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Forced Exposure New Releases for 3/2/2015

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New music is due from Trash Kit, John Wiese, and Humans, while old music is due from
David Borden, Plastic Trash, and The Brian Jonestown Massacre.


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50 017CD

BAMBOUNOU: Centrum CD (50 017CD) 15.50
After leaving both critics and the dancefloor in awe with his 2012 debut album Orbiting (50 011CD/LP), Jéremy Guindo aka Bambounou returns to 50WEAPONS in full-length form with Centrum. While his debut album painted a futuristic, extraterrestrial picture, Guindo now tries to explore what the future would look like on Earth: "For Centrum, the concept is a little bit different, it's back on Earth, still in the future and it's not so bright. Have you seen Akira or read Dune or even Foundation? It's this kind of vibe for me," he says. Hold on -- outlining a dark future in a techno full-length... hasn't that already been done? Not in this manner. Guindo paints a picture of a future where everything is in order and no one can get out of the system. "Composer" is a perfect example, with its grooves evoking the image of a conveyor belt for production or transport. Guindo tinkers with (real Detroit) electro synths throughout the album, leading the listener into a trance state that he interrupts with the slamming percussion of tracks like "Each Other." While Orbiting reflected Guindo's experience growing up the 13th arrondissement of Paris (home to big building blocks and the Quartier Asiatique), Centrum somewhat diminishes the presence of his bass and footwork influences. Ambient and techno are what Guindo is leaning toward now. Centrum may not be a typical club record, stuffed with bangers from start to finish, though it does contain material for good DJs to sink their teeth into. Instead, while it's sure please fans of Orbiting, it also provides the kind of listening experience treasured by mature techno fans.



BRIAN JONESTOWN MASSACRE, THE: Tepid Peppermint Wonderland Volume 2 2LP (AUK 027LP) 25.50
Tepid Peppermint Wonderland Volume 2 includes the second half of the double CD Tepid Peppermint Wonderland: A Retrospective (AUK 013CD, 2004), remastered for vinyl. Following Tepid Peppermint Wonderland Volume 1 (AUK 026LP, 2004), Volume 2 continues to mine the period of 1995 through 2004 and includes key tracks from all of The Brian Jonestown Massacre's albums as well as live recordings and many otherwise unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Beginning in 1995, The Brian Jonestown Massacre released numerous albums, first on BOMP!, the label that gave them their start, and later on TVT Records and Tee Pee Records. The band was essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase (the band name is a reference to Stones guitarist Brian Jones and Peoples Temple founder Jim Jones), but his work in the 2000s expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. Gatefold double LP version.


AUS 1474EP

YOUANDEWAN: Spiral Arms 12" (AUS 1474EP) 14.00
Berlin-based Youandewan, consistently modest in his ascent, has steadily built his reputation behind releases on Secretsundaze (SECRET 009EP), Hypercolour, and Simple Records (SIMPLE 1354EP), as well his 2014 self-titled EP on AUS (AUS 1463EP). He now presents his Spiral Arms EP, a sophisticated meld of deep pads, flecks of acid, and no-nonsense house grooves backed up by a remix from Dixon Avenue Basement Jams affiliate Marquis Hawkes. Hawkes follows up his work on Houndstooth and Crème Organisation with a rattling '90s revision of "Fool Be Cool" full of stout percussion and circling vocal cuts.

AUS 1573EP

ESCAPE: Just Escape 12" (AUS 1573EP) 14.00
Glasgow-based Escape presents his debut EP, a poignant brew of delicately treated vocals, swooning strings, and gut-wrenching melodicism that astutely straddles the bridge between pop and underground dance music. "Just Escape" drifts atop a glacial bed with softly shifting strings punctuated by Escape's haunting croon; "Without You" blooms behind sportive synth work and jutting vocals underpinned by a vibrant 4/4 groove. Justin Martin subtly permeates "Just Escape" with some nifty sampling and spotlights a vocal reprise impelled by a punchy low-end. Jacques Greene weighs in with a prodigious take on the title-track that churns and swells throughout its extended duration.


AV 002CD

CHARLES, SIDNEY: House Lessons CD (AV 002CD) 17.00
House Lessons collects Hamburg producer Sidney Charles's finest moments along with a selection of previously unreleased tracks, taking in originals, remixes, and collaborations with Avotre founder Santé, Pan-Pot, Hot Since 82, Patrick Topping, Hector Moralez, and Kalyde. Charles has become one of the most charted artists on Resident Advisor thanks to his consistently killer and infectious tracks on labels like Hot Creations, I'm a House Gangster, and Moda Black. He's held down resident duties at Sankeys Ibiza, and those DJ experiences clearly inform his groovy, bass-driven productions. House Lessons offers a 360-degree view of modern house music, from the bumpy, vibe-setting opener to the bouncy, shuffling garage inflections of "Drama" and the jacking Darius Syrossian remix of "Housin tha Rave." Mixed perfectly tight and always following an increasingly energetic narrative arc, the mix then takes in full-on retro rave stabs, slick and sliding tech house from masters of the form Luna City Express, and then dips into deeper, more bubbling, and New York-influenced house music. Midway through the mix and fully settled into an inviting groove, unhinged and playful originals like "Nuts," "Psyjack," and "Horny" sandwich raw tech from Patrick Topping and face-melting bangers from Pan-Pot as remixed by Sidney himself. The latter half of the mix keeps up the pressure and features shadowy, no-nonsense collaborative tracks by Santé and Sidney as well as dynamic and techno-leaning solo gems like "Silky Thread" and the whacked-out post-dubstep rhythms of closer "Disco Nap." This mix not only proves Sidney to be a fine DJ who can really tell a story, but also showcases the breadth and quality of his impressive discography to date.



DUAL ACTION: Back In 12" (NAIL 006EP) 16.50
Fixing glassy chimes to stern bassdrum with "Back In," and banking noxious drones over the pneumatic mechanisms of "When Mine," Dual Action rolls off-the-bone with the Pan Sonic-like "Kill the Ignition," and mows back to the 'floor with the thrumming, diesel-fuelled momentum of "Inroads," leaving the throttling distortion of "Easy Way to Get What You Want" for those who can't get enough. Like most everything on Bed of Nails, these tracks function as warehouse tools while edging toward a more layered and destroyed vision of techno. Highly recommended for followers of Preserved Instincts, Powell, Vatican Shadow, or Prostitutes.



COULTON, ALEX: Murda/Break Pressure 12" (ACRE 045EP) 12.50
2015 repress. Making his Black Acre debut, rogue genre-splicer Alex Coulton takes the label back to its roots in the darkest corners of the club. With certified smashers dropped on All Caps, Livity Sounds, and a long catalog of tinkering with the perimeters of house, techno and grime, Alex's invention and adventure make him a perfect edition to the label's canon. "Murda" is a rock-solid grime/techno bastard child, building a drum workout littered with bleeps, chirps, and claps riding along a tidal wave of low-end. Round two is no less blood-thirsty with the bruising "Break Pressure," which dabbles with ethereal atmospheres before unleashing a drag-jungle beat-down.



BEBEY, FRANCIS: African Electronic Music 1975-1982 2LP (BORNBAD 039LP) 26.50
2015 repress; Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.



