ingredients blended into the music of Populäre Mechanik... The band's strategy for resisting assimilation into any scene was the creation of a cassette label -- allowing us to release our music quickly and cheaply. With a 4-track tape recorder and a healthy appetite for experimentation, we jammed endlessly ages before selecting the most interesting recordings." This collection, curated by Palais Schaumburg founder Holger Hiller, includes tracks from two Populäre Mechanik cassettes from the early 1980s, never before available on CD or vinyl. The accompanying booklet includes Hiller's interview with Seidel, in which they discuss the function of rock and pop music over the past 45 years.



DRUMCELL: Departing Comfort 12" (CLR 085EP) 14.00
Drumcell has put together an excellent package of three heavyweight remixes of "Departing Comfort," a track from his acclaimed 2013 debut full-length Sleep Complex (CLR 013CD/LP). Planetary Assault Systems' remix is elegantly driving, straightforward, deep techno. Orphx's remix remains faithful to the broken-beat structure of the original and creates a suspenseful atmosphere with distorted rhythms and acidic sequences. Material Object's remix is characterized by a big, hypnotic bassline, slowly building with a variety of well-chosen rhythmic elements and textures.



SUTEKH HEXEN: Become CD (CSR 199CD) 16.50
First CD edition of California black metal/noise band Sutekh Hexen's critically acclaimed Become, originally released on reel-to-reel tape in 2012. This edition also includes the exclusive bonus track "Vestibule," which serves as an extraordinary junction in the listening experience. Become centers on vortex, repetition, and inducing trance-like states. The release serves to bridge the gap between 2012's Behind the Throne and 2013's Monument of Decay. Presented in a Digipak adorned with stunning artwork. Layout by Kevin Gan Yuen; source photography by Patricia Cram. Mastered by James Plotkin.


"All seals have been broken," proclaims a demonic voice on the title track of Veil the World, and the music goes on to provide terrifying evidence for this claim. On Veil the World, Trepaneringsritualen veers from crepuscular ritual moods to rabid death chants, reveling in, even celebrating, the imminent end of flesh. Originally released as an ultra-lavish cassette box set in a limited edition of 40 copies by Ko?ci Tapes in 2011, Veil the World marks the halfway point between the earlier, more atmospheric works of T × R × P and the more visceral aggression of the later material. Trepaneringsritualen explores themes of religion, magick, and the hidden realms of consciousness, taking its musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, oozing forward with a creeping sense of desolation at others, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times. With Veil the World, T x R x P once again stakes its claim as the true master of Swedish ritual industrial. Remastered and presented in a six-panel digipak. Limited to 1000 copies.


CM 001EP

DADDY FREDDY: Long Way 7" (CM 001EP) 10.00
Naram and the Jahtari posse have formed an unlikely alliance with a mysterious gentleman named Colonel Mustard to launch a new label focusing on contemporary music that's directly inspired by ruffneck 1980s and early '90s dancehall. Daddy Freddy marches through an apocalyptic world filled with wickedness and corruption to deliver "Long Way," a frighteningly ruff sermon of righteous indignation against the evil-doers. Naram delivers a menacing dubwise cut on the flip. All Colonel Mustard 7"s have been fine-tuned to test any sound system's bass bins -- and they're strictly limited, so get in quick or face the wrath of the Colonel!

CM 002EP

FACE & SHEENYBOO: Dangerous 7" (CM 002EP) 10.00
The debut of two wicked young artists straight outta Asher Senator's school of fast chat in Brixton -- Face and Sheenyboo. Recording on an original Naram riddim, these talented singjays deliver a sound-killing anthem for the new generation -- with the refrain "Dangerous, soundbwoy bite di dust, you haffi deh pon twitter if you waan follow us" sure to resonate over both dancehalls and social media networks across the land! All Colonel Mustard's 7"s have been fine-tuned to test any sound system's bass bins -- and they're strictly limited, so get in quick or face the wrath of the Colonel!



KARIJORD, REBEKKA: We Become Ourselves LP (CFK 010LP) 23.00
LP version. Norwegian singer and composer Rebekka Karijord's We Become Ourselves is arguably the finest work of her career to date. Recorded with Tobias Fröberg at Stockholm's Gig Studio, the arrangements are genuinely exceptional, filled with organs, boys' and men's choirs, piano, guitar, drums, and Karijord's fierce, striking vocal delivery. "I wanted to make a love album first, circling around my relationship to men," she explains. "I wanted it to be a romantic, huge, physical, and powerful record, yet stripped and raw, with its flaws on its sleeve. I wanted to make an album about 'life and death': heartfelt and serious." Its initial framework was constructed with only a drummer and guitarist, ensuring that -- beneath these imposing arrangements -- the songs remain simple. "My challenge is always to dare to hold back," Karijord says. "I record layer upon layer and then peel away most of it before mixing. I also recorded a real organ in a church in Norway, and a lot of the dark sub-frequencies you hear are foot pedals, the darkest notes on that organ. I absolutely adore that organic bass sound." The album's centerpiece is "Use My Body While It's Still Young," a song built upon a bedrock of vast, tribal drums. Karijord's vocals are potent and yet unafraid to display subtle, bewildering hints of vulnerability in both her delivery and lyrics. We Become Ourselves hints at a wide range of influences including Cat Power, PJ Harvey, Buffy Sainte-Marie, Moondog, and Robert Wyatt. "Prayer" is a stripped-back affair that slowly develops through the understated employment of a male choir, which reappears on the growling "Save Yourself" alongside a boys' choir as moving as that of Talk Talk's remarkable "I Believe in You"; the delicate, nimble nature of "Multicolored Hummingbird" belies a melody that lingers long and heavy, while "You Make Me Real" is so gentle as to barely exist. "Oh Brother," meanwhile, is a sensitive lament that aches with both sadness and optimism, and the title-track is distinguished by harmonies reminiscent of Sinéad O'Connor's debut, The Lion and the Cobra. If "romantic, huge, physical, and powerful... yet stripped and raw" were Karijord's goals, then she has more than surpassed them. With We Become Ourselves she has crafted a record of unforgettable, eerie magic as moving, epic, and peaceful as the Norwegian landscape in which she was raised.


DB 170LP

POLLYESTER: City of O. 2LP+CD (DB 170LP) 25.00
Gatefold double LP + CD version. 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.



RE-UP: Nelcorpo (Part Two) 2LP (DISS 025LP) 26.50
Italian duo Re-UP present the final eight tracks of their debut album, Nelcorpo, to accompany the first three tracks on Nelcorpo (Part One) 12" (DISS 024EP). Alberto Leonardi and Omar Mazzon showcase what a diverse and engaging team they are both for the dancefloor and as a personal listening experience. "Nelcorpo" leads off side C with its sweeping, mysterious pads swirling around crisp and angular fragments of rhythm, and "Dark Tunnel" brings on a tougher beat to catch the dancers unaware while carefully feeding a haunting soul into the track. "Each Sense" celebrates mental and physical stimulation with its intricate and seriously funky percussion both surprising and delighting at once, before "Extended" sets out to explore precise, microscopic production detail even as it builds to a spiritual climax. "Gominola" comes to life on a rousing, romantic swell of orchestration, rich in energy and passion without losing that all-important subtlety, while "Tribute" delves into dub-infused techno of the most captivating kind. "Aju Paraplu" strides forth with urgency, the quick-ticking beat providing a perfect anchor to the subliminal intricacies of the sound design around, and then finally "Concrethereal" emerges gracefully into a dense and complex arrangement of percussion and melodic chimes that soars away from the dancefloor and into more meditative realms. Balanced perfectly between the cerebral excitement of home-listening electronica and the physical thrill of club-ready house and techno, Nelcorpo brings more shades to Re-UP's craft while maintaining their finely honed sonic identity. Also available on CD as Nelcorpo (Mixed CD) (DISS 002CD).


ACV 2041LP

COOKE, SAM: I Thank God LP (ACV 2041LP) 22.00
This 1960 album features spirituals and some of Sam Cooke's finest gospel tunes with guest artists The Blind Boys of Alabama (credited as The Original Blind Boys) and The Gospel Harmonettes. Cooke would periodically return to gospel throughout his career, always with outstanding results! Very special reissue of a rare LP.

ACV 2042LP

COLTRANE & DON CHERRY, JOHN: The Avant-Garde LP (ACV 2042LP) 22.00
Recorded during the summer of 1960, this legendary LP is a milestone of free-jazz history. Joining John Coltrane and Don Cherry are essentially the rest of the members of the Ornette Coleman Quartet: Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides.

ACV 2043LP

DAVIS, MILES: Quiet Nights LP (ACV 2043LP) 22.00
Quiet Nights, originally released in 1963, is the ninth studio album by Miles Davis and his fourth and final album collaboration with Gil Evans. The '60s saw the popularization of bossa nova in American homes, and Davis, an admirer of the Brazilian style, recorded this album inspired by the new craze. Accompanied by Evans's conscientious arrangements, standards such as "Once Upon a Summertime" and "Wait Till You See Her" showcase Davis's unmistakably unique style. Recorded in New York City between July 27, 1962 and April 17, 1963.

ACV 2044LP

MONK, THELONIOUS: In Italy LP (ACV 2044LP) 22.00
A famous European set from Thelonious Monk, recorded in 1961 with his famous quartet that included Charlie Rouse on tenor sax. Rouse's performance is amazing, really stretching out in modern, angular lines that are quite different than any of his recordings from a few years before. He's a perfect match for Monk's inventive piano, as would later be demonstrated on a host of classic studio recordings. There's an open, spontaneous energy between the pair in this live setting, though, with John Ore's bass and Frankie Dunlop's drums rounding things out. Recorded live in Milan, April 21, 1961; originally released in 1963.

ACV 2047LP

COOKE, SAM: Sam Cooke LP (ACV 2047LP) 22.00
Doxy presents a reissue of Sam Cooke's 1961 self-titled album. Cooke began his career as a gospel singer, and after two pop-oriented LPs, RCA Victor and producers Hugo Peretti and Luigi Creatore decided to play to the pop side of his repertoire and reputation for this album. This is the man and his voice in all their glory.


BEN, JORGE: Ben è Samba Bom LP+CD (DOK 232LP) 25.50
"Once in a while, an unexplained phenomena emerges in popular music. Other times, artists of real value are surprisingly swallowed by the abyss of anonymity. But what rarely happens is the emerging of a truly authentic talent -- not only in popular preference -- but also in selling records. In other words, someone with proven artistic ability to get beat in the music scene with full mainstream acceptance. This happened to Jorge Ben, he's became one of the most prominent exponent of Brazilian music. This legendary LP features some of the best arrangers in the genre such as: Meirelles, Nelson and Gaya." --from the liner notes; 180 gram heavy vinyl. Free bonus CD. Insert with lyrics inside.


JAMES, ETTA: At Last! LP+CD (DOK 320LP) 25.50
2015 repress. Etta James's debut album, originally released in 1961 on the Chess subsidiary Argo Records. The album's title-track and "All I Could Do Was Cry" (co-written by future Motown founder Berry Gordy) both went to number two on the R&B charts, while the album itself has gone down in history as one of the great classic albums of early R&B. Bonus tracks "My Heart Cries," "Spoonful," "It's a Crying Shame," and "If I Can't Have You" are taken from two 1960 singles featuring doo-wop idol Harvey Fuqua of The Moonglows (best known for their 1954 hit "Sincerely"). Pressed on 180-gram vinyl; includes CD.


GOULD, GLENN: Bach: The Goldberg Variations LP (DOZ 419LP) 23.50
2015 repress. Born in Toronto in 1932, Glenn Gould was one of the most celebrated pianists of the 20th century. Particularly known for his interpretations of Johann Sebastian Bach, his version of the Goldberg Variations, originally released by Columbia in 1955, is considered to be the finest ever recorded. In fact, many fans consider it to be the very pinnacle of Gould's recorded work. However, Gould was nothing if not an eccentric and it was well known that he had the habit of humming softly to himself while playing, which he does on this recording. Some have harshly criticized Gould for this, claiming that it ruins the piece, while many others, particularly his numerous fans, simply accept this as a side-effect of great genius. Originally published in 1741, this piece was one of the few to have been published in Bach's own lifetime.


SHANKAR, RAVI: Three Ragas LP (DOZ 422LP) 23.50
2015 repress. Three Ragas, Ravi Shankar's 1956 western debut, remains one of his finest albums ever recorded. Although Shankar was already an accomplished and well-known musician in India in 1956, he was still almost completely unknown in the west. The album, consisting of three ragas, was meant to be a kind of introduction to Shankar's music for the western listener. Side A consists of "Raga Jog," an evening raga that expresses the yearning of a longing soul, while side B consists of a morning devotional raga, "Raga Ahir Bhairav," as well as a raga of the southern Indian Carnatic tradition, "Raga Simhendra Madhyaman." Features Chatur Lal, one of the best tabla players of all time. Includes liner notes. Pressed on 180-gram vinyl.


WEBERN/NONO/STOCKHAUSEN/BOULEZ: Le Concerts du Domaine Musical 1956 LP (DOZ 427LP) 23.50
Doxy presents a reissue of Les Concerts du Domaine Musical, originally released by the French label Véga in 1956. Le Domaine Musical was a concert society established by Pierre Boulez in Paris, which was active from 1954 to 1973. Boulez intended to provide opportunities for new music, after a general musical migration from Germany and Austria to Paris in the wake of those countries' legacy of war-torn decades without music. Le Domaine Musical created an exciting milieu in which the best and most innovative in music and other arts could congregate: it was a springboard for creativity, stimulating new ideas and alliances. Jean Cocteau attended the first concert, resplendent in flowing cape. Through these circles musicians and composers like Carter, Stockhausen, Berio, Messiaen, Nono, Webern, Cage, and Varèse came together. Le Domaine Musical gave rise to a seminal phase in the growth of post-war music. Its importance can't be overestimated. Les Concerts du Domaine Musical 1956 includes compositions by Webern, Nono, Stockhausen, and Boulez, with a vocal performance from Jeanne Héricard.


DC 606CD

PRATT, JESSICA: On Your Own Love Again CD (DC 606CD) 13.50
"What makes On Your Own Love Again new? Everything, and yet everything woven so subtly into the presentation leaves you unaware that you have been modulated upon. The album was recorded entirely by Jessica in the fashion of 'Night Faces' and 'Dreams,' from her first album, and mixed in collaboration with Will Canzoneri. Touched lightly with additional instrumental and vocal parts, the songs ripple beneath the surface with lyrical details that morph almost subliminally from the personal into fantasy. When Jessica's playful nature bubbles up, she sends her voice traveling into strange places to see what it finds there. The music too is deceptively accomplished, providing subtle hallucinatory nuances to the tunes. The orchestral organ stop working in the shadows of 'Wrong Hand,' the reverberant percussion floating through 'Game That I Play,' the clavinet panned out on the side in 'Moon Dude,' Jessica's sudden vocal dip into her lower register on 'Greycedes' -- all pull at the ears, highlighting her unique pop sensibilities with craft and humor, giving the album's inherent romance a greater heft. Perhaps most significantly, On Your Own Love Again was recorded at home -- at places in Los Angeles and San Francisco, over the past two years. This process sands the surface of her more active multi-tracking approach, allowing a sound as delicate and singular as her former recordings. On On Your Own Love Again Jessica is fully alive in a space all her own; with isolation in the breeze, the sound resonant in the natural light and a gauze of clouds in the sky, under which she can relax, unwind and let herself be."

DC 606LP

PRATT, JESSICA: On Your Own Love Again LP (DC 606LP) 19.00
Gatefold LP version.

DC 613CD

ROBERTS, ALASDAIR: Alasdair Roberts CD (DC 613CD) 13.50
"Alasdair Roberts is the name of the new solo record from the well-known Scottish songwriter, guitarist and singer Alasdair Roberts -- his eighth Drag City Records release under that name... Alasdair Roberts' ten songs are sparse, intimate and concise. The focus throughout is on Alasdair's deft acoustic fingerstyle guitar and his voice. The songs are variously elliptical and gnomic, direct and personal, romantic and tender. There are occasional guest appearances from fellow Glasgow-dwellers Alex South (clarinet), Donald Lindsay (tin whistle) and singing quartet The Crying Lion (Alex Neilson, Lavinia Blackwall, Harry Campbell, Katy Cooper), always to great dramatic effect. In response to the economy of the arrangements, Alasdair's voice pitches down on occasion, enhancing the close feeling of this album -- an environment where even the sounding of percussive stick-clicks signals a dynamic sonic shift. Alasdair has always delighted in a good, dark set of traditional ballads -- the kinds of songs which address human mortality in all its grisly manifestations -- but even in the relative isolation of this almost-solo set, Alasdair shows no sign of the misanthrope; his advocacy for the fellowship of man is always unshakeably present."

DC 616CD

"THE SYSTEM builds all of the tonal fields, chord changes, scales, and lyrics on this record, creating the framework for the songs with which the musicians engage. Yet THE SYSTEM is open; within the framework, Chasny's own personal aesthetics -- such as the production mode of loud guitars, the order of songs, the editing of length -- were all conscious decisions made to communicate the pieces. The exact same combinatorial patterns used on this record can create infinite results, depending on the choices of the individual. Ben's years of study have produced an operational agent that has not only built all the songs on Hexadic but is also a system anyone can use to restructure their ways of habit. The first thing one notices when listening to Hexadic is how unhinged it all sounds. The album brews and boils with an ominously dark tone in a desolate space, somehow dense with energy, guitar overdriven past the point of sanity, slamming drum accents, vocals cutting through in what seems to be comprised of another, as yet unheard, language. Yet, inside the apparent wild abandon and destruction is a strict internal logic of construction that unveils itself upon listening. This is the majestic dialectic of Hexadic."

DC 616LP

LP version.

DC 618CD

BISHOP, SIR RICHARD: Tangier Sessions CD (DC 618CD) 13.50
"The tone of the guitar and Sir Richard's gentle, loving touch with it hold forth from the first moment of Tangier Sessions, sitting clear and true in the home-recorded night air above the city. The album sequence is the precise order of the songs as they were conceived and recorded. Rick's all over the neck in the early going while sorting through the dynamics of the instrument -- in fact, guitarophiles, the first couple of songs feature Sir Richard Bishop playing without a plectrum for the first time ever! Towards the end of the first side of Tangier Sessions, Sir Richard and guitar begin to chill out and cut loose in a different way -- arriving in the moment that was imagined for them, they stretch out, finding themselves in open space with fewer changes. This is a place where a player like Sir Richard Bishop can relax while remaining totally focused and present, hearing what the guitar and he are capable of in real time. The discoveries of side one give way to the trilogy of songs that comprise the second side, and the issues presented by 'Mirage' are revisited from another angle, another spot on the map in 'International Zone,' leaving finally a sense of journey completed in the serene moments of 'Let It Come Down.' The narrative that builds as a function of this (noble)man-guitar dialogue gives Tangier Sessions a visceral punch that makes for a singular listening experience, even in the crowded realm of solo acoustic guitar albums. Nobody plays the guitar like Sir Richard Bishop -- and on Tangier Sessions, he's found a guitar that nobody but him plays either."

DC 618CS

BISHOP, SIR RICHARD: Tangier Sessions Cassette (DC 618CS) 8.50
Cassette version.

DC 618LP

BISHOP, SIR RICHARD: Tangier Sessions LP (DC 618LP) 17.00
LP version.


EB 106CD

SMITH, ROB: Mixwork in Dub CD (EB 106CD) 17.00
Echo Beach presents Mixwork in Dub by Rob Smith aka RSD, a true pioneer in the history of electronic music. Also known for his work as part of Smith & Mighty and More Rockers, the Bristol bass music stalwart has been pushing bass-heavy rhythms since the late '80s. Smith & Mighty's early releases on Three Stripe Records were influential in laying the groundwork for both the trip hop and jungle scenes for which Bristol would become renowned. Under the moniker RSD, Rob Smith produces fresh, innovative bass music that pays dues to his musical roots (reggae, drum and bass, dubstep, and beyond) while simultaneously pushing things forward. With releases on respected labels including Punch Drunk, Earwax, Tectonic, Black Box, and Moonshine Recordings, RSD's sound is typified by impossibly heavy sound-system-testing sub-lines and junglist dub breaks. He stays busy playing gigs from China to Slovakia to Australia, New Zealand, all over Asia, and back to Europe, UK, and the US. Bass-heavy rhythms. Dope! Mixwork in Dub features Dubxanne, Ruts DC, Carl Douglas, Jah Stitch, Dactah Chando, Marcia Griffiths, Dubblestandart, Horace Andy, Million Teeth, iLLBiLLY HiTEC, Longfingah, Lady N., Fats Comet, Martha & The Muffins, Lee Scratch Perry, Big Youth, and Yabby You.



MUNK, JONAS: Absorb/Fabric/Cascade LP (EPR 024LP) 19.50
Second solo LP from Causa Sui guitar player and producer Jonas Munk. This is pattern music, characterized by slow builds and subtle, but refined transformations, where gradual tectonic shifts and tiny harmonic gestures generate vivid emotional responses. Instead of imposing any direct intention or meaning, it's an album that can create a mental environment for the listener to expand and open up into. "Absorb," taking up the entire A-side, is a piece of meticulous balance, structured from techniques recalling the classical minimalists: soft-glowing analog synthesizer patterns in perpetual motion, creating new harmonic content as each bar progresses. Gradually, randomized modular effects are introduced as well as layers of white noise and detuned, heavily tube-overdriven guitar drones, slowly bathing the piece in warmly filtered fuzz. The B-side opens with two identical organ lines played against each other. After a few minutes the organs lock into a an effortless flow, gently rolling toward a pastoral peak several minutes later, where piano and various layers of electronics enters the soundscape, recalling the blissed-out spiritualism of Alice Coltrane or Popol Vuh. The album's last track, "Cascade," opens peacefully but soon enough crosses into an oscillating flood of sound. Gradually the intertwined layers of sound rise to enormous billows of sonic saturation, where each drone harmonizes against layers of distorted pulses. LP pressed on colored vinyl; includes download card. Limited to 500 copies.


ES 780LP

TORRISI, NEDELLE: Advice from Paradise LP (ES 780LP) 20.00
"Nedelle Torrisi is a singer with a voice for the ages and a songwriter who would fit in at the Brill Building. Her most recent album Advice from Paradise is the brainchild of Torrisi and producer Kenny Gilmore, guitarist / keyboardist /drummer / secret-musical-mastermind with Ariel Pink's Haunted Graffiti. Gilmore plays most of the instruments on Advice, a labor of love more than two years in the making, cut between tours and other engagements. Let us be clear: this all-heart, no-gimmick album is truly excellent. Nedelle's songcraft harkens to a time when albums were albums, songs had structure, anyone could sing them. Rich in emotion, neither retro nor particularly modern, Advice from Paradise suggests a timeless midway point between Carole King and Sade. Best known as the lead singer of Cryptacize, Nedelle has also sung on albums by Ariel Pink, Dev Hynes, and Sufjan Stevens, and opened tours for Julia Holter, Deerhoof, of Montreal, Magnolia Electric Co., Destroyer, Xiu Xiu, Jens Lenkman, and Fiery Furnaces. In her spare time, Nedelle writes a romance advice column at"



KENJANAI: Faceless Heroes LP (FVR 093LP) 22.00
Following previous ventures with The Funk League and production credits for Large Professor, Diamond D or Gift Of Gab, French producer Hugo LX returns with a new collective project under his KenJaNai alias. The debut album Faceless Heroes showcases a radical shift for the young beatsmith, as the production style leans towards futuristic beats, '80s synths and also some downtempo -- sometimes ambient -- jams influenced by Japanese electronic and new-funk. KenJaNai is not only a producer effort, but a close collaboration with fellow musicians and top-shelf vocal artists: the mighty Elzhi (from Detroit's very own Slum Village) and indie star Oddisee supply classic verses, while Canadian songstress Amalia (known for her tremendous work with Opolopo) brings her nu-funk trademark and soulful vibe in the mix, alongside Kandisky Effect bassist Gael Petrina and turntablist DJ Suspect. Cruising through atmospheric layers and hard-hitting drum patches, Faceless Heroes expresses nowadays producers' ability to navigate from a place to another on the musical spectrum, in order to keep the music vibrant.


THOMAS, LAMAR: Feel So Good Inside 12" (FVR 099EP) 14.00
Favorite Recordings proudly presents an official reissue of Feel So Good Inside by Lamar Thomas, an American singer, composer, and producer who had a short solo career in the '70s before forming the duo Thomas & Taylor. Though relatively unnoticed when MCA Records released it in 1980, this brilliant disco production has since become a classic-rare-groove title for a few DJs and diggers, including respected French DJ and tropical-rare-groove specialist Waxist Selecta (aka Julien Minarro). This reissue is remastered from Minarro's own vinyl copy, as all of the masters were destroyed in a fire. Includes an extended mix by Waxist.