SCNTST: Puffer 2LP (BNR 024LP) 23.50
Prodigal talent SCNTST, with support from Annie Mac, Moxie, and Rinse FM, follows his 2014 guest mix for Gilles Peterson's Worldwide Family Mixtape with Puffer, his second full-length release and the follow-up to his acclaimed 2013 debut Self Therapy (BNR 021CD/113LP). When Bryan Müller first appeared on the scene as SCNTST aged 17 he was instantly tipped as one to watch. Now 21, with several EPs and an acclaimed debut album under his belt, his production style continues to grow in stature. He grew up in Munich on a diet of hip-hop and rock, and trace elements can still be found in his gritty production style and confrontational attitude. He has cemented his reputation as a producer who destroys dancefloors, while delighting and surprising his audiences with innovative and unexpected sounds and textures. This production flair is expressed even further in the electronic soundscapes of Puffer, which flexes SCNTST's production muscles across the bridge of dancefloor music and ambient sound. From the opening lush and ethereal atmospheres of "Render for Peace," the simple structures and elements of the album make it playable almost anywhere, including the club. SCNTST operates in the dark depths for most of the album, firing delicate rhythms across the ocean floor with the likes of "Ice" and "Zuge" but a sea-change takes place at the album's mid-point on "Mondquelle (Reviewed)," when dub influences begin to take over. Channeling the ghosts of Basic Channel, SCNTST then steps off the abyss on "Hendy" and "Flight" before melting into subtle abstraction on the beautiful "Kristall Edition (Fusion Mix)" and the shimmering "H8 Drop." Full of subtlety, emotion, and moments of sheer beauty, Puffer is the work of an artist in full command of his production powers. In an age of fragmented listening and limited attention spans, Puffer pulls you in for the immersive album experience.


BB 186CD

POPULARE MECHANIK: Kollektion 03: Populäre Mechanik Compiled by Holger Hiller CD (BB 186CD) 18.00
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.



NISENNENMONDAI: Nisennenmondai - Live At Clouds Hill LP (CLOUD 060LP) 21.00
LP version. Tokyo-based all-female instrumental trio Nisennenmondai formed in the late '90s and took their name from the Japanese translation of the then-current phrase "Y2K bug." Nisennenmondai - Live At Clouds Hill features live versions of songs from the band's acclaimed 2014 album N (PTYT 083CD) recorded by Johann Scheerer (producer for Gallon Drunk, Bosnian Rainbows). This recording is part of Scheerer's Live At Clouds Hill series, and follows his practice of inviting the band to perform in front of a small audience in his Hamburg studio, Clouds Hill Recordings, for a maximum of 64 minutes -- exactly the length of two analog tapes. Scheerer recorded and mixed the performance live, and straightaway sent off for mastering and vinyl manufacturing. This process forces Scheerer, the performers, and the audience to focus on the unique present moment, as the final outcome is irreversible. Purchase of the album grants access to exclusive video footage of the recording session through



FIXMER, TERENCE: Depth Charged 2LP (CLR 014LP) 23.50
Double LP version. French producer and live performer Terence Fixmer continues to evolve as an artist while maintaining his influential stance in international techno culture. Following his 2010 album Comedy of Menace (EDLX 010CD), his continuous evolution has led him to produce his most introspective album yet. With this ten-piece composition, Fixmer is able to tell a story from start to finish, with powerful, deep, dark, pulsating tones that are essential to his musical approach. Depth Charged is a complete concept, as Fixmer's track arrangement takes the audience through various emotions illustrating how there is more to darkness than the dancefloor. Beginning with a slow but heavy bassline, "Ellipse" acts as a perfect introduction, setting the attitude for the album. "Fleeting Beauty" brings us fluttering chords amidst a serpentine drone, while the rolling bass of "Unforeseen" sends the listener into a trancelike state. "Purity" distracts the listener with its raw analog warmth filled with extraterrestrial energy. "Inside of Me," selected by Marcel Dettmann for his 2014 Fabric 77 mix (FABRIC 153CD), and "Outside of Me" are both very dark tracks, filled with atmospheric suspense and quaking rhythms. "Beyond" is a pure exemplar of Fixmer's signature style with an infectious progression sending anyone to the dancefloor as "Pallid Light" follows its footsteps filling a bit more radiance into a modern techno sound. "Thoughts" shows another emotion of the album with deeper, dub-like sonorities leading to the final track. Concluding the odyssey is "Elevation," the most melodic track on the album. Beautifully deep, undulating, and atmospheric, it is a breath of fresh air that brings the listener back to reality. Raf Simons chose this track to accompany the showcase of his works for Dior at the 2014 CFDA Awards. With its profound, mystifying tones that rise and fall, Depth Charged is the epitome of Fixmer's unique expression.



MONIN, GUILHEM: Omen (Boo Williams Reckless Chicago Dub) 12" (COLORS 002EP) 14.00
Staying true to their friends & family ethos, the next Colors EP comes from a cofounder of the London party imprint, Guilhem Monin. The musical journey is composed by three tracks. "Omen" is a slinky house cut which eases the listener in with some seductive saxophone/Rhodes combinations, before a warm bassline takes over. "All The Way Back" is more minimalistic, propped up by the hypnotic organ loop which forms the track's rhythmic backbone. Female vocal cuts are expertly dropped in and out of the mix against a subtle backdrop of strings. Chicago veteran Boo Williams rounds off the EP with his interpretation of Omen.


C 024EP

DJ SPRINKLES & MARK FELL: Fresh Insights (EP 2) (sprinkles alt. mixes) 12" (C 024EP) 14.50
DJ Sprinkles serves killer alternate mixes of the massive Fresh Insights (C 023EP) session with Mark Fell. The future classic B-side "Fresh" receives a slinkier rub-down by the Tokyo-based artist, propping that rousing speech by Socialist firebrand Tony Benn on a subtly reshuffled groove -- surely one of the biggest deep house curveballs since, oh, at least their 2012 Complete Spiral EP starring Arthur Scargill. Flipside "Insights" also receives the alternate DJ Sprinkles mix treatment, forgoing the original's sharper hi-hats in favor of supple congas and louche bass linked with a web of gossamer keys and beckoning diva coos.



KERRIDGE: Always Offended Never Ashamed 2LP (CNTRT 001LP) 23.50
Always Offended Never Ashamed by Kerridge marks the beginning of Samuel and Hayley Kerridge's record label Contort. Much like their renowned Berlin event series of the same name, the label will provide a platform for new and old talent, supporting artists' autonomy and individuality. Samuel Kerridge has already established himself with critically acclaimed releases on Downwards, Blueprint, and Horizontal Ground. Always Offended Never Ashamed is his most personal recording to date, spanning seven tracks, with the spotlight on his own vocals. Thrashes of guitar sit alongside steely percussion, and show restraint and elegance in the process. Electric pulses wreak havoc on the senses, with earth-shuddering bass and kicks providing the raw physicality that has become synonymous with his work. Mastered and cut by Matt Colton. Artwork by John Osborn. Edition of 500 copies.



KARIJORD, REBEKKA: We Become Ourselves CD (CFK 010CD) 16.50
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.


CTI 12014CD

CARTER TUTTI: Carter Tutti Plays Chris & Cosey CD (CTI 12014CD) 17.50
Reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from the pair's much-requested live performances of Carter Tutti Plays Chris & Cosey, taking place in an unprecedented series of shows in the U.K., Europe, Scandinavia, and North America from 2011 through 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired to re-record this collection of reworked classic versions in their own Norfolk studio. CD edition includes an exclusive remix of "Vengeance." Double LP edition includes all five tracks from the limited CD Remix Chris & Cosey (CTI RSDUK01, 2014).



NHK YX KOYXEN: Hallucinogenic Doom Steppy Verbs 12" (DIAG 017EP) 16.50
Japanese mentalist Kouhei Matsunaga aka NHK yx Koyxen starts off with "218," a re-tuning of halfstep D&B to sound like Skeptical twysted into submission by Autechre -- coincidentally, NHK collaborated with Autechre's Sean Booth (and Mika Vainio) on 2010's 3. Telepathics Meh In-sect Er Connection (IMPREC 281CD) -- before delivering a 12-minute mastication of garage-techno and swingin' 303 lines in "845." On the flip, strapping, squawking acid bomb "932" features vocals from XenoGlossiX aka XiX, and is pursued, relentlessly, by the palate-cleansing rhythmic noise rip of "234" and a manic, sloppy kiss-off in the Gescom-like, Chicago-via-Tokyo acid burner "953."