GET 54071LP

COLLINS, LYN: Think (About It) LP + 7" (GET 54071LP) 31.00
"James Brown had several incredibly talented 'funky divas' in his late '60s and early '70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hit maker of that funky JB era. Her strong voice and commanding stage presence -- which earned her the nicknames 'The Female Preacher' and 'Mama Feelgood' -- quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky 'Think (About It),' hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, 'Think' gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash 'It Takes Two,' by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Brown's new People Records label -- the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers' 'Ain't No Sunshine,' the socially progressive 'Women's Lib,' the Gamble & Huff-penned 'Never Gonna Give You Up' (originally done by Jerry Butler), and even a daring, muscular take on the song 'Fly Me to the Moon,' made famous by, among others, Frank Sinatra. All throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown-assembled musical crew that included Pee Wee Ellis, Fred Wesley, and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did. Included in this special Get On Down deluxe package is a 22" x 22" poster of the album cover and a bonus 7" of Collins' 1973 People single, 'We Want to Parrty, Parrty, Parrty' with the B-side 'You Can't Beat Two People in Love,' which is unavailable on any Lyn Collins full-length."



LAST HARBOUR: Caul CD (GZH 059CD) 17.00
Based in the northern English city of Manchester, Last Harbour play music with a dark, gothic heart, yet their songs are always beautiful and transcendent. After working with producer Richard Formby (Wild Beasts, Spacemen 3, Ghostpoet) on two previous albums, the band took time out after touring to build their own studio in 2013. They recorded Caul in that self-created space over a year between 2013 and '14 in a patient and detailed recording process that allowed time for experimentation and careful arrangement. Caul contains all of the band's trademark bruised laments and doom-filled rock, but there is also an added layer of raw, bleak experimentation that marries ideally and simultaneously with brighter, almost joyous moments. Most noticeably, "Guitar Neck" moves from a metronomic, semi-spoken verse to a richly orchestrated chorus with the FX-heavy vocal of K. Craig soaring above the pulsing instrumentation. There's another powerful moment in "Fracture/Fragment" when group vocals take center stage and the record immediately takes on a deeper and wider atmosphere, while elsewhere, "Before the Ritual" comes laced with vintage synths and organs. "The Deal" is a highlight, combining an insistent rhythm, menacing vocal, and obscured analog effects, and leading off a trilogy of tracks that form the album's second half, the negative image to the first half's positive; two sides of the same story. Closer "The Promise" is the band's most ambitious statement of their career so far. The epic 13-minute track is cinematic in scale, beginning with droning soundscapes and minimal notes that open out into a beautiful, melodic section with rhythm-led breakdowns and doo-wop backing vocals, before descending into a haunting, sparse, reverb-drenched coda. That song, and the album as a whole, make clear the progression on Caul from its predecessor Your Heart, It Carries the Sound. There is a new focus, a need to explore, a quest to push further into the void.



There are still so many treasures to be discovered out there, but when one finds a gem like this, one can put the research on hold for a little while and give it a deep listen. Recorded at Fono Roma in 1971, Eroina is a series of haunting improvisations -- each one inspired by the effects of a different drug -- made of whirling electronic glitches, skronky horns, pounded piano, funky drums, and weird tape experiments. The best drone/spaced-/drugged-out free music performed by the legendary ensemble of Ennio Morricone, Mario Bertoncini, Egisto Macchi, Bruno Battisti D'Amario, Franco Evangelisti, and Walter Bianchi. A timeless masterpiece available for the first time on vinyl. Limited to 400 copies.


KONSTRUKT: Live at Tarcento Jazz LP (HOL 078LP) 25.00
konstruKt is the revelatory Turkish free jazz quartet of saxophonist Korhan Futac?, guitarist Umut Ça?lar, drummer Korhan Argüden, and percussionist Özün Usta. They offer a real breath of fresh air, like the Art Ensemble of Chicago did in the '70s. This live multi-channel recording by Giulio Moratti captures their whole performance at the Tarcento Jazz Festival in Udine, Italy, on July 18th, 2014, and gives a perfect taste of their cosmic Turkish free jazz, with an electronic touch provided by the use of a Farfisa organ and tape echoes. Lacquer cut by Alessandro di Guglielmo at Elettroformati, Milan. Cover artwork by Canedicoda. Limited to 200 copies. "These guys are the real deal" --Joe McPhee.


konstruKt have shared stages with such legends as Evan Parker, Marshall Allen, Joe McPhee, and Peter Brötzmann, showing their great ability to adjust their instantly composed music to the presence of a guest. This latest collaboration with the legendary American double bassist William Parker is another testament to their prowess. This 75-minute set of outstanding music was performed at Nâz?m Hikmet Kültür Merkezi, Kad?köy, Instanbul, on September 12th, 2014, with a real arsenal of instruments. Four sides of pure spiritual fullfillment! William Parker: double bass, gralla; Korhan Futac?: tenor, alto, and soprano saxophones, flute; Umut Ça?lar: electric guitar, moog, flute, zurna, percussion; Özün Usta: double bass, percussion; Korhan Argüden: drums. Lacquer cut by Alessandro di Guglielmo at Elettroformati, Milan. Cover artwork by Canedicoda. Limited to 200 copies.



TCHEREPNIN, SERGEI: Quasar -- Lanterns 2LP (IPRDO 001LP) 27.50
Sergei Tcherepnin's Quasar ? Lanterns was originally produced in 2009 as an eight-channel installation with Ei Arakawa at Künstlerhaus Stuttgart, and was remixed to stereo by Tcherepnin for this release. Tcherepnin is a Brooklyn-based artist and musician. His work constructs temporary architectural interventions that push phenomena of the sonorous toward the haptic through performance, composition, and installation, exploring the materiality of sound and its physical and psychological effects on the listener. He has performed and presented installations at the 2014 Whitney Biennial, the 30th Sao Paulo Biennial, Guggenheim Museum, Audio Visual Arts, Murray Guy, and ISSUE Project Room. The three pieces that make up Quasar ? Lanterns combine analog synthesizer recordings and other instrumental sources with field recordings captured during the artists' travels to Turkey and Georgia. Each piece introduces a separate facet of Tcherepnin's compositional practice, respectively probing the boundaries between perception/hallucination, active/passive listening, and form/fiction. In the first piece, titled "Death (Quasar)," recordings of an acoustic bass played by Adam Linson function as "sound meteors," creating fissures and tears as they rip through a stable yet shifting aural field. "Sky" follows with a series of clear and high ear tones, unfolding as a succession of subtle sonic events. The final piece, "Horse," explores the rhythmic and textural qualities of recorded horse hooves moving across stone, assembling the sounds into a sonic fiction in which horses and their riders leave the earth via flying carpets (objects referenced in the original installation). Mastered by Rashad Becker.


Sabisha Friedberg's double LP The Hant Variance was recorded at EMPAC (Experimental Media and Performing Arts Center, Troy, NY) with Peter Edwards in a custom-tuned environment using advanced multi-channel recording techniques to capture a configuration of spatialized sound sources. The piece combines granular synthesis, analog synthesizers, tone oscillators, and field recordings. The low-end bass, which was recorded live with a subwoofer configuration that allowed for rapid directional shifts, serves as a sonic armature for the piece. Sustained pure tones shift minimally and the allocation of sound engenders a sense of aural disorientation. This landscape, with the premise of summoning a new phantom or haunted sonic space, exists in an interstitial, albeit present zone. Born in Johannesburg, South Africa, Friedberg's composition, performance, and installation work draws on the phenomenological and phantasmagorical, exploring perceptual delineation of space through sound, and low-end experiential thresholds. She has performed and presented installations widely in Western and Eastern Europe, Russia, Japan, and the US, and received commissions through residencies at ISSUE Project Room, EMPAC, and The Clocktower Gallery. In 2013 she presented the solo exhibition "Levitation" at Audio Visual Arts. Friedberg received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. Peter Edwards is an American artist and musician living in Holland, best known for his DIY experimental electronics website casperelectronics. His work has been presented internationally at venues including The MIT Media Lab, Transmediale, Dutch Electronic Arts Festival, New York Electronic Arts Festival, and Performa, among others. Sabisha Friedberg: oscillators; Peter Edwards: oscillators. Arrangements and mix: Sabisha Friedberg. Balance and edits: Todd Voss. Mastering: Rashad Becker.


ID 005EP

ITINERANT DUBS: Itinerant Club (The Remixes) 12" (ID 005EP) 16.00
"DJ Stingray remix; Mr G remix."


BEC 5772226

FONTAINE, BRIGITTE: Devaste-Moi CD (BEC 5772226) 11.00
"Born in Saint John in 1827 or 2043 (depending on the inspiration of the moment), Brigitte Fontaine, besides the cult singer that everyone knows, is a writer. Actress, playwright, novelist and poet, she tries to reconcile opposites from the beginning of time until the end of time that will never take place. Because life starts now. And now. And now. Is she really here? No. She is, like all true poets, a unique inhabitant of an interior castle to which she occasionally invites visitors, through her books, records, and shows. Her repertoire... reveals its sensitivity in prosody constrained by rules of versification, and, conversely, in the vivid freedom and free verse of prose poems. Some say crazy, eccentric and disturbed. In truth, she bothers because her sensitivity and fragility refer to the extreme center of the human condition; the axis of the world, she said, "is all of us, since all world is the center of the world'" --Benoît Mouchart, author of Brigitte Fontaine, intérieur/extérieur (2008). Jacques Canetti Productions presents a reissue of Brigitte Fontaine's debut album, 13 chansons décadentes et fantasmagoriques, originally released in 1966. Orchestra arranged and conducted by Jimmy Walter. Recorded in March 1966 in Paris by André Touaty.

BEC 5772227

GRECO, JULIETTE: Si Tu T'Imagines CD (BEC 5772227) 11.00
Nineteen classic songs by "la Muse de Saint Germain," many recorded with Jacques Canetti, the producer responsible for her debut. Includes "Si tu t'imagines," "Sous le ciel de Paris," "Les feuilles mortes," "Rue des Blancs-Manteaux," and more. Born in 1927, Juliette Gréco became well known to many of the artists and writers working in Saint-Germain-des-Prés, including Jean-Paul Sartre and Boris Vian. Her dark beauty and boldness seduced her circle of intellectuals. In 1950, Jacques Canetti produced her first record and arranged for concerts around the world. Si Tu T'Imagines collects highlights from the career of this legend of chanson.

BEC 5772239

MOREAU, JEANNE: Succés et Confidences CD (BEC 5772239) 11.00
Twenty-seven highlights from the career of legendary French actress and singer Jeanne Moreau. Moreau's work as an actress with such leaders of the French new wave as Louis Malle, François Truffaut, and Jean-Luc Godard had already established her iconic status by the time she connected with Jacques Canetti to record her first album in 1964. Her career as a vocalist, however, was still nascent, having just begun to show its potential in her performance of Cyrus Bassiak's song "Le Tourbillon" in Truffaut's 1962 film Jules et Jim. Succés et Confidences includes such classics as "Le Tourbillon," "J'ai la Mémoire Qui Flanche," "La Peau Léon," and "La Vie de Cocagne." Also includes a 16-page booklet with photos and previously unpublished documents.

BEC 5772303

FERRE, LEO: L'Homme CD (BEC 5772303) 14.00
"Léo Ferré was an unusual and multifaceted character. His path is obviously quite exceptional." --Jacques Canetti. Born into a petty bourgeoisie family in Monaco, Léo Ferré developed an early interest in music. Considered one of the greatest poets of the twentieth century, he occupies a central place in French chanson with lyrics that mingle slang, lyricism, love, and anarchy. L'Homme includes such classics as "Paris Canaille," "La Vie d'Artiste," and "Le Piano du Pauvre."

BEC 5772306

AZNAVOUR, CHARLES: Sur Ma Vie CD (BEC 5772306) 11.00
Armenian-French singer-songwriter and actor Charles Aznavour was born on May 22, 1924, in Paris. In 1946 he was noticed by Édith Piaf, which led to him recording his first album, Roche et Aznavour, in 1948 with pianist and composer Pierre Roche and producer Jacques Canetti. His career exploded and he released a string of successes, including the songs "Tu t'laisses aller," "Il faut savoir," "Les comédiens," and "For Me Formidable." In the decades since, his repertoire has expanded to hundreds of titles (after recording his eight hundredth song in 2000, he declared, "When I get a thousand, I will stop singing and open a record store"). Jacques Canetti Productions presents an anthology highlighting the best moments in his incredible and prolific career.

BEC 5772307

TRENET, CHARLES: Y'a D'la Joie CD (BEC 5772307) 11.00
Twenty-four successes by the great songwriter Charles Trenet. Each song is emblematic: "Y'a d'la joie," "La mer," "Je chante," "Que reste-t-il de nos amours," "Le temps des cerises." Includes an exclusive interview with Trenet in which he recites an original poem and discusses his debut with Johnny Hess, his arrival in Paris, his love of painting, his friendships with Antonin Artaud and Maurice Utrillo, and his paintings. "Hearing Trenet was wonderful... I found it so powerful, so perfect, I could not wait." --Jacques Canetti

BEC 5772806

HIGELIN & BRIGITTE FONTAINE, JACQUES: Chansons D'Avant le Déluge CD (BEC 5772806) 11.00
Jacque Canetti Productions presents a reissue of Jacques Higelin & Brigitte Fontaine's 1966 album Chansons D'Avant le Déluge. Brigitte Fontaine's partnership with Jacques Canneti had just begun with her debut album, 13 Chansons Décadentes et Fantasmagoriques (BEC 5772226/5772795). This, her second release on Disques Jacques Canetti, heralded the arrival of her highly productive partnership with Jacques Higelin, and remains a cult duet album. Chansons D'Avant le Déluge includes "La grippe" and "Maman j'ai peur," two songs that would go on to become centerpieces of the duo's stage musical Maman j'ai peur. The album features production by Canetti and orchestral arrangements by Jimmy Walter, who also arranged the orchestral parts for Fontaine's debut.


JL 013CD

JAH LIFE: Jah Life in Dub CD (JL 013CD) 15.00
"The infamous and legendary Jah Life in Dub LP, finally released. Originally slated for release in late '80/early '81, this was to be Jah Life's first dub LP, featuring all exclusive mixes to now-classic Barrington Levy tunes. For one reason or another, the LP was never released. To confuse matters, a couple years later, some of the unused jackets were given to Germain to house an untitled dub LP of his productions. Naturally, we needed to rectify this situation. So here it is, finally released 34 years later! Featuring ten killer dubs to Barrington Levy tunes, ALL MIXED BY SCIENTIST AT KING TUBBY'S. Six out of the ten tracks are previously unreleased mixes, including a dub to the song 'Jah Life' which has never been available anywhere before."


KH 9038CD

MITCHELL, JONI: Newport Folk Festival 19th July 1969 CD (KH 9038CD) 17.00
This superb Joni Mitchell performance was recorded at the legendary Newport Folk Festival in Rhode Island on the evening of July 19th, 1969, within a week of the first moon landing and a month prior to Woodstock. Broadcast by PBS as "The Sounds of Summer" that August, it captures Mitchell on the cusp of becoming one of the biggest stars in the emerging singer-songwriter movement. Spanning such early classics as "Chelsea Morning" and "Both Sides, Now," as well as lesser-known album tracks and the rare "Cactus Tree," it culminates with Dino Valenti's anthemic "Get Together," and is essential listening for Mitchell's legion of fans. Includes background notes and rare images.

KH 9039CD

FAHEY, JOHN: Record Plant, Sausalito CA, September 9th 1973 CD (KH 9039CD) 17.00
Taped for broadcast on KSAN-FM, this remarkable 1973 set at the Record Plant in Sausalito, California, finds John Fahey, the master of American primitive guitar, at the peak of his mesmerizing powers, performing a series of lengthy medleys that incorporate a wide variety of influences and styles. It's presented here with rare images and background notes.

KH 9040CD

LEAD BELLY & WOODY GUTHRIE: WNYC Radio New York 12th December 1940 CD (KH 9040CD) 17.00
This rare and historically vital recording captures a 25-minute episode of Folk Songs of America, a radio program produced by the remarkable folklorist Henrietta Yurchenco. In this 1940 session, Woody Guthrie is Lead Belly's guest, and they perform a cross-section of their remarkable catalogs. The set comes complete with background notes and images.



HOTEL LAUER: The Lauhman Brothers 12" (KITJEN 001EP) 15.50
Kitjen is now not only a basement party in the German south, but also a mom-and-pop-store-ish record label for contemp(t)orary dance music. The bottle of champagne for its maiden trip comes courtesy of Phillip and Jacob Lauer aka Hotel Lauer in the form of their The Lauhman Brothers 12". "Agass" is, first and foremost, an anthem (!), with some serious synth business that will have you crying at the discotheque, while "Stollice" is some proper Italo-jackin' silliness for the freaks!



BLAKE, TIMOTHY: Squiggles EP 12" (KRR 004EP) 15.50
Timothy Blake continues to explore his unique take on house music; stylistic nods to the past side by side with his uncommon and personal vision. "Squiggles" is a late-night piece of tentacled whimsy; a joyful frolic in a fishy stream under the stars. "Like U Want Me 2" is a missive from yearning loins to a beloved recipient; an unminced declaration of desire from one luminous blue erotic body to another. On the B-side, The Mole drags "Squiggles" into unexplored territory deep within his underground tunnel network and has his way with it for the length of a short film.


KL 5017CD

CACTUS: Long Island NY 1971 CD (KL 5017CD) 17.00
Originally cast as a supergroup, Cactus was the brainchild of Long Island boys Tim Bogert and Carmine Appice, two ferociously talented players who had cut their musical teeth in the pioneering heavy psychedelic group Vanilla Fudge with Atlantic in the late '60s. In January 1971, the band performed before a small invited audience in Ultrasonic Studios in their native Long Island and plunged into their past three albums to deliver a blitzkrieg that declared their affection for boogie with an electrifying demeanor. This performance also signaled the closure of a chapter in the Cactus story, with guitarist Jim McCarty and vocalist Rusty Day leaving shortly after, before the remaining band recorded their 1972 fourth album, 'Ot 'n' Sweaty. Klondike has captured a unique facet of heavy blues rock with the entire WLIR-FM broadcast of this set, exposing a robust powerhouse performance from a profoundly underrated band. Includes background liner notes. Digitally remastered.



SUKEBE: Feel So Fine 12" (LAST 096EP) 16.00
"Two more choice chunks of Japanese disco and boogie for the teppanyaki, expertly prepped by Sukebe. Junko Ohashi gets the griddle sizzling with her 1979 spoonful, 'Feel So Fine'; whilst actress and singer Mari Natsuki throws on some sauce and takes it down a notch -- as the actress said to the bishop -- with the throbbing 'Uragiri' ('Betrayal'), from 1976, twixt Serge Gainsbourg and Barry White."



MOODOID: Le Monde Möö 2LP (ENTRE 019LP) 34.00
2015 repress. Le Monde Möö, originally released in 2014, follows Moodoïd's acclaimed 2013 singles Je Suis La Montagne/La Chanson Du Ciel De Diamants and De Folie Pure/Je Sais Qui Tu Es, which featured production from Kevin Parker of Tame Impala. That pair of records showcased the multiple talents and obsessions of principle songwriter and guitarist Pablo Padovani (Melody's Echo Chamber): psychedelia, glam rock, world music, and experimental pop. Le Monde Möö, Moodoïd's debut full-length release, was produced and mixed by Nicolas Vernhes (who has previously worked with Animal Collective, Dirty Projectors, and Deerhunter), and features Melody's Echo Chamber, Didier Malherbe (Gong), Riff Cohen, and Padovani's father, cult jazz saxophonist Jean-Marc Padovani. Filled with unorthodox scales and asymmetric time signatures, yet remaining highly musical and fluid, the album incorporates exotic instruments and melodies into more classic pop arrangements. Feeding analog synthesizers and off-kilter electric guitars through Leslie cabinets and echo chambers, it falls somewhere between the melodies of Robert Wyatt and the dream-like psychedelia of Connan Mockasin. This repress includes "Le lac d'or," a track exclusive to this edition.



MADLIB & FREDDIE GIBBS: Pinata 2LP (MMS 022LP) 25.00
2015 repress; double LP version. "Freddie Gibbs is the product of violent, drug-laden streets. But unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. Piñata is 'a gangster Blaxploitation film on wax,' says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroit's Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer."


MD 708CD

ORB, THE: History of the Future Part 2 2CD (MD 708CD) 21.00
History of the Future Volume 2 highlights The Orb's often criminally overlooked but wildly creative 21st century catalog. Released on a variety of labels with new and old collaborators, Alex Paterson's post-2000 volley of sonic experiments retains the essential Orb ethos while returning to the underground that spawned it. This collection charts these exciting new strata, beginning with 2002's bold label venture, Paterson's Battersea cottage industry that presaged internet fever by releasing extremely limited digital EPs by The Orb and his mates, along with tasty T-shirts and coffee mugs. A few tracks from this enterprise are included here, including The Orb's "Cool Harbour." Also included are cuts from The Orb's time with respected German electronic label Kompakt, when Paterson and long-time collaborator Thomas Fehlmann released several low-key EPs and 2004's acclaimed album Okie Dokey It's The Orb On Kompakt (KOMP 045CD/KOM 128LP). After Bicycles & Tricycles (2004), Paterson teamed up with original partner-in-aural-mischief Martin Glover aka Youth plus Dreadzone's Tim Bran for 2008's towering bass-fest The Dream. History of the Future Volume 2 chronicles these two albums with several tracks including "Aftermath," "Gee Strings," "From a Distance" (co-written with Jimmy Cauty), and "Vuja De." In 2012 Paterson and Fehlmann recorded their monumental collaboration with Lee 'Scratch' Perry in Berlin, released as The Orbserver in the Star House and including "Golden Clouds," the reggae legend's own take on an early version of the classic Orb hit "Little Fluffy Clouds." The following year's sequel, More Tales from the Orbservatory, is also represented here, with Deadbeat's dub of "Fussball." The Orb's spaced odyssey after the '90s hits period is, in many ways, more exciting, innovative, and even fun -- the pressure was off and the real mischief could begin. The Orb has also continued to create significant, groundbreaking music since 2000, as beautifully displayed in this sparkling new collection. Bass is the place. Includes remixes by Spud, Kreature, Abacus, Blast Master, The Corpral, Oicho, Ricardo Villalobos and Max Loderbauer as Villod, Dabrye, and Deadbeat. 3CD/DVD Edition also includes remixes by Flowing, David Harrow, and Nocturnal Sunshine, and an appearance from The Elements.


ORB, THE: History of the Future Part 2 3CD/DVD BOX (MDB 707CD) 46.00
The 3CD/DVD edition also includes Paterson's and Fehlmann's 17-minute soundtrack to Battersea Bunches, a short film by Paterson and Malicious Damage's Mike Coles that was screened at Battersea Power Station in June 2010 and released the following year on DVD. DVD is NTSC format, region free.



METRONOMES, THE: The Ballads of the Metronomes 2LP +7" (MNQ 015LP) 23.50
2010 release. Mannequin is more than enthusiastic to announce the re-release of both the LPs (Multiple Choice from 1980 and Regular Guys from 1985) plus the two single 7"s Saturday Night/Sunday Morning and A Circuit Like Me from this legendary minimal synth band from Australia. The group was an integral part of the early electronic music scene in Australia and their releases have become collector's items in Europe, as they are mostly impossible to find. The Metronomes first appeared in Melbourne in 1979 and initial members were rock journo/synth player Al Webb, bass player Andrew Picouleau (Secret Police, Sacred Cowboys) and synth-pioneer Ash Wednesday, nowadays a live tour member of Einstürzende Neubauten. Al himself will admit later that Ash's ingenuity in creating something out of very little was the key to the Metronomes sounding as "produced" as they did. Their first 7'' single Saturday Night/Sunday Morning came out in 1980, featuring a real metronome as rhythm section with instrumentals layered over, and the second A Circuit Like Me/Closed Circuit from 1980 featured more experimentation with drum machines and rhythm sections recorded using a borrowed Roland CR 78. It was the first time in their compositions that a vocal had been used, courtesy of a lady called Talking Judy. The first full-length Multiple Choice was recorded in the winter of 1980, using Roland Strings, a mini-Korg, some Arp synthesizers and a Boss Dr-55 -- a drum machine that was intensively used by many minimal synth bands during the '80s. The second album Regular Guys was released in 1985 and featured the next wave of synth toys like the Oberheim synth, Oberheim drum machine and Prophet 5. Once the programming was set up, the instrumental tracks were dumped via a PCM box direct to video tape, a pioneering process which almost entirely eliminated tape-hiss. Hand-numbered limited pressing of 500 copies. 2LP housed in a gatefold cover with rare pictures. Includes an insert with The Metronomes' band history by former member Al Webb.