JEMPERE, KITO: Akio EP 12" (DIRT 086EP) 14.00
St. Petersburg resident Kito Jempere follows a 2013 EP on Freerange and his 2014 debut album on Fata Morgana with the Akio EP. Up-tempo and energetic tracks with great melodies, driving basslines, and clever sample use; Jempere's characteristic disco- and jazz-influenced house. Helsinki-based Roberto Rodriguez turns "Do You Know Me" into a deep and bass-heavy beast, much more stripped than the original tune and a true dancefloor gem of a remix. Rotterdam-based Nachtbraker cuts up "A Thousand Times" and adds a brilliant bassline.



MICHAEL, EVAN: Acid Anonymous 12" (DPC 054EP) 12.00
A regular on the NYC circuit, Evan Michael first began DJing and producing while living in Boston. He's since transitioned interests to the hidden crevices of house and disco, sampling old records and reworking them for the dancefloor. With several releases on Moodgadget, he's also the curator of Cameo's nascent parties and editor for Brooklyn Bass.


DNC 1203CD

DJ CLENT: Last Bus to Lake Park CD (DNC 1203CD) 15.50
DJ Clent, Chicago's low-end legend, after a few seminal releases on Dance Mania and the 2014 Hyper Feet EP on Planet Mu, returns with his first full-length album, Last Bus to Lake Park, on Duck n' Cover Records, the world's one and only 100% footwork vinyl label. The stakes are high and so is the sound: epic, acidy, deep, driving, ferocious, soulful. It's a classic Chicago record all the way, deeply rooted in the windy city's thriving legacy, showing why it was there where house music was born, and proving that in 2015 it still is the hottest place for challenging and forward-thinking electronic dance music. Sixty-five minutes of pure footwork mayhem, playing in the same league as DJ Rashad, DJ Spinn, Traxman, and RP Boo, and a great listening album as well. DJ Clent is an original, and nobody can imitate his influential style, though hundreds of young producers have tried -- he's still the deepest. Features guest appearances from DJ Milton, RP Boo, DJ Puncho, and Majik Myke.


BEC 5772110

JUSTICE: Cross 2LP (BEC 5772110) 26.50
2015 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.



SUBJECTED: Dolor 12" (EDLX 041EP) 14.00
After teaming up with Sawlin to deliver a series of spacy "Texture" works on Foreign Awake Part 1 (EDLX 033LTD-EP) and Pt. 2 (EDLX 035EP), Subjected returns to Electric Deluxe. Known for his thundering, no-holds-barred basement style, Subjected polishes smooth his industrial edges in this rotund and rolling three-track EP. "Krupp" opens in typical rumbling fashion and builds into a gargled mechanical reprieve. "Dolor" applies Subjected's rusted signature to a groovy subzero bassline and blue-note melody, the EP's peak-time lead. "Wute" delivers the venomous hypnotism followers of Electric Deluxe know and love, albeit with a more scuffed and tarnished appeal.


EF 066EP

PRINS THOMAS: Rainbow Disco 12" (EF 066EP) 14.50
Norwegian disco king Prins Thomas presents Rainbow Disco. The track lives up to its name, and is backed by a remix from Japanese disco kings Force of Nature.



KIASMOS: Kiasmos 2LP (ERATP 062LP) 26.50
2015 repress; Double LP version. Includes download code. Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album-size. After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus' synth-heavy electro-pop, with their collaborative electronic project Kiasmos. By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly-built studio in Reykjavik, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesizers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them recording the thumb piano, finger-snapping, and even the sound of the metal grinder of a lighter used to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere. Long-time Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing how he also designed the cover for their Thrown EP. Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavik, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.



GREED & DAPAYK SOLO, DOUGLAS: To the Moon and Back With Mr. Styles 10" (FENOU 022EP) 12.50
Douglas Greed's 2014 Fenou Bouquet Vol 3 Mix, available only online, was highlighted by his track "To the Moon and Back," which Fenou now presents on vinyl for the first time. The B-side comes from label head Dapayk Solo; in contrast to the more ambient sounds on the A-side, "Mr. Styles" seems to push the boundaries of the label sound a little more toward the dancefloor. As usual this release comes as a 10" vinyl in a limited hand-numbered edition.



BIAS & TERROR DANJAH/FLAVA D, ZED: Telepathy/Home (Champion Remix) 12" (FRMCS 001EP) 14.00
Formula Records presents a sampler of its F=BASS2 compilation, featuring three pioneers in their respective fields: Terror Danjah & Zed Bias team up for "Telepathy (feat. Olivia Louise)", backed by label founder Champion's sterling remix of Flava D's soul-drenched "Home." The combination of grime stalwart Terror Danjah and living UK house/garage legend Zed Bias delivers a snapping two-step shuffle and spooky atmospherics matching with pointed peak-time bass stabs and Olivia Louise's yearning vocal clips. Champion's "Home" remix is one part modern soul to two parts dancefloor power -- a stuttering, snare-driven ride with soothing keys, pitched-up vocals, and see-saw percussion.


GET 51304LP

CLIPSE: Hell Hath No Fury LP (GET 51304LP) 24.00
2015 repress. "In the 4 years after The Clipse dropped their sophomore classic Lord Willin' the duo was able to build a legacy that had fans hungry for new material. After the smoke cleared and they hit the studio the Virginia brothers recorded the confidently mature sophomore effort, Hell Hath No Fury. Best known for their unconventional radio smash 'Grindin',' Clipse are no strangers to taking risks with the boundary-pushing Neptunes, who return as trusted co-pilots for Hell Hath No Fury. As always the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha's inventive drug-game metaphors and Malice's soul-baring confessionals. Get On Down now proudly issues this Neptunes produced favorite on LP for the first time ever with the first run on white vinyl."



JUNGE JUNGE FEAT. KYLE PEARCE: Beautiful Girl 12" (GPM 290EP) 14.00
Junge Junge calls upon Australian Kyle Pearce to set some velvety vocals to a toned-down, bittersweet delight of a track. The Beautiful Girl EP's namesake creation is a thumb-piano-laden tune decorated by some seriously smoky singing just waiting to transport you far away. Audiofly's dub remix spins the song on its head to give it a new psychedelic identity. Meanwhile, Blond:ish throws it into darker terrain.


ANDHIM: Spayce 12" (GPM 293EP) 14.00
The dynamic duo known as Andhim presents Spayce, the latest specimen of their self-christened "super house" genre. Raised on a steady diet of hip-hop and jazz, the Cologne duo have proven to many far and wide that they are entertainers at heart and envelope-pushers by nature. They use their turntables as instruments and taking them where they seldom go, and their heavy use of samples and real-world inspiration set them apart. Spayce is just another example of the duo's eclectic, eccentric inclinations, ranging from dancefloor epic to quirky, by way of some particular glitch, piano work, and musical hiccups.



WIESE, JOHN: Deviate from Balance 2LP (GGGR 077LP) 30.00
"John Wiese's long awaited Deviate From Balance is the artist's first album since 2011's Seven Of Wands (PAN). Recorded throughout Europe/UK, Australia, and the US, the album includes scored ensemble pieces including over 20 musicians on each, recorded in Melbourne and Portland, as well as audio documentation of installation pieces Wind Changed Direction, a four-channel sound piece presented in the garden of the Getty Center (curated by Liars), and Battery Instruments, an eight-channel piece presented at HSP in New Zealand, now heard for the first time. Also included are various collaborations and recordings from live performances. At over 80 minutes, Deviate From Balance has been packaged as a 2×LP with tip-on gatefold jackets. Musicians appearing include Joseph Hammer, Ikue Mori, Evan Parker, C Spencer Yeh, Joe Preston, Smegma and countless more. The material is extremely diverse and services as a comprehensive and detailed document of this prolific individuals work over the past several years."