MODEL 500: Digital Solutions 2LP (METRO 002LP) 23.50
Double LP version. Digital Solutions is a culmination of a 35-year relationship with music production for the mastermind behind Model 500, techno pioneer Juan Atkins. Marking the 30th anniversary of Metroplex in a genre that has taken over on a global scale, Digital Solutions is only the second full length album ever to be released on the seminal cornerstone of dance music. Definitive Detroit is what the world has come to expect from Atkins, and this selection of tracks delivers just that. Exploring both electro and straight four on the floor, Digital Solutions gives a glimpse into what will be deemed a blueprint for the next 30 years. Model 500 and Metroplex welcome you to the future with Digital Solutions.



KRENG: The Summoner CD (MIA 030CD) 16.50
The Summoner comes four years after the last Kreng album Grimoire (MIA 016CD/LP) and three years after the massive retrospective box set Works for Abattoir Fermé 2007-2011. A lot has happened in the interim, and The Summoner can be seen as quite the departure from the aforementioned works. Pepijn Caudron's most personal album to date, The Summoner was created after a year in which Caudron lost several close friends, and takes its structure from the five stages of grief. A sixth stage, "The Summoning," helps bridge the gap to the finale, "Acceptance." Conjuring up the spirit of György Ligeti, the first half of the album is made entirely of Caudron's direction of a dozen string players, whose noisy clusters and crescendos move the listener from denial through anger, bargaining, and depression. In fact, The Summoner is the first Kreng album not constructed from hordes of samples. Music to really dig deep into. The disorienting twists and turns lead into the second half of the album, with haunting organs and smoke-filled chambers of "The Summoning" preceding an earth-shaking wall of guitars, drums, and bass courtesy of Belgian doom band Amenra. Leaving the listener in a state of shock, the album closes with the incredible and quietly heartfelt "Acceptance."


MIR 100735LP

SCHULZE, KLAUS: Official Klaus Schulze Boot Vol. 1: Stars Are Burning 2LP (MIR 100735LP) 34.00
This double-LP set contains a recording of a performance by Klaus Schulze at Brussels University on April 16, 1977. The double-LP also includes a track exclusive to the vinyl edition of the release, "Invisible Musik," recorded in Schulze's studio in Hambühren in November 2007 and originally released on the 2008 compilation Muting the Noise 01. In this excerpt from his liner notes, Klaus Dieter Mueller recalls the process of releasing this singular artifact: "During his career Klaus has played 380 concerts, 119 as soloist and the others with guests or in a group such as Psy Free, Ash Ra Tempel, Tangerine Dream, or Stomu Yamashta's Go. Some of these concerts were recorded and some of it was already released. The very first was the double LP album ...Live... in 1980, and KS promised then, as it was printed on the cover: 'This is my first and last live album.' Meanwhile... we have a few more concert recordings of Klaus Schulze released, for posterity... and for enjoyment of the present listeners. These historic concert recordings from the concert tour in 1977 were partly available before on an illegal bootleg. We had the obvious idea to make this album (and maybe others) finally 'official.'" Housed in a gatefold sleeve.


NA 5105LP

WITCH: Lazy Bones!! LP (NA 5105LP) 21.00
2015 repress. "Our comprehensive overview of Zambia's premier garage, psych, prog, funk, afro-rock ensemble Witch... The band's third album, Lazy Bones!!, is the band's masterpiece -- a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk."



MELCHIOR PRODUCTIONS LTD: Meditations 1-6 CD (PERL 103CD) 17.00
Thomas Melchior's Meditations series, tracks 1 through 6. Collects tracks released on the 12"s Meditations 1-3 (PERL 103-1EP) and Meditations 4-6 (PERL 103-2EP).



LAKE PEOPLE: Purposely Uncertain Field CD (PERMVAC 136CD) 15.50
Leipzig-based Martin Enke, or Lake People, as the majority has come to know him, has definitely taken his time on his debut album Purposely Uncertain Field, given his early success and the quick development of his distinctive sound. Still, it wasn't until 2012's Point EP on Krakatau (KKT 006EP) that his music became enjoyable for a wider audience. Thanks to Dixon and Âme and numerous other DJs who included the tracks in their sets and mixes, the Point EP can be considered a game changer in Lake People's career. Without riding a big hype wave, Enke lived up to the increasing expectations with a bunch of EPs on which he refined his production skills. Following the popularity of his own music, Enke also became a sought-after remixer for such acts as Lusine on Ghostly International and Guy Gerber & Dixon on Gerber's label Rumors, founded in 2014. A loyal fan base of his meditative, somehow spiritual, yet powerful house sound has grown over the years and made Enke an in-demand producer and celebrated live act. After beginning his releases on Permanent Vacation with 2013's Uneasy Hiding Places EP (PERMVAC 117EP), which included the stand-out track "Brooklyn", and continuing with a contribution to 2014's If This Is House I Want My Money Back 3 (PERMVAC 120CD/EP), Enke has found in Permanent Vacation the perfect home for his debut album. With Purposely Uncertain Field, Lake People doesn't fall into the trap of repeating himself or recreating a successful formula. Instead he puts all his musical knowledge and his experience into the album's 11 tracks and expands his already rich sound universe. Above his straighter dancefloor aspects, Enke elaborates his approaches to include a certain mid '90s electronica vibe and ambient-like soundscapes with a very cinematic feel to them. Thus he brilliantly manages the difficult task of creating a transcendent and consistent album without losing any tension over the full length.


PK 009LP

VA: Glory, Dominion, Majesty, Power - Half Moon Productions 2LP (PK 009LP) 29.00
2015 repress, originally released in 2003. Double LP version. "The gnarliest reggae compilation in Christendom, drawn from the seventies and early-eighties heyday of this Toronto-based label, when it played host to stars like Joe Higgs, Augustus Pablo, Johnny Osbourne and Leroy Sibbles, and home to locals like Pluggy Satchmo and Dill Smith. Raw, twisted, compelling, time-and-again staggering productions by Oswald Creary, in the tradition of his childhood-friend Lloyd Bullwackie Barnes -- and Lee Perry and Keith Hudson -- but utterly themselves. Rough, tough, mystical roots. Brilliant mastering by Moritz von Oswald... silk-screened sleeves (and the artwork is Will Bankhead's finest hour). Just awesome. Hotly recommended."


PLE 65370CD

CRAIG, CARL: More Songs About Food and Revolutionary Art CD (PLE 65370CD) 17.00
"revolutionary art is not determined by its avantgarde content; nor its formal or technical trickery, its interpretation of reality or its verisimilitude, but, rather, by how much it revolutionizes our thinking and imagination; overturning our preconceptions, bias and prejudice and inspiring us to change ourselves and the world" --Jeff Sawell's text on the cover of More Songs About Food and Revolutionary Art. Carl Craig's 1997 album features such timeless highlights as "Televised Green Smoke," which, after a short introduction, floats in on a haze, working through the classic blueprint of dance music -- the gradual addition of layered, complementary elements -- until it reaches a soft peak. "Red Lights" works a slow-grind breakbeat, cycling through the Paperclip People oscillator with strings in the background and an atmosphere reminiscent of The Godfather. "Dreamland" and "Butterfly" are closer to traditional Detroit productions, sharp and focused but rather melancholy; the former is a reach-out to the Britain-Detroit axis (As One, The Black Dog, B12), while the latter evokes the classic late '80s productions of Craig's friend Derrick May (who co-produced a later track on the album, "Frustration"). The Maurizio dub "Dominas" is nocturnal and unhurried, even despite the insistent beat and a female vocal sample repeating the title one word after another -- it's included here, though it was left off the original vinyl release. Another classic, "At Les," balances a few gently cascading chords with a rhythm program that keeps pushing the track forward and faster. Planet E and Rush Hour now present a remastered reissue of this techno classic.


PI 125EP

COMMUNIONS: Cobblestones 7" (PI 125EP) 11.00
Communions (brothers Martin and Mads Rehof together with Jacob van Deurs Formann and Frederik Lind Köppen) is a quartet from the same four-wall rehearsal space as Copenhagen contemporaries Iceage and Lower, and under the same roof as most of Copenhagen's punk, industrial and synth scene -- at the studio and venue complex called Mayhem in Copenhagen. Their debut EP maps out the aches and hopes of young hearts with remarkable precision and honesty, and with an unusual ear for melody and songwriting. The guitars scream like torn throats and the songs beat in the rhythm of young hearts overflowing with passion.

PI 127LP

PAVLOVSKI, MISCHA: Kapitel LP (PI 127LP) 18.00
Kapitel is the debut recording from the Russian-Swedish musician Mischa Pavlovski, now based in Copenhagen. Pavlovski has previously played in punk and metal bands that have also released on Posh Isolation, and his solo debut offers a very different take on sound, though in equally dark territory. Kapitel is a monolithic piece of minimal, ambient techno. It is quite beyond belief that this is someone's debut: with an incredible ear for composition and timing, Pavlovski presents four tracks, each leading into the next with heavy, pulsing bass; distant, desolated melodies; paranoid, ambient soundscapes; and an underlying steady kick binding it all together. With a running time of almost 40 minutes it still manages to keep its listener captivated from the first kick to the last synth. Drugs, anxiety, club lights turning off one by one, waking dreams.

PI 130EP

WHITE VOID: We're Falling 12" (PI 130EP) 16.50
White Void is the solo project of Frederik Lind Köppen, drummer of the four-piece band Communions (who debuted on Posh Isolation with Cobblestones (PI 125EP)). White Void is a different beast, distorted and unique in its compositions, and difficult to fit under any genre term. While the production leans toward primitive punk and metal, the tracks carry with them an underlying pop sensibility that makes it hard to explain, but proves yet again that Frederik Lind Köppen is, even with his young age, already an incredibly talented songwriter and a unique musical mind. Young and unbalanced heart-throbbing rock music.

PI 136LP

VANESSA AMARA: Both of Us/King Machine LP (PI 136LP) 18.00
Posh Isolation presents Vanessa Amara's 2013 debut, the cassette Both of Us, on vinyl, with its sister recording from 2012, King Machine. Vanessa Amara, one of the strongest new voices in Danish experimental music, is the work of Birk Gjerlufsen Nielsen accompanied by his friend and long-time collaborator Victor Kjellerup Juhl. There is eminent beauty in the work of Vanessa Amara -- beauty that few people manage to reach in their work. The fragile and romantic compositions of synth, organ, piano, percussive tape loops, and guitar hold an incredible feeling of urgency and a wonderful originality. Both of Us and King Machine share a similar approach and feeling, yet certain differences persist. Like two different offerings to the same alter or the different heartbeats of two young men dueling over one girl. In an interview with Flesh War, Gjerlufsen Nielsen described the recording of Both of Us: "I recorded the music in the Winter of 2012-2013 with help from my closest friend in a small summer house by the sea, in the north of Sjælland... We had all our recording gear in the house and stayed there until late spring, late April... We asked the closest church with an organ if we could record in the church throughout the months we stayed there. The church was 30 km away, we had to bike their early in the morning and reached the church when it was still dark... We stayed in the church the following day and night, until we had recorded what we needed, drank their holy wine, ate their dry crackers, biked back to the house, and the following months we made tape loops and recorded synth and guitar, closely following the season change, waking up with the birds, finding youth in the April sunsets' glow." Posh Isolation is proud to be able to present a work of this caliber from such a beautiful young voice.

PI 140LP

DENNING, F.E.: Cities of Light LP (PI 140LP) 18.00
Following several cassette releases since 2011, F.E. Denning now presents Cities of Light, his vinyl debut and his best work to date. The compositions and emotions are more complex than ever before, and with his signature endless pools of synth drones and melodies cascading over each other, he draws out a perfectly paranoid image of a modern metropolis. The equal measures of beauty and horror that occupy the modern sleepless machine cities are presented in a blurred narrative over the record's five pieces. Cities of Light feels neither for nor against the concept of mega-city that it displays; the record feels more like someone accepting the state of things, accepting that soon the sunrise will be broadcast on billboards because of smog layers. Accepting that even with millions and millions of people there are no familiar faces appearing in the masses. That the city has become an organism of its own and that any fighting against it has already been integrated into its system. Cities of Light is a beautiful and cinematic drone record, a new level for the work of F.E. Denning, and a very precise portrait of how it feels to be alone with millions around you.

PI 142LP

SLAEGT: Ildsvanger LP (PI 142LP) 18.00
Ildsvanger is the first full-length offering from the Copenhagen-based black metal project Slægt, and it's also unarguably their strongest and most mature release to date. Performed and recorded by protagonist Oskar J. Frederiksen with drums by Adam Ccsquele Nielsen, Ildsvanger follows the same path as laid out on their earlier releases but the ten tracks that shape their new full-length takes us much further into the darkness. With Ildsvanger, Slægt manages to deliver some of the hardest hitting anthemic black metal magic that has come out of Denmark in a long time. Co-released with Final Agony Records. Limited to 500 copies.

PI 143CS

KIRKEGAARD, JACOB: 5 Pieces 3xCassette (PI 143CS) 23.50
Jacob Kirkegaard is a Danish sound artist residing in Berlin. With an impressive resume that ranges from collaborations with Else Marie Pade to presentations at New York's Museum of Modern Art and an extensive recording career, he should need little to no introduction. Kirkegaard's first major retrospective solo exhibition opens at The Museum of Contemporary Art in Roskilde, Denmark, on January 30, 2015. In relation to this event Posh Isolation is proud to present a triple-cassette album containing five of Kirkegaard's previously unreleased works. The five compositions all bear the signature sound of Kirkegaard's processed field recordings slowly evolving into carefully crafted drone works, rich in both detail and emotion. Limited to 200 copies.



VOIGT, WOLFGANG: Protest - Versammlung 1 CD (PROFAN 015CD) 22.00
In 1993, Kompakt co-founder Wolfgang Voigt established the iconic fringe imprint Profan to provide his own idiosyncratic ideas of techno music with an uncensored, liberal publishing platform. From the very beginning, the label stood for a rampant love of experimentation and Voigt's unruly urge to habitually plough through new -- and for the most part difficult -- musical territory with a straight bass drum. Driven by incessant transgression of boundaries and genres, Voigt ransacks schlager and polka, classical and pop styles, sampling his way across music history. Since 2009, Voigt has focused on increasingly abstract and creatively elaborate art and music releases on Profan, which led him to launch the Profan sub-label Protest in 2010, where the expressionist pop techno 12" single a? la Voigt has found sort of a second home, heavily informed by his paradigm of sex, drugs, and pop art. Originally only available on strictly limited vinyl, a selection of remastered Protest tracks has now found its way onto CD, with two previously unreleased bonus cuts. The compilation Protest - Versammlung 1 provides a representative overview of the current state of Cologne techno, indulging in the gaudy funkyness of one of its masters and pioneers.



GOAT: World Music LP (LAUNCH 048LP) 19.50
2015 repress! LP version with die-cut front cover. Rocket Recordings presents the debut album World Music by the band Goat. For those who are unaware, Goat is a collective of musicians who hail from a small and very remote village called Korpilombolo in deepest, darkest Sweden. Legend has it that for centuries, the inhabitants of the village of Korpilombolo were dedicated to the worship and practices of Voodoo. This strange and seemingly unlikely activity was apparently introduced into the area after a travelling witch doctor and a handful of her disciples were led to Korpilombolo by following a cipher hidden within their most sacred of ancient scriptures. The reason it led them there is unknown, but their Voodoo influence quickly took hold over the whole village and so they made it their home -- there, they were able to practice their craft unnoticed and unbothered for several centuries. This was until their non-Christian ways were discovered by the Church and they were burned out by the crusaders, the survivors cursing the village over their shoulders as they fled. To this day, the now picturesque village of Korpilombolo is still haunted by this Voodoo curse; the power of the curse can be felt throughout the grooves of this Goat record. The nine track album follows the underground success of the now sought-after 7" Goatman, which is also included in this selection. The band takes in many influences, from the Afro-groove that is central to the album, through to head-nodding psych, post-punk, Turkish rock, Kraut repetition and astral folk. "Over insistent rhythms that suggest Spacemen 3 and, at least in spirit, the conjuring drones of Pandit Pran Nath and La Monte Young, Goat weave an ecumenical history of rock'n'roll. They intercept signals from Led Zeppelin and Funkadelic, Jefferson Starship and Fela Kuti, the Congos and the Rolling Stones, bending them into a resiliently consistent album." --Pitchfork (8.1)


HEY COLOSSUS: In Black and Gold CD (LAUNCH 077CD) 16.50
Emerging in a haze of demented riff science and booze-addled abandon, London-based tinnitus machine Hey Colossus have carved out a notable niche for themselves in the British underground's murkier quarters. They've dished out a formidable array of wax over the last decade, specializing in a primordial barrage of abject noise from overheated amp stacks. Yet for all the grit and gnarl of their output thus far, it's seemingly only been a warm-up for their latest opus, which sees their monstrous assault finely honed into an album as beguiling as it is bulldozing. In Black and Gold, their eighth album proper and first for Rocket Recordings, ushers in a new incarnation of Hey Colossus. Marrying malevolent attack to expansive celestial splendor, In Black and Gold follows a sonic trajectory that expands on Hey Colossus's trademark ornery overload. The songs herein may be leaner and more artful than the fearsome sound that made the band's name on albums like 2008's Project: Death and the monstrous 2013 opus Cuckoo Live Life Like Cuckoo (MIE 018CD/LP), but Hey Colossus remains possessed of the Stoogian and Stygian wrath that fuels their noise rock transgression. With their maximalist tendencies augmented by a sharp focus on space and restraint, not to mention a refreshing stylistic diversity, the band delivers some strange aural alchemy. Here, they sound as comfortable tackling electronically-fried dub mantras like "Lagos Atom" as they do the Cluster-esque lullaby of opener "Hold On." Yet there's no shortage of primal rock action to be had on In Black and Gold; on "Sisters and Brothers" they summon up a swaggering, demented groove that sashays like a zombified Gun Club, while on the dramatic spaghetti-psych of the title-track a revelatory cinematic sprawl of sound recalls The Bad Seeds and The 13th Floor Elevators engaged in a psychic duel in the noonday sun. Hey Colossus have always made fine work on the vital and Spinal Tap-approved "fine line between clever and stupid." Yet with In Black and Gold, in a laudable leap of faith, they've stepped beyond, and the result is both vicious and visionary. These unpretentious underworld overlords have emerged from the shadows to create an avant-garage pièce de résistance, finding that the sunlight suits them better than they ever realized.


RB 052EP

OCTO OCTA: More Times EP 12" (RB 052EP) 14.00
Brooklyn producer Octo Octa, best known for his still-devastating 2011 "Let Me See You" cut for 100% Silk, graces Running Back with four fine cuts. Creating the new, while respecting the old, the More Times EP features heavy house ("More Times"), twitchy house ("Fever Dream"), dubby house ("Take Me to the Dark"), and breakbeat house with due respect to LTJ Bukem ("Dresses"). That's a lot of house for your money. Music for clubs and places that would like to be clubs. Watch out for Octo Octa on the back of the brilliant cover. More Times? Good times!


SS 003LP

VA: Music from Saharan Cellphones LP (SS 003LP) 15.00
2015 repress, originally released in 2012. "A compilation of the most popular music circulating the Sahara desert on the unofficial network of cellphones -- where mp3s are stored, played, and traded in very literal peer to peer bluetooth transfers. The contemporary West African sound from the new school of DIY production with little or no commercial release outside of their locales, from spaced out Tuareg autotune, Ivorian club jams, Mauritanian synth, and Malian hip hop electro. Collected from memory cards by and released on cassette, the vinyl comes after over a year of tracking down the composers." Includes cardstock insert with liner notes.

SS 025LP

HAMA: Torodi LP (SS 025LP) 19.00
"Futuristic synthesizer interpretations of Tuareg folklore. Pulsing keys, pitch bends, and crashing drum loops combine in a singular sound from underground Niamey based composer Hama. Eclectic convergence of Maghrebi pop, Tuareg guitar, and Detroit techno, transmitting Tuareg guitar into the 21st Century. Limited edition of 500 with screenprinted covers."



LEGENDARY PINK DOTS, THE: The Maria Dimension: The Complete Recordings 5LP BOX (SOL 013LP) 150.00
"25 years after The Dots' classic psychedelic masterwork was recorded, this set marks the first time the entire Maria Dimension album has been released on vinyl. In addition to the original album, remastered and presented here as a double LP in a deluxe gatefold sleeve, the box includes another gatefold double LP and an additional single LP from the same Maria sessions. Limited to 300 copies, this slipcase box edition comes with notes, rare photos, a poster, and previously unreleased recordings."



VA: Milano New Wave 2014: The Evolution of an Underground Music Scene LP (SNG 001LP) 22.00
The title Milano New Wave 2014 recalls Spittle's 2008 compilation Milano New Wave 1980-83, a document of a specific period of the very first wave scene of Milan. But this title is a very clear statement of intent -- The Evolution of an Underground Music Scene is the perfect subtitle for this collection, a kind of "how we are 30 years later," where you can find almost the same protagonists of the first wave. Forget any nostalgic thoughts or the idea of a reunion of friends, though, because the ten tunes that make up this collection are deeply immersed in today's Milan. The album's intent is fully epitomized in the works of State of Art, Out of Limbo, Sound of LLL, Ivories, and La Form, with their new wave, white funk, and 4AD-style baroque embroideries. The other protagonists choose other ways to spread the Milan's nouvelle vague: psychedelia for Peter Sellers & The Hollywood Party and electronic drives or Italo disco for Atelier Folie, ltaloconnection, Sigmatibet, and 2+2=5 featuring Trevor Finn. This compilation captures an urge to drive with the utmost care through an underground route started in 1980, consistently following the changes of a complicated metropolis like Milan. Pressed on transparent vinyl. Limited to 300 copies.


VA: Samples Only LP (SPITTLE 044LP) 22.00
First ever reissue of a sought-after Italian compilation highlighting all the potential of the northeastern Italian post-punk scene, originally released in 1981. Starring Ruins, European Stage, and R.A.R.A., Samples Only is your kind of compilation if you're aware of the development of the new romantic and synth wave scene. It all happened back in the day near Venice. These guys were fascinated with the whole new wave phenomenon -- the radio was pumping in their single rooms and they knew the times were changin'. They were pretty young -- mostly in their twenties -- and any influence came from abroad. Rock, beat, electronic, punk, and even white funk (did someone say A Certain Ratio?) all together, as a stream of consciousness. There was a leading TV program at the time, Mr. Fantasy -- directed by an influential journalist and DJ named Carlo Massarini -- and everyone interested in post-punk and art pop was watching it, including the main characters in Samples Only. They were spending all of their small wages on imported records, duplicating them on the (in)famous C90 cassette. They were dreaming of CBGB's in New York or the Blitz in London, but the Italian clubs -- Tenax in Florence, Plastic in Milan, and even the Shindy and Memorabilia in the vast northeast area -- were not afraid of the competition. Samples Only is a postcard from those days, a shining document available again for your pleasure. Includes two tracks from the group Art Déco, exclusive to this reissue.