GB 021LP

HANOI MASTERS: War Is a Wound, Peace Is a Scar LP (GB 021LP) 25.00
LP version on 180 gram vinyl with download code. The first volume in Glitterbeat's Hidden Musics, a series of unmediated field recordings of lesser-known global music traditions. War Is a Wound, Peace Is a Scar is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan (Tinariwen, Malawi Mouse Boys, The Good Ones). The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep, personal connections to the upheavals of the Vietnam War; the recordings' mesmerizing mood navigates the blurred line between raw beauty and sadness. An album of cautious healing and an unforgettable meditation on conflict, resistance, collective memory, and the longing for what has been lost. Brennan recalls the recording process for this remarkable document in the album's liner notes, excerpted here: "We had gone to Hanoi to record veterans from their side. Some were music masters, one of whom had joined the army at age thirteen and whose job it was to sing to the troops to boost morale and provide solace. Another was a former AK-47 issued village leader who had not sung in over forty years, and proved to be the most dead-on vocally. She did not hide or adorn, but quietly revealed muted emotions that a microphone often can detect more easily than face-to-face interaction. Then, immediately afterwards, she withdrew back into a stoic shell... With a whammy-bar technology that dates back to the ninth century, it is fair to say that Vietnamese traditions had a bit of a head start over the headbangers of the 1980s. A startling revelation was a plucked instrument (the k'ni) that is clasped between the teeth as the local dialect... is spoken through the? single string. What sounds like an extraterrestrial instrumental to the uninitiated actually contains coded, poetic lyrics... Let it suffice to say that these artists are a far cry from the lip-synching karaoke show that we saw on the local cable, with groups of teenagers cavorting on a soundstage and mouthing the words to K-pop songs -- air-karaoke, if you will -- that managed to render something pre-fab even less real. These elders carry a haunting, but muted sadness that seems only fully revealed through the music that they valiantly keep alive in the face of industrialization, waning regard and interest, and the rapid homogenization and 'progress' overtaking their homeland."


GR 816LP

OLSON, MARK: Good-bye Lizelle LP+CD (GR 816LP) 25.50
LP version on 180 gram vinyl. Includes CD. Jayhawks co-founder and singer Mark Olson has left a strong and lasting imprint on alternative country and Americana like few other figures in the genres' history. Milestones such as Hollywood Townhall (1991) and Tomorrow the Green Grass (1995) are timeless masterpieces of American music. Olson left The Jayhawks after Tomorrow the Green Grass and settled down with his wife at the time, Victoria Williams, in Joshua Tree, CA, next to the Mojave Desert. In the following years he released a string beautiful albums under the name Original Harmony Ridge Creek Dippers. The poetic and redemptive 2007 solo debut The Salvation Blues and the 2010 follow-up Many Colored Kite were inspired by months spent crisscrossing the Old Continent via the EuroRail. Also in 2010, after a 15-year hiatus, Olson wrote and recorded a reunion album, Mockingbird Time, with The Jayhawks, followed by two more years of touring the U.S. and Europe. Meanwhile, Olson found a new partner in life and music, the Norwegian singer and multi-instrumentalist Ingunn Ringvold, who recorded three classy albums under the moniker Sailorine for the Norwegian Voices of Wonder label, and guested on Mockingbird Time. To take the next step, and record Good-bye Lizelle, Olson and Ringvold travelled from Armenia to South Africa, USA to Norway, and Finland to the Czech Republic, to record 11 poetic songs featuring guests such as Neal Casal, Aaron Sterling (Liz Phair, William Fitzsimmons), Danny Frankel (k.d. lang, Rickie Lee Jones), and Øystein Greni of the Norwegian rock band BigBang. Good-bye Lizelle was recorded in apartments, cabins, and outdoors in national parks, using Olson's Nagra portable recording system to create a homemade, somehow vintage, and warm sonic atmosphere. Listening to the album, one can only admit that Olson completely succeeded: there are more than just hints of the classic Laurel Canyon feel that made the early Joni Mitchell or Graham Nash albums so outstanding. However, Mark Olson is by no means retro; it's more that he wants to get to the core -- the heart -- of each song, giving it the perfect arrangement and perfect instrumentation to transport the feel, the idea, and the warmth as intended. Good-bye Lizelle consists of 11 perfectly crafted pieces, each a story of its own. In-depth songs in a timeless sound, benefitting from Ringvold's gorgeous duet and harmony vocals, and obviously lyrically in a class of its own.

GR 830LP

WHITE BIRCH, THE: The Weight of Spring 2LP+CD (GR 830LP) 38.50
Gatefold double LP version on 180 gram vinyl. Includes CD. In August 2006, Norwegian band The White Birch played what seemed at the time to be their final show, and broke up after ten years and four albums together. The band survived, though, in the heart and mind of Ola Fløttum, who refused to forsake the band. He began composing music for films, learning bit by bit how to accompany pictures with his music. He describes his time since the band's break-up: "It has taken nine years, many songs have been thrown out the window before I eventually found my 12 chosen ones. During these years I've lost my mother, started a family, raised two kids, and bought a house in Oslo were I've recorded most of the album in the basement." The resultant music takes the form of sometimes almost unnoticeable tones and soundscapes. The Weight of Spring. The world as we see it. A long road. In the end Darkness will prevail. "Once I was just a boy with the urge to destroy. I did not read these newborn sparks through the wilting trees, I could only see the dark as it came." Earth, as it awakes. Warmth. "I was blind, now I can see... no more darkened doors." And as it elapses. Pain. "As the morning dew fell as rain." The White Birch became Ola Fløttum. "A lot of freedom, not always so easy to cope with, since you have to argue with yourself." Fløttum recorded alongside the classically trained composer Ole Henrik Moe on violin, viola, and singing saw, with rhythm from Norwegian Academy of Music graduate Pål Hausken and Moren Barrikmo -- both members of Susanna Wallumrød's Magical Orchestra (Wallumrød herself contributes vocals on "The Hours"). The album also features Ingrid Olava, Ingar Hunskaar (Kings of Convenience, St. Thomas, Serena-Maneesh,Jaga Jazzist), and Fløttum's wife, the actress Ellen Dorrit Petersen. Grammy-winning mastering engineer Bob Katz put the final touches on The Weight of Spring. Will we remember this album in the distant future? And if so how? Names? Instruments? Its origin? The places it took us to? The White Birch: The Weight of Spring: Love, as it awakes. "Love will never change the morning sun, love will never change the way the darkness runs."



PROMISE: Promise LP (GKL 003LP) 25.50
LP version. If you're continuously searching the margins for lost artifacts of the pop pantheon, you can find your daily dose in late period exponents of pure, lean, Beatlesque power pop band Promise. Originally issued in 1980 on the Boulder, Colorado, area band's own Cumulus label, their eponymous debut is filled with melodic, beatific blasts of pure pop, replete with ringing, jangly guitars and rollicking crunch. Co-led by singer-songwriters and guitarists Curt Mangan and Danny Mey -- with aid provided by the just-right rhythms of bassist Randy Jones and drummer Gary York -- the group created an album with precious little allying it to the punk-inspired power pop or prescient new wave of the time, instead choosing to hone in on a classicist pop sound highly indebted to those famous moptops from Liverpool. Abetted by the fact that some of the group's members had been playing together since their teenage combos of the mid '60s, the album carries an out-of-time flair across surging rockers and mournful balladry. Got Kinda Lost Records is ecstatic to give this benchmark of privately pressed power pop another chance to shine with this first ever reissue. Includes exhaustive liner notes by Jeremy Cargill (Ugly Things Magazine) culled from interviews with Mangan and Mey. RIYL: Badfinger, Big Star, early Cheap Trick, Emitt Rhodes, The Raspberries, Liverpool Echo, The Scruffs, Shoes, Dwight Twilley Band, etc.



VA: Hafendisko Nummer Eins 12" (HFNDISK 018EP) 14.00
Snacks' "Easy" features sweet melodies, warm synth swells, and looping vocal hooks evolving over a low-slung, funk-inflected groove. Unkwon is Anders Dixon from Copenhagen and people will stop asking if it's a typo soon. He delivers the stuttering beats and melancholy phase of "Everything," building a cavernous yet claustrophobic soundscape that's designed to make your eyeballs sweat, before Ewan Pearson's "NRG instrumental" of Kasper Bjørke's "Apart" goes into dancefloor-overdrive, upping the ante again. The EP closes with a vinyl edit of Deo & Z-Man's "Penelope."



AUDIO WERNER & JICHAEL MACKSON: Volt/Schlamm 12" (HCF 021EP) 12.00
Boom! This is the collaboration we all have been waiting for. Audio Werner and Jichael Mackson team up for massive bass-driven floor-burners. The A-side, "Volt," is a dedicated buzzer with heavy sub-bass. Make sure you only play this one on systems that are able to take the extra boost. The B-side, "Schlamm," is a loose, tribal groove with an extra dose of rough echo and dub effects.



DETROIT SWINDLE: The Punch Drunk EP 12" (HEIST 008EP) 14.00
Detroit Swindle follow up their 2014 album Boxed Out (DIRT 006CD/LP). "Allright (We'll Be)" is an up-tempo affair at 128 BPM, with an irresistibly sexy hook. "Pursuit" has that classic Detroit Swindle vibe with an almost acidy synth rolling on in the background, giving the track the core of its energy. "Heads Down" is the deepest of the three, with a particularly shuffling set of offbeat toms creating the groove alongside a set of warm synths. Minimalistic design by Amsterdam-based artist Baster. Pressed on 180-gram vinyl.


HH 001CD

DAVIS, MILES: Fillmore West 15-10-70 CD (HH 001CD) 17.00
1970 was a turning point for Miles Davis, and it proved to be the most consistently intriguing year of his decades-long career. Davis had previously performed exclusively in jazz clubs and festivals, and Dave Holland, when he arrived from England in 1968, noted that he was "shocked at how few people were coming to Miles's concerts." But by the beginning of 1970, in conjunction with the April release of Bitches Brew, Davis began appearing at rock venues, sharing the bill with established rockers like Steve Miller, Grateful Dead, and Neil Young and often playing to audiences of thousands. His appearance at Bill Graham's Fillmore West on October 15, 1970, highlights the transitional phase in Davis's career, with his septet following a relatively consistent set list in order to provide a cross-section of his repertoire to a young and relatively unfamiliar audience. In hindsight, this was an important move, and an acknowledgement of the reality that this was the demographic Davis would need to capture if he were to remain both fresh and relevant. This performance was rapturously applauded by a fresh audience, fully endorsing Davis's profound ability. Hi Hat presents the complete KPFA-FM radio broadcast of this performance, a tribute to the iconic jazz musician that portrays the depth and diversity at work at such a vitally important point in his career. Played by Miles Davis: trumpet; Gary Bartz: soprano and alto saxophones; Keith Jarrett: electric piano and organ; Michael Henderson: bass; Jack DeJohnette: drums; Airto Moreira: percussion; and Juma Santos: percussion. Includes analytical liner notes and photos. Digitally remastered.



SNOW GHOSTS: A Wrecking CD (HTH 034CD) 15.50
Snow Ghosts return with A Wrecking, the follow-up to their 2013 debut A Small Murmuration (HTH 006CD/LP). Influenced by the shadowy elements of British folklore and the heavier side of experimental noise, Snow Ghosts' bewitching and intoxicating sound combines a disparate array of references. Ross Tones (aka Throwing Snow) and Hannah Cartwright (aka Augustus Ghost) are now joined by multi-instrumentalist Oliver Knowles (EXES) to pool their individual inspirations, ideas, and styles. Focused more on melody and instrumentation than rhythm, A Wrecking ebbs and flows to mirror its vocal meanings; the guitars reflect the sea with panning and reverb effects while a haunting electric violin slips in and out of the record's consciousness. Mastered by Matt Colton, Music Producers' Guild 2013 Mastering Engineer of the Year, at Alchemy Mastering. Presented in bespoke PVC sleeve with spot varnish pattern.



HUMANS: Noontide CD (HYB 019CD) 17.00
Vancouver's indie-electronic duo Humans present their highly anticipated album Noontide, following up 2013's acclaimed EP Traps (HYB 001EP). Robbie Slade and Peter Ricq's sound has been called infectious, smartly crafted, and an absolute force in a live setting. Produced by Nik Kozub (Shout Out Out Out Out), Noontide is a showcase of Humans' innovative mix of heavy electronics with modern pop sensibilities. The album is carefully constructed, building upon the band's restless aesthetic experimentation.


HUMANS: Noontide 2LP (HYB 020LP) 22.00
Double LP version; includes bonus track "And He Goes." Vancouver's indie-electronic duo Humans present their highly anticipated album Noontide, following up 2013's acclaimed EP Traps (HYB 001EP). Robbie Slade and Peter Ricq's sound has been called infectious, smartly crafted, and an absolute force in a live setting. Produced by Nik Kozub (Shout Out Out Out Out), Noontide is a showcase of Humans' innovative mix of heavy electronics with modern pop sensibilities. The album is carefully constructed, building upon the band's restless aesthetic experimentation.


BEC 5772304

MONTAND, YVES: Grands Boulevards CD (BEC 5772304) 11.00
Born in Italy in 1921, Yves Montand began his career as a professional singer in 1938, at the age of 16. His promising beginning was interrupted by World War II, and he was unable to perform regularly until 1944, when he opened for Édith Piaf. The two became a couple, and toured France in the fall and spring of 1945. Montand began making appearances in French and American films, singing stage favorites from his repertoire, and won acclaim as a serious actor for his lead role in Henri-Georges Clouzot's Le salaire de la peur (The Wages of Fear) (1953). As a singer, he toured the world from 1960 through 1962, performing in America, England, and Japan. He continued to work in cinema throughout the '60s and '70s, and became an international star. His legacy as an actor is well-known, but his contribution to French chanson is equally significant. Talent agent and producer Jacques Canetti, with whom Montand worked, noted that "most of Yves Montand's songs have become classics because he had the intelligence and instinct to choose themes that are timeless." Grands Boulevards collects highlights from Montand's long career, including "Les Feuilles Mortes," "C'est Si Bon," "A Paris," "Le Gamin de Paris," and more.


JAH 50004

JUNIOR DAN: KTW Dub LP (JAH 50004) 16.00
Restocked. "Limited edition repressing of Junior's dub LP, originally released on Clappers, New York in 1982, produced by Dan and Bullwackie."