A.T.R.O.X.: The Night's Remains LP (SPITTLE 046LP) 22.00
Definitely ahead of their time, A.T.R.O.X. were one of the first bands to move beyond typical new wave styles and introduce strong electronic elements. Not too far from works of their contemporaries Tuxedomoon and Minimal Compact. The Night's Remains was originally released in 1982 on the Italian label Trinciato Forte Records, and is now back in print on LP for the first time since then. "I'm quite happy with this renewed interest in A.T.R.O.X. It is quite amazing that Mojo magazine mentioned one of our tracks among the best of the Italian new wave, and it's incredible that some friends from Sicily wrote to me how important our two albums were for them. And, indeed, they were also important for me and for my travelling companions; nowadays each of us sails on his own route, but those days the sound was made of our common energy. We were discovering the new wave (Tuxedomoon, The Residents, Chrome) and we ourselves were the new wave. The sound flowed like water from the tap, and it was nice to walk along the streets of old Piacenza late at night laughing like fools without fear of any challenge." --Francesco Paolo Paladino


A.T.R.O.X.: Water Tales LP (SPITTLE 047LP) 22.00
Definitely ahead of their time, A.T.R.O.X. were one of the first bands to move beyond typical new wave styles and introduce strong electronic elements. Not too far from works of their contemporaries Tuxedomoon and Minimal Compact. Water Tales, the group's second and final album, was originally released in 1984 on the Italian label Contempo Records, and is now back in print on LP for the first time since then. "When we recorded Water Tales I was thinking of the sea as the only escape for mankind. I proposed this idea to the rest of the band and all of them were just thrilled. Probably it is the only new wave concept-album that was ever released. The sound, compared to the first album, is more influenced by the lessons of Eno and David Byrne, who were enriching their compositions with amazing and intriguing musical phrases and rhythms. Of course, we did not forget the lessons of NEU! and Faust. The Andreoni brothers and Marchini were both brilliantly creative and yielding, and they were responsible for all the musical themes upon which Benvisi carved the acoustics. Water Tales is a sincere album, then the season changed and suddenly we were 'every man for himself' almost without realizing it." --Francesco Paolo Paladino


VA: The Great Complotto - Pordenone LP (SPITTLE 048LP) 22.00
Spittle Records presents the first vinyl edition of this seminal compilation of the post-punk undercurrents of northern Italy. A typical story of suburban Italy, based in Pordenone, when creativity was on top and the shortage of technical resources didn't keep the dream from coming true. That was the driving force of the often underestimated Italian punk scene. At the end of the '70s a bunch of musicians from Pordenone joined the punk wave spreading all over the UK, making their way to London for a bizarre pirate live event. Hitler SS and Tampax played under the Acklam Bridge on Portobello Road. That was 1979. The performance was soon after known as the "Cartoon Concert" -- because the members of the band played fake cardboard instruments. The Great Complotto was the cure, the vital alternative to the western standard way of life. This sought-after collection was released on cassette in 1980 and soon after was welcomed as the Pordenone manifesto, a testament to the incredible and extremely innovative musical scene that was not only aware of the British revolution but even tuned in to the more eclectic US form of art- and post-punk (think early Devo, The Residents, and -- why not? -- New York no wave). On this compilation you'll get an idea of the raucous genius of Hitler SS/Tampax, Mess, Fhedolts, Sexy Angels, Andy Warhol Banana Technicolor, Mind Invaders, 001100111100011001011100 (credited as Cancer on the label), Musique Mecanique, W.K.W., Little Chemist, and Waalt Diisneey Production.


RANCID X: Voices LP (SPITTLE 050LP) 22.00
There has always been very little information about Rancid X, so little that even their supposed hometown, Milan, turned out to be wrong. The boys were actually from Torino. Another and maybe more serious misunderstanding is that Rancid X were definitely not punk. As with most of the young bands of the era, they were simply influenced by the new wave and were not afraid of mixing up elements like immediacy and sharpness with a classic rock 'n' roll background, with Lou Reed and The Rolling Stones as the main inspirations. Rancid X's lone album was released in early 1979 with a dark and disquieting cover. Voices was a very appropriate title, evoking intense emotions. Even though Rancid X's adventure ended quickly, they were rediscovered and finally got some glory in the second half of the '90s, when their tracks were included on such bootleg compilations as Killed By Death #201 (1997). With this first reissue of Voices, they have at last been rescued from oblivion.


CHRISMA: Chinese Restaurant LP (SPITTLE 051LP) 22.00
Spittle Records presents a reissue of Chinese Restaurant by Italian new wave duo Chrisma, originally released in 1977. The album was recorded between London and Milano during the second half of 1977, and the results were something like post-punk. More in the direction of bands such as Ultravox, The Stranglers, and Suicide than the Sex Pistols and the Ramones, due to the use of electronic keyboards, obsessive rhythms, tense harmonies, and scratching vocals emerging from generally dark sound textures. Chinese Restaurant was definitely ahead of its time, especially in terms of Italian rock. Housed in a gatefold sleeve.


JO SQUILLO ELETRIX: Girl Senza Paura LP (SPITTLE 052LP) 22.00
After the break-up of her Milanese all-girl punk group Kandeggina Gang, Giovanna Coletti (aka Jo Squillo) along with her boyfriend, the Kaos Rock bass player Gianni Muciaccia, began to work on a solo album. Girl senza paura (Girl With No Fear) saw the light during the second half of 1981 under the name Jo Squillo Eletrix. The LP didn't seem to break with the early punk attitude; it was just more refined, faster, less raw than the previous repertoire. Another classic piece of early '80s Italian punk reissued by Spittle.



Staubgold presents De?sarroi, the tenth album by German ensemble Kammerflimmer Kollektief. Since Thomas Weber founded the group in 1996, its work has meandered between precision and freedom, delivering music that would scorch the paper if one tried to score it. Kammerflimmer Kollektief's art is deception -- a persuasive and seductive art of disorientation and misdirection, with a lucidity and precision approaching what Robert Musil (above suspicion of being a romanticist) called "daylight mysticism." De?sarroi (Disorientation), perhaps the group's wildest work, does it again: welcome back to the Kammerflimmery! The Kollektief delivers a few characteristic elements right from the opening track, with Heike Aumu?ller's free, unsentimental harmonium, played with an air of sehnsucht (inadequately translated as "longing"), resembling a free jazz counterpart to reggae producer and melodica master Augustus Pablo, while Johannes Frisch's magic, free-wheeling double bass creaks along. The album explodes with a dash of Swedish biker-rock passion that momentarily dispels the trappings of modernity, though concrete reality seems to return by the album's end. The Kollektief has long been developing an amalgam of FX culture, psychedelia, free form, dub, improv, and ritual activities, taking only what is of use, with the collected elements taking on a mythical weight. What was once a bass becomes a creak. What was once a voice becomes a phoneme. What was once a guitar becomes a gnarly notion of something strummed. All the while, Weber masks his guitar's effects, leaving them as unidentifiable yet familiar sounds to be incorporated into the singular tone continuum of Kammerflimmery. Like the shaman who in the morning simply hangs up his magic roots to dry in preparation for his nightly ecstatic routines, the Kollektief incorporates the ordinary and familiar into its rituals. Maybe that's why they cover "Zuru?ck zum Beton" ("Back to Concrete"), the 1978 hit by West German punk legends S.Y.P.H. They interpret the track not as a grim punk anthem but as an erotic celebration of a life in order, of alltag and ku?nstlichkeit -- familiarity and artificiality. Over there, pure nature. Over here, humankind. In between, the magical pragmatism of Kammerflimmer Kollektief. On De?sarroi, in a fashion perhaps even more pronounced than on previous works, the Kollektief works with a delicate, tender sensibility, highlighted by Aumu?ller's voice, which has never been heard like this on record before. The lyrics and music want to be heard, explored, even suffered. Tenderness maximized to a radical degree.



PLASTIC PALACE PEOPLE: From the Host of Late-Comers LP (STREAM 1035LP) 18.00
"From the Host of Late-Comers represents the latest challenge manifested by Plastic Palace People, the duo of Jim O'Rourke and Christoph Heemann, who have been collaborating continuously (even though in a largely unnoticed fashion) since 1989. Previous Streamline releases from Mimir contain some of their earlier work; Plastic Palace People first saw release in 2011. After two releases in quick succession, it has been a long wait for more, and finally here is a recent piece of work from them, recorded at Super Deluxe in Tokyo, Japan, in August 2013. After all these years of contact, friendship and collaboration, the collective strength and mutual understanding of this duo has grown into a state where it is almost impossible to distinguish who is responsible for an utterance directed at the other at any given time, at a fast, almost speed-of-light succession of soundscapes chasing one another. The build seems to be never ending, but what about the descent? It's all about sitting back and enjoying the ride giving it a try while spinning the grooves of this high fidelity platter mastered and manufactured to the highest standards for you, dear listener."


OORUTAICHI: Drifting My Folklore LP (STREAM 1038LP) 19.00
"Unleash your inner caffeine-addicted Zipper model in the privacy of your own abode, now given added lustre thanks to the premiere vinyl release of Oorutaichi's Drifting My Folklore on Streamline Records! Remember the time you tried to imagine your cat reversing a balloon landing so you could both escape? When you first realised that vaporwave and black MIDI had broken Trevor Horn's glasses on the cover of Adventures in Modern Recording? Recreate and synthesize all these experiences and more in 3D with Oorutaichi's primary coloured musical blocks. You can dance, you can roco, you can cosmic coco, a thousand future folklores, blue sky drifting forever."


SF 097LP

Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabé musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band -- when he's not playing with the now-famous Burkinabé musician Victor Démé -- is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Adé are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabé society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougou's DIY underground musical culture. Juguya is their sound. Limited edition LP housed in a Stoughton tip-on sleeve.



NOVELLER: No Dreams LP (TAIGA 026LP) 23.00
LP version on Taiga. Soaring sixth solo album by American electric guitarist Sarah Lipstate. Mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl in an edition of 400. Housed in a heavy custom weight black paper jacket letterpress printed with silver ink, diecut and hand-assembled at Studio on Fire in Minneapolis. "Sarah Lipstate is Noveller. No Dreams, her sixth full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. The compositions on No Dreams explore the artist's struggle with her blurred perception of reality and hallucination in the twilight of sleep and awakening. The songs alternate between being firmly rooted in place, like the epic, beat-driven "Mannahatta" and the playful guitar melodies of "Rue de Montmorency," and navigating the murky underworld of nightmare as in the dissonant layers of bowed guitar and manipulated piano in "The Fright." Title track "No Dreams" is a gloriously melancholic plea from Lipstate's overdriven electric guitar for exemption from the throes of parasomnia." --Important Records


PAVONE, JESSICA: Knuckle Under LP (TAIGA 027LP) 23.00
Knuckle Under is Jessica Pavone's first recording to be released on vinyl. Mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl in an edition of 300. The jacket was letterpress printed, diecut and hand-assembled at Studio on Fire in Minneapolis. "Violist Jessica Pavone's Knuckle Under is the result of an exercise in mono focus, the result of a medically enforced hiatus from playing her primary instrument. She returned to the viola after a 21 month lay-off determined to play only the sounds she most wanted to hear. That turned out to be long tones, often played with such force that one imagines a puff of rosin rising from her strings as she bowed them. ', But Not Here" gets through just three rustic sounding notes before a delay unit sprays one out like a prism. She repeats the phrase, and another note splits and gets trapped in an effects pedal's hall of mirrors. The simplicity and sheer noisiness of the music feels remote from the scrupulous craftsmanship exhibited on her last solo record, Hope Dawson Is Missing, even though they share a tune. "Plutonium", the piece in common, reveals the flexibility that Pavone finds in folk material. On the Tzadik disc, it unfolds into a stately art song; here, mournful low tones turn as bushy as a wolf's winter coat under the influence of amplification. Pavone is, as ever, scrupulously focused, wringing everything she can from one piece of material before moving on." --Bill Meyer, The Wire, Issue 368


BORIS: The Thing Which Solomon Overlooked Extra LP (TAIGA 028LP) 32.00
The Thing Which Solomon Overlooked Extra was released for Boris' 2014 North American tour. It is the fourth and final installment of the Thing Which Solomon Overlooked series and includes a slipcase intended to house all four LPs in the Chronicle; volume one being released by Kult of Nihilow in 2004, two and three by Conspiracy in 2006. All of the packaging was letterpress printed, diecut and hand-assembled at Studio on Fire in Minneapolis. 400 copies were pressed on transparent yellow vinyl. Like other albums in the Chronicle series, this final release makes use of the raw, unsettling drone elements that are Boris' trademark. But just when the listener becomes enveloped by entrancing swirls of loose, collapsible, organic textures, Extra then takes a turn toward a different style embraced by this experimental Japanese band, incorporating tensely buoyant psychedelic rock ballads and jazzy improvisations. Guest artists: Michio Kurihara (guitar), Seiichiruo Morikawa (vocal), and Nene & Nana (vocal).