LEE, BUNNY "STRIKER": Reggae Going International 1967-1976 2LP (KSLP 029LP) 19.50
Double LP version. Housed in a gatefold sleeve. 2011 release. Describing his beginnings, Bunny "Striker" Lee recalls, "I was around the business but I didn't actually start for myself until 1967. I only had twenty pounds to give to Lynn Taitt and Lynn Taitt got four men and we did 'Music Field' with Roy Shirley [included here]. So those guys helped me when I just started." In 1969 "Wet Dream" by Max Romeo, recorded in the faster reggae style and included here, was released on Lee's Unity Records in the UK where it spent 25 weeks in the National Charts. Lee's propensity for hit-making was unprecedented and in 1969, 1970, 1971, and 1972 he was awarded the title of Jamaica's Top Producer. In 1971 he won Jamaica's first Gold Record for Eric Donaldson's "Cherry Oh Baby," which was the runaway winner in that year's Jamaican Festival Song Competition and is also included here. Together with Soul Syndicate drummer Carlton "Santa" Davis, Lee originated a new style of rhythm based on the Philadelphia disco sound termed "flying cymbals" that became known as "flyers." Lee's first hit in this new style was Johnny Clarke's interpretation of Earl Zero's "None Shall Escape the Judgment," included here, and his "flyers" rhythms dominated the scene throughout 1974 and on into 1975. His two dub albums showcasing these rhythms, King Tubby's The Roots of Dub (JRCD 035CD/JRLP 035LP) and Dub from the Roots (JRCD 036CD/JRLP 036LP), with photographs of the King at the controls of his Dromilly Avenue studio, were the first vinyl releases to promote King Tubby with music lovers both in Jamaica and internationally. As a creator of musical trends, Lee was second to none, and, for most of a decade, the rest of the business hung on his every word and tried to copy his every move. In October 2008, at Kingston's National Honours and Awards Ceremony, Lee was awarded the Order of Distinction in the rank of Officer for "more than forty years of dedicated service to the music industry." Reggae Going International 1967-1976 also includes tracks by Slim Smith & The Uniques, Val Bennett, Lester Sterling & Stranger Cole, Pat Kelly, Roland Alphonso, Bob Marley, John Holt, Delroy Wilson, Alton Ellis, Leroy Smart, Horace Andy, Cornell Campbell, The Aggrovators, U Roy & Jeff Barnes, Al Capone, I Roy, and Jah Stitch.



REX THE DOG: Sicko 12" (KOM 322EP) 14.00
A growing intimacy with analog gear has led Rex the Dog to design and build his own array of modular synthesizer components, including a sampler fittingly called RTD-001. Armed with this barn-storming DIY attitude, and using gear he made with his own hands, Rex pulls two strikingly muscular rabbits out of his hat: "Sicko" is a raw, pounding cut-up fest that builds a scary amount of tension with just a few distinct elements, while "Korgasmotron" loads up its bleep-ridden chassis with a succulent, sweeping vocal and some well-placed acid drops. A leaner, cleaner, but also meaner approach to dance music.


FRESCO, LEANDRO: El Reino Invisible CD (KOMPPA 001CD) 21.00
Kompakt's Pop Ambient series has always been a labor of love: meticulously curated by Wolfgang Voigt, these releases never showed much interest in any particular style of the day; they followed their own path and established a unique aesthetic. Now, with a dizzying array of musicians trying their hands at beatless electronics, Kompakt introduces the Pop Ambient album series, featuring full-length offerings from top-tier tinkerers in the field. Serving as the glorious first installment is El Reino Invisible, a diverse collection of beautifully rendered synth-scapes from none other than Buenos Aires-bred Pop Ambient staple Leandro Fresco. Famously chosen as one of the best Kompakt releases ever by Michael Mayer, Fresco's 2002 Amor International 12" (KOM 069EP) struck a perfect balance between deeply felt melancholy and light-hearted coziness -- aspects that can be traced back to his '90s outings on Cologne's iconic Traum Schallplatten and the legendary Argentinian imprint Fragil Discos. Fresco has since become a true master of the fine art of sculpting free-flowing sound, a task nearly as impossible as stacking water. With El Reino Invisible, he delivers an enticing and sophisticated narrative of gorgeous synth explorations. It certainly knows its way around pop-infused catchiness, but it also operates as a collection of profoundly personal mnemonics. "This record is a journey inside my feelings... it's emotional ambient music made at an emotional time in my life," says Fresco. However, this commitment to sonic intimacy doesn't necessarily equal a tragic or pained sentiment: "I do not associate this album with feelings of sadness, but with hope, light and the summer heat, full of cyan and orange colors." Proving his point are the soothing, blissful opener "La Edad de Oro," the spacious plucked guitar of "La Herida del Soldado," the splendidly oblivious "Sol de Medianoche," and the title track, a subtle ambient anthem serving as an appropriately wide-eyed coda. Describing the project as a whole, Fresco posits that "the invisible kingdom can be the soul of any person -- music that is true to its origins, as melancholic as the tango in Buenos Aires." Recording in the Argentinian capital and San Martín de los Andes, a small, rural town in Argentinian Patagonia where his parents live, Fresco produced an expertly crafted collection of experimental electronics that are as catchy as they are meditative. Simply put, this is pop ambient at its very best. LP edition pressed on 180-gram vinyl; includes CD.


FRESCO, LEANDRO: El Reino Invisible LP+CD (KOMPPA 001LP) 23.00
LP version. Includes CD.



COCK, STEVEN: Fusion EP 12" (MOC 001EP) 14.00
The first release on made of CONCRETE is Steven Cock's Fusion EP, on which liquid cement dries and becomes its own living body. Three tracks, molded from pressing beats, playing with the force of delay and wandering synthesizer patterns. Welcome to made of CONCRETE.


MG 104CD

TOKYO OFFSHORE PROJECT: Theatrical Techno Illustrated CD (MG 104CD) 17.00
Tokyo Offshore Project was a collaboration between Frankie Valentine and Simon Lovejoy, DJs and producers heavily involved in the construction of the underground UK house and electronica scene of the '90s, and Japanese musician Kiyoshi Myaura. Lovejoy was responsible for DJ Harvey's edits on Black Cock Records, which Lovejoy and Harvey co-ran with Gerry Rooney, and was a resident at The Brain in Soho, London, an historically important venue in the development of house and techno and the first club to encourage live PAs like Ultramarine and Orbital. Valentine, one of London's finest underground house DJs, began DJing in the late '70s and still works crowds into frenzies. Theatrical Techno Illustrated is a collection of their best underground house and electronica moments from 1990 through 1992, including three previously unreleased tracks. Lovejoy recalls the project's inception: "Tokyo Offshore Project. Winter 1990. Airport, London, waiting for DJ Frankie to turn up from club land. The flight announcement to Japan. Making tune with Roland 202, I borrowed from DJ Choci... Airport. Alaska, stamp passport. City. Drive through, over expressway, introduction of Kiyoshi... Meeting next to a piano, told of trip to north Japan. Nara. Apartment. Minimalist design, meet Kiyoshi's friend a video director, have smoke. City. Noodle man, taxi. Lost on sake, following postman back to hotel room. Towel by door, borrowed smoke, MTV on cable, asking questions. Bullet train, five course meal, Zen temple, walking, peaceful people praying, gift to God for good luck. City. 3 AM, recording street sounds, phone booth, cig, hot/cold drinks machines... Studio. Vocal booth, tuner, men in suits, emotionless, staring through window. Record shop, meet westerners, club flyers, found first record, rare. Story of Wigan from The Brain club and his airship as it goes over city... City taxi trip 'round expressway, past harbor lights to Electric Avenue, pop star David Byrne buying gadgets, buy DAT Walkman too. Karaoke bar. Hostesses constantly changing, filling drinks, singing, standing outside toilet with towel, Kiyoshi asks which one, on the house, can take to Love Hotel, choose a room, Jacuzzi, massage, bar cabinet, taken to restaurant, live fish, geisha girls, one modern, one traditional, talk of our experience. Airport, rest time in Thailand sitting by window of plane watching ground staff standing in line waving at us." For fans of '90s underground house; new electronica, ambient, and chill out; The Future Sound of London; B12; and Balance Recordings.


NA 5103LP

WITCH: Introduction LP (NA 5103LP) 21.00
2015 repress. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."



BITTER SEEDS/THE ROCK SHOP, THE: State of Your Mind LP (OSR 029LP) 25.50
The Bitter Seeds were one of the pioneering bands from the early Monterey music scene. Led by flashy guitar player Leonard "Pooch" Paschini, they were active from 1966 to 1970, gigging regularly at such legendary venues as Bull's Eye Tavern, Longshoremen's Hall, The Matrix, and The Fillmore and sharing stages with the Grateful Dead, Jefferson Airplane, Iron Butterfly, and Steppenwolf. In 1967, The Bitter Seeds recorded their only 45, issued on Rowena Records as The Rock Shop to avoid confusion with The Seeds. State of Your Mind/Is That Your Halo is a brutal garage-psych double-sider. The following year the group recorded four studio tracks that have remained unreleased until now. These are perfect examples of the transition from R&B-garage to early psychedelic sounds that many San Francisco ballroom bands experienced at the time. An exciting find for any lover of lost West Coast psychedelic sounds. For this Bitter Seeds/Rock Shop retrospective, Out-Sider has also unearthed some wild live recordings from 1966 with good sound quality. Includes four-page insert with liner notes, photos, and memorabilia. Remastered sound.



HELM: Impossible Symmetry LP (PAN 027LP) 25.50
Warehouse find, last copies. Impossible Symmetry is the third full length record by Helm, the project of London-based artist Luke Younger. It marks a new chapter in the artists' canon as it's his first to be informed by live performance rather than studio experimentation. The recording and engineering was primarily a solo venture, with some technical assistance from John Hannon on a few tracks. Most of the compositions were created out of ideas/improvisations that were conceived in a live context and then fed back into the studio work. The album was recorded over the duration of a year in London with source material culled from acoustic sound sources in a similar methodology to his previous album, Cryptography, while also simultaneously incorporating more extensive use of electronic elements and moments of rhythmic dark ambience recalling the outputs from early Coil and Cabaret Voltaire to even Traversable Wormhole's industrial minimalism. His last LP, Cryptography, presented a five-part suite of expertly rendered electro-acoustic study which uses processed piano, Casio MT-40, cymbal and broken guitar strings. Younger creates a world where these instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation. This sound is steered through a mélange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in a post-industrial fashion with a commitment to homemade exploratory zeal. For the past ten years, Younger has also performed extensively in Europe and the U.S. with Steven Warwick as pioneering avant-drone duo Birds Of Delay. The LP was mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with photos by Traianos Pakioufakis and artwork by Kathryn Politis and Bill Kouligas.


TRICOLI, VALERIO: Miseri Lares 2LP (PAN 044LP) 29.00
Limited repress. It has been 7 years since Metaprogramming from Within the Eye of the Storm, the last solo full-length release by Valerio Tricoli. In the years between, he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, Coi Tormenti (Dilemma Records, 2010) and Thomas Ankersmit, Forma II (PAN 016CD, 2011) along with the fifth full-length release by his band with fellow Italian cohorts 3/4HadBeenEliminated, Oblivion (ZEIT 011CD, 2010). Throughout these shows, collaborations and ongoing explorations, Valerio has developed on his signature style of beautifully unsettling musique concrète. The result of his tireless explorations, Miseri Lares is his magnum opus, a multilayered and heavily nuanced work which epitomizes the uncanny in the realm of sound. Miseri Lares explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work. As a contemporary take on musique concrète, Tricoli utilizes his full explorations of the Revox tape recorder alongside digital processing, while retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion. Themes of the internal, represented by both the psychological and the physical, play throughout the record. As a symbol of spirits preying on the grief within, haunting wisps of sound swirl around a throbbing bass in "Hic Labor Ille Domus et Inextricabilis Error," whereas "La Casa Deviata" emphasizes the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water. Here, the tension at play is injected with a treated Dictaphone recording: "Tell me what happened," "I can't remember? THE SMELL!!! There was a tape recorder, where is the tape?" Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanized floorboard -- a play on the album's themes of the psychological, emotional and irrational horror within. Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes (in Hebrew, Qohelet), H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself. These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of later-day Scott Walker (baritone aside). Valerio Tricoli's release for PAN adds another piece to the puzzle of narrative-based concrète music, while deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture. 2LP mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl. Vinyl set packaged in a pro-press jacket which itself is housed in a silkscreened PVC sleeve with photography by Traianos Pakioufakis and artwork by Bill Kouligas.


AMBARCHI, OREN: Live Knots CD (PAN 053CD) 16.50
"Oren Ambarchi presents Live Knots, two live realizations of 'Knots,' the epic centerpiece of his 2012 album Audience of One (TO 083CD/LP). Built on the interplay between Ambarchi's swirling guitar harmonics and the metronomic pulse and shifting accents of Joe Talia's DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework. 'Tokyo Knots' is the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo's legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia's insistent ride cymbal and the shifting tonal bed of Ambarchi's rich, overtone-drenched guitar, eventually going into a free rock free fall of buzz saw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit. 'Krakow Knots' works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece's textural range with lush chordal blocks, uneasy dissonances, and occasional Ligeti-esque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves toward its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece's final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars, and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise, and academic psychoacoustics. The final moments of the performance pit Talia and Crys Cole's amplified objects and spring reverb textures against a field of gently gliding string glissandi before the audience erupts in much-deserved applause" --Francis Plagne.


AMBARCHI, OREN: Live Knots 2LP (PAN 053LP) 27.50
Double LP version. "Oren Ambarchi presents Live Knots, two live realizations of 'Knots,' the epic centerpiece of his 2012 album Audience of One (TO 083CD/LP). Built on the interplay between Ambarchi's swirling guitar harmonics and the metronomic pulse and shifting accents of Joe Talia's DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework. 'Tokyo Knots' is the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo's legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia's insistent ride cymbal and the shifting tonal bed of Ambarchi's rich, overtone-drenched guitar, eventually going into a free rock free fall of buzz saw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit. 'Krakow Knots' works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece's textural range with lush chordal blocks, uneasy dissonances, and occasional Ligeti-esque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves toward its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece's final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars, and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise, and academic psychoacoustics. The final moments of the performance pit Talia and Crys Cole's amplified objects and spring reverb textures against a field of gently gliding string glissandi before the audience erupts in much-deserved applause" --Francis Plagne.


PNY 3304CD

LA BATTERIA: La Batteria CD (PNY 3304CD) 17.50
Brought together by their common love for soundtracks and Italian library music of the late '60s and early '70s, the four members of La Batteria are veteran Italian musicians with experiences ranging through progressive post-rock (Fonderia), indie pop (Otto Ohm, Angela Baraldi), experimental jazz (I.H.C.), hip-hop (La Comitiva, Colle der Fomento), and world music (L'Orchestra Di Piazza Vittorio). The band performs original compositions influenced by songwriting from the heyday of Italian movie glamorama: music for images made between 1968 and 1980, by such masterful experimental composers as Ennio Morricone, Stelvio Cipriani, Alessandro Alessandroni, Bruno Nicolai, and bands such as Goblin and I Marc 4. The band plays all vintage instruments, but their debut self-titled album is not merely a revival; it's a projection of the past into the present. So, between the lines of their cinematic prog-funk, one can detect traces of afro-beat, hip-hop, and kosmische music, all filtered through a typical Italian feeling. La Batteria was conceived in Rome, the same area and environment where those soundtracks and library records were made. The album was mastered at the historic Telecinesound, owned by Maurizio Majorana (former bassist for I Marc 4), and was originally intended as a library album for Romano di Bari's Flipper Music (parent label of such cult labels as Deneb and Octopus Records). La Batteria's balanced sound maintains a continuity not only with the '70s Italian sound-world, but also with an entire movement that brought Italy to the attention of listeners around the world. It was a time of experimentation in the fields of music, theater, cinema, and visual art -- a whole cultural revolution now renewed. The visual elements of La Batteria -- Luca Barcellona (aka Lord Bean)'s cinematic logo and Emiliano Cataldo (aka Stand)'s cover art -- also establish a magical short circuit between past and present. Played by Emanuele Bultrini: mandolin and electric, acoustic, and classical guitars; David Nerattini: drums and percussion; Paolo Pecorelli: electric bass; and Stefano Vicarelli: Hammond C3, Clavinet, Fender Rhodes, harpsichord, celesta, piano, Mellotron, Minimoog, Prophet-5, and Dot Com System-66 modular synthesizer. "Formula" features the Patchani Brothers.