"In the summer of 2010 I had the chance to visit Antarctica under the invitation of the Argentine Antarctic Division. It was nothing short of breathtaking as I am sure anyone would suspect. Upon departing from Buenos Aires, the Hercules transport, under direction of the Argentine Military made a routine stop at the airbase outside Rio Gallegos. What was meant to be a few hours layover turned into several days, as winds there exceeded expectations and before long it was clear the transport could not take off. Adverse weather conditions along the Antarctic Peninsula also didn't help the departure. Whilst the scientists bunkered down in their quarters, I headed outside with my recorder. The wind in Patagonia is, well, breathtaking. Literally, there were moments where it was... difficult to catch breath. Across three days I recorded abandoned buildings, lone trees bent over in fields of tundra-like grasses, quivering road signs, wailing fences and other objects brought into relief with the wind. It wasn't comfortable, but the sounds, I hope, speak for themselves. The Antarctic recordings were made during two blizzards at Marambio and Esperanza bases. During the blizzard in Marambio, the temperature dropped to -40 degrees centigrade (with wind-chill) which made recording particularly challenging. The wind battered the base's structures and telecommunications equipment, making a range of unusual tonal phase drones, which you can hear in these recordings. The blizzard at Esperanza was mild by comparison, but still strong enough to coat penguins in layer of snow as they huddled together during the worst of the wind storm. Listening back to these recordings I am struck by the sheer physicality of the wind. It's rare that you feel physically reduced by the motion of air, but in both Patagonia and Antarctica that is just how I felt. A small speck of organic dust in a howling storm" --Lawrence English. English composed Viento from these field recordings, and it was cut direct to metal and pressed on 400 copies of 200-gram virgin vinyl for ultimate clarity. Housed in custom letterpress packaging with visuals complementing the stark and austere sounds within.



MZKBX: Space Capsule EP 12" (TPL 002EP) 14.00
That Place presents another musical journey through the artist's emotional and inspirational landscape! Lyon, France-based MZKBX (Macadam Mambo, Skylax, Karat), resident at Le Sucre, delivers a taste of his musical roots. "Le vent crépite" is a beautiful intro into a spacy world, and "Saturn's Ring" falls between house and techno with Chicago vibes -- jackin'! On the flip, "Caresses magnétiques" is a track full of pressure, an industrial atmosphere to bring the listener higher and higher! Closer "51 Pegasi" is a nice journey between deep sensations and '80s synths.



YUNG: Alter EP 12" (TLV 078EP) 14.00
Limited edition 12". Danish four-piece Yung present their international debut, Alter. A brash, persuasive slice of Nordic punk, with a rare sense of rhythm and melody that recalls The Replacements, Jay Reatard, and Ty Segall. Formed in summer 2013 by 20-year-old frontman Mikkel Holm Silkjær (guitar, vocals) in the north of Aarhus -- Denmark's second largest city and its current punk rock capital -- along with Frederik Nybo Veile (drums), Tobias Guldborg Tarp (bass), and Emil Zethsen (guitar), Yung have built a formidable live reputation for their youthful exuberance and feverish energy that leaves little room to catch one's breath.


TV 009LP

CORTEX: Troupeau Bleu LP (TV 009LP) 22.00
Troupeau Bleu is the first and most famous album recorded by French jazz-funk legends Cortex, and it has been an obscure favorite of funky collectors for years. Reissued last in 2013 by Trad Vibe, it's now back in stock in a final limited pressing, under official license from Alain Mion. In 1974, Mion, Alain Gandolfi, and Jeff Huttner formed this mythical band, who then recorded several LPs, including this one. Recorded in two days in July 1975, it is a real musical UFO, an unclassifiable record, a mixing of a thousand flavors. The result is a stunning electric groove with a feeling that's really fresh, nice, warm, and funky in all the right parts. Limited to 500 copies.



One of two different sets, along with Two City Blues 1 (TROST 126LP), recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.



LADY: Lady Instrumentals LP (TSLP 024LP) 21.00
"By popular demand, Truth & Soul is proud to present the instrumental version of the already classic self-titled debut by Lady. We have been asked to do this since the record dropped in 2013, the time is now, enjoy. Lady the album unites the mellowness and pop air of '60s soul with the driving beat of hip-hop and the silky rhythms of modern R&B. Nicole's powerful voice and Truth & Soul's authentic instrumentation unite to create a fresh sound that would reveal all of her stories of growing up and never giving up, of love and friendship, of yearning and losing, bad girls and good hearts."



2014 release. Soul music cannot be reduced to mere pre-cooked food for distracted consumers; an art form of such noble origin cannot be kneaded the way kids chomp down on caramel. But one can reinvent, flip, and revive soul by connecting extraordinarily creative talents from both sides of the Atlantic. Voices, souls, instruments, and hearts merged to pay tribute to the queen of soul, Aretha Franklin, but with no attempt to imitate the original. There will always be only one Aretha, but there is also an urgent call for soul, jazz, rock, and psychedelic music, for the sake of which one must cast aside black and white clichés and start from the bottom, from the very essence: the soul of this music. This disc is an atomic cocktail, a mix of unparalleled and inimitable talent: Cristina Zavalloni, the most compelling, venomous, warm, and explosive voice that has emerged in Italy in the past several years, and Uri Caine, a brilliant creator of sounds, an inventor without boundaries, whose work spans the world of jazz. The lyrics are hers, the music is his, and the arrangements are by both. In the past, they've been known to saunter along together in various directions, but this time they've stepped into soul's enchanted forest; making Bologna and Philadelphia, their respective hometowns, one sole image reflected in the ocean. Jazz guitarist David Gilmore, soulful bassist Fima Ephron, and outstanding all around drummer Gene Lake have brought their energy to this creation, along with two top-class jazz musicians: avant-garde jazz trumpeter and composer Ralph Alessi and clarinetist and tenor saxophonist Chris Speed. All that remains is to listen to The Soul Factor and play it loud, as we used to say. It will put a spell on you. Cristina Zavalloni: vocals; Uri Caine: piano, rhodes, organ, and keyboards; David Gilmore: guitar; Gene Lake: drums; Fima Ephron: electric bass; Ralph Alessi: trumpet; Chris Speed: saxophone. This CD is a co-release from Via Veneto Jazz and Jando Music.


SANNA, DOMENICO: Brooklyn Beat! CD (VVJ 095CD) 20.00
Italian pianist Domenico Sanna conceptualized Brooklyn Beat! out of necessity, driven by a focus on the beat -- the pulse of the musical world. His search for the beat took him to the rhythmic origins of jazz, though the resultant music has a contemporary groove and sound, with elements of R&B and swing. Accompanying the pianist here are: Ameen Saleem, one of the most requested bassists in America and Europe and a member of various Roy Hargrove-led bands, as well as a collaborator of Marcus Strickland, Greg Hutchinson, Andy Bey, and Nicholas Payton; and drummer Dana Hawkins, a collaborator of Jeremy Pelt, Esperanza Spalding, Ambrose Akinmusire, and Gerald Clayton. This CD is a co-release from Via Veneto Jazz and Jando Music.



BISHOP, SIR RICHARD: Solo Acoustic Volume Eight LP (VDSQ 008LP) 18.00
2015 restock. "First new solo acoustic recordings from the master guitarist in years, SRB returns to familiar themes and introduces new ideas simultaneously on this tour de force performance of his singular style."


WG 018CD

BUTCH: Watergate 18 CD (WG 018CD) 17.00
Equal parts producer extraordinaire, DJ, gentleman, and comedian, Butch has got it all. Which is why Watergate is extremely pleased to present him as next in line for the Watergate Mix Series. With 23 tracks spanning an hour and 20 minutes, Butch guides the listener through a lucid dream in a technicolor world where time ceases to exist. Reminiscent of a turn of the century Danny Tenaglia, Butch displays his prowess as not only a tastemaker, but an artist encompassing a boundless spectrum of intention and interpretation. The journey begins with the washed-out ambience of Jonas Kopp's "55 Dias" as the groove of Octex's "Liagon" slowly surfaces, establishing the foundation for the rest of the mix. Slowly but precisely, Butch moves into a lush landscape of utopian sounds with tracks like Redshape's "Goom" and Minilogue's "When Sadness Releases Joy Arises" before taking a turn to the heavier side of dancefloor pandemonium. Almost obliviously, the listener becomes locked in a hypnotic state as the sound of Truncate's remix of WestBoy's "Green Illusion" and Polar Inertia's "The Last Vehicle" lash out in proper four to the floor techno. The set would be incomplete without two cuts from Butch himself, and this is where the mix dives into the psychedelic side of club music. Both tracks, "Spirit," exclusive to the mix, and "Thai Cubensis," with his partner in crime Hohberg, are psilocybin-laced expeditions into the outer reaches of deep space. As with any psychedelic experience, it must come to an end. This is where the listener's shaman, Butch, eases back down from the journey with a plush and opulent cloud of warmth. With a compassionate touch and soothing tone, Butch gently lays down the sonic opera of Weltwirtschaft's "Maud." As an atmosphere not unlike that of a ride through the cosmos slowly fades into silence and the adventure ends, the listener is left with a feeling of complete contentment and gratification. Watergate 18 is a demonstration of a master's touch. Watergate could not be more thrilled to have had Butch as a guide. Also includes tracks by Mister Jackson/Draq (remixed by Cezar), The Horrorist (remixed by Ricardo Villalobos), Rocco, Alland Byallo, Shifted, Area Forty_One, Martini Brös., Jeff Derringer, Sigha, Vedomir (remixed by Marcel Dettmann), Sebastian Mullaert, Vincenzo Monastra (remixed by Zece), Heiko Laux (remixed by Ray Kajioka), and Kornél Kovács (remixed by Abdulla Rashim).



FD: Two Timer 12" (YORE 008LTD) 14.00
Yore returns with FD's "Two Timer (No Aass He Losin Edit)." One-sided 12" pressed on white vinyl. Limited to 200 copies.



NEGRO & SEAN P, JOEY: Supafunkanova Vol. 1 2LP (ZEDD 012LP) 31.00
Gatefold double LP version. To tie in with second installment of Supafunkanova (ZEDD 034CD/LP), Z Records presents a repackaged reissue of Vol. 1, originally released on double CD in 2007. Disco historians and top deckhands Joey Negro and Sean P cast the net yet wider with Supafunkanova, another retrospective of outstanding 12" tracks from the late 1970s and early 1980s. Unearthing 24 gems from their respective colossal record collections, the groovesome twosome pull together some of the original backstreet 12"s that put funk into the disco decades. It's a collection sure to please all. The hard-bitten funk fan is likely to find something previously unknown and the newly initiated disco boogie fan will find this a great place to start digging. There's even an exclusive remix by Joey Negro of the old school classic "We Rap More Mellow" by The Younger Generation, thrown in as an added bonus. Reigning in sounds from New York, South Carolina, Washington, Boston, and Los Angeles, Supafunkanova Vol. 1 is an intoxicating blend of fiercely groovy arrangements, bouncy drumbeats, and funk-driven synths. A musical mix of tracks still as likely to get the booty shaking as they were decades ago! Also includes tracks by Backlash, Leprechaun, V.I.P. Connection, Silver Lining, The Power Band, Jackie Cole & Hot Platnium Fantasy, and Johnny Adams.


NEGRO & SEAN P, JOEY: Supafunkanova Vol. 2 2LP (ZEDD 034LP) 31.00
Gatefold double LP version. Following the phenomenal success of Italo House (ZEDD 031CD/LP/X-LP) and Remixed With Love (ZEDD 030CD/LP/X-LP), Z Records returns with another humdinger of a compilation to start off 2015. Supafunkanova Vol. 2 was compiled by Joey Negro and Sean P, who together have curated many previous albums including Disco (Not Disco), Destination: Boogie (ZEDD 009CD/LP), and the ever popular Soul of Disco series (ZEDD 007CD/010CD/022CD). The dynamic duo continues to dig deep, compiling high quality albums filled with lesser known disco and boogie. As the title suggests, Supafunkanova focuses on the funkier end of the '70s and '80s, showcasing some of the bumpier grooves recorded in the disco era when even James Brown had to take notice of the Saturday Night Fever (1977)-inspired disco explosion. It will come as no surprise to hear some particularly hard to find gems have been unearthed here, and ones that aren't just rare but genuinely merit being reissued. The first installment was released back in 2007, and the duo has been working Vol. 2 for some time. It takes a while to finish these albums -- tracking down the owners of these musical gems, finding the right image for the sleeve -- but it's finally come together, and its release coincides with the repackaged reissue of Supafunkanova Vol. 1, available on double CD and double LP (ZEDD 012CD/LP). Once again Z Records gives outstanding value with ten tracks on the double LP version. Highlights include Airplay's boogie synth-infused "Drive Me Insane" and the "White Horse"-ish "Cool Out" by Magnum Force. Things get more DC go-go style on Stimulus's "Super Stimulus," ex Skull Snaps member Sam Culley delivers the up-tempo jazz funk track "Walk," and the soulful, Teena Marie-ish "Sound Reason" by Splash gets an exclusive Joey Negro edit. Also includes tracks by The Blue Denim Band, The Sunburst Band, Star Quality & Class, Brenda Harris, and Nice and Tight Band.

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