PANTYTEC: Pony Slaystation 2LP (PERL 028LP) 26.50
2015 repress, originally released in 2002. Double vinyl version. Perlon's second artist album, brought to you by Pantytec, the duo of label co-founder Zip and Sammy Dee. Pony Slaystation introduces their unique, dancefloor-shaking definition of cartoon house. Pantytec 's incredible guitar talent is on display in "Valentine," which appears here as both its original version and Pokémonopa's remix. "Elastobabe (Crackhouse Dub)" features vocals from Florian Schirmacher, who also appears on "Supratahiti" in a duet with Zip. The voice of NYC diamond girl Christine Huber, with her definition of the color "Pink," marks the end of the vinyl.



BURKAT, ALEX: Pay the Rent (Barnt RMX) 12" (PERMVAC 137EP) 12.00
Three tracks with sparkling melodies and razor-sharp beats that evoke the best New York party nights. This package is backed up by a remix by man of the moment Barnt, who adds some mysterious vocal bits and an extra portion of magic to create a quiet rave anthem.



HNNY: Carefree 12" (PETS 049EP) 14.00
Revered Swedish producer Johan Cederberg aka HNNY (pronounced "honey") presents a special five-track EP. "Happy Happy House House" is a lazy, beachy cut awash with sun-kissed melody and trip-hop grooves. "Brasilian Sound" is as Latin as its title suggests; a percussive, summery, atmospheric jaunt though up-tempo and feel-good house. On "Fresh Laundry," stoned drums and a distant bassline unfold lazily before big wind instruments begin tooting up top. "Fruktstund" is another adult lullaby with colorful, cartoony instrumentals, angular grooves, and plenty of organic textures. "Yogalates" delivers big xylophones, joyous piano chords, rubbery kicks, and a generally disarming sense of playfulness.



MENSAH & THE TEMPOS, E.T.: King of Highlife Anthology 4CD (RETRO 024CD) 27.50
E.T. Mensah was the first King of Highlife, and although he died in 1996, he's still -- and forever will be -- the King of Highlife, the mainly Ghanaian dance music that he made popular around Africa and beyond in the 1950s and '60s. E.T. (as everyone called him) played a variety of instruments but especially saxophones and the trumpet, composed hundreds of songs and dance tunes, and led the best band on the West African Gold Coast, The Tempos. Modeled on the great American swing bands of the 1930s and '40s, The Tempos blended re-Africanized jazz, Latin music, and calypso with various local dance styles. With their records and tours over the two decades following their recording debut for Decca in 1952, they spread the highlife dance-band sound throughout West Africa (particularly Nigeria, where the young saxophonist Fela Kuti was deeply influenced by E.T. Mensah) and on to the Congo, East Africa, and Southern Africa, everywhere inspiring new dance-band styles. RetroAfric's 4-CD compilation includes all of The Tempos' hits as well as recordings that haven't been available since the days of shellac 78s, all 69 tracks remastered from the best available sources. It is the most comprehensive collection of E.T. Mensah recordings ever released. The 64-page booklet is filled with historical photographs and a biography by John Collins, the Ghana-based record producer and highlife scholar, and the package features specially-commissioned art by Kofi Ankroba.


RCD 2166CD

DETAIL: First Detail CD (RCD 2166CD) 17.00
If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute, and clarinet player Frode Gjerstad. Since the late '70s, he has been central on more than fifty records and played with a number of prominent free jazz musicians including Evan Parker, Derek Bailey, Peter Brötzmann, Louis Moholo, Han Bennink, and Paal Nilssen-Love. Foreningen norske jazzmusikere named Gjerstad Jazz Musician of the Year in 1996, and the Norwegian Jazz Forum awarded him with the Buddyprisen in 2008. He founded Detail in 1981 with close friend Eivin One Pedersen (1956-2012) and legendary free jazz drummer and Spontaneous Music Ensemble founder John Stevens (1940-1994). The group became a quartet with the addition of bassist Johnny Dyani, and toured of Norway in March of 1982. They performed at the Molde International Jazz Festival in the summer and toured again in the fall. Pedersen left the group after the tour, and the remaining trio of Gjerstad, Stevens, and Dyani went straight to Stavanger and recorded Detail's first two albums, Backwards and Forwards/Forwards and Backwards (1983) and Okhela «To Make a Fire» (1984). So the intended quartet never got to make a record, but some live recordings do exist. This recording of the first performance from the fall 1982 tour, at the Henie-Onstad Art Centre outside Oslo, captures not the full quartet, but a variation on the trio: Gjerstad, Pedersen, and Stevens, without Dyani, who couldn't make it to the gig. The main reason for the delay in releasing this historic recording, according to Gjerstad, is that he couldn't listen to it because there were too many feelings involved. After the tour, his close friend Pedersen suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after finally listening to the tapes, he realized how good everything was. It's almost unbelievable that Pedersen had just turned 26 at the time of this recording. Stevens is also incredible, quite different from what one might be used to from the Spontaneous Music Ensemble -- more open, possibly. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. Frode Gjerstad: tenor and soprano saxophones, bass clarinet, alto flute; Eivin One Pedersen: piano and keyboards; John Stevens: drums.



KRAAN, EBBO: Aletta EP 12" (RWINA 027EP) 14.00
Twenty-year-old Amsterdam-born producer Ebbo Kraan presents his first EP proper. The Aletta EP is a nocturnal, eclectic meld of explorations in hip-hop sound and ambience. Like an enchanting siren, opener "Bag of Medicine" lulls the listener into its dark midst. It's a pretty intense rush, a screeching joyride of grating bass. "20" is a viscous onslaught of side-chained choppy abuse, while, "No Amount" is a distorted, ethereal mind-trip. Dreamy, refined "Pian808" slows things down -- a must for after-hours -- only to be potentially upstaged by "Thirst," the spatial and trippy closer with equal portions of low-end theory pulsating through.



SMALLPEOPLE: Lowrider Anarchy 12" (SMALL 040EP) 12.50
Smallpeople (Julius Steinhoff and Just von Ahlefeld) follow up the In the Jungle EP (RB 039EP), released on Gerd Janson's Running Back imprint in 2013, with another package of sound-seducing delights. With three essential tracks strictly for the beloved dancefloor, Lowrider Anarchy begins 2015 and commemorates it as the tenth year of Smallville Records, celebrating a decade of putting the magic into house music.



BEAU: Creation LP (SOMM 021LP) 25.50
Originally released in 1971 on John Peel's Dandelion Records, Creation is the second album by underground folk troubadour Trevor "Beau" Midgley. Influenced by Tom Paxton, Lead Belly, and Dylan, Beau started to write his own songs in the late '60s. After trying to secure a contract with Elektra Records with no success, he was approached by Clive Selwood (Elektra) and Peel as they were launcing Dandelion Records. Beau signed with them and released his eponymous debut album in 1969. For his second effort, Beau decided to experiment with a more folk-rock sound and add to the mix some avant-garde influences. Jim Milne (lead guitar and bass) and Steve Clayton (drums) from Dandelion stablemates The Way We Live/Tractor were the perfect backing band for him. Creation is a brilliant psych/acid folk offering with superb 12-string guitars, heartfelt vocals, studio effects, and occasional acid-fuzz guitar. Beau's avant-garde influences come to the fore on the title-track, which verges into White Noise territory. The album closes with "Silence Returns," featuring one of the most ear-splitting fuzz assaults ever committed to wax, courtesy of Jim Milne. This first vinyl reissue includes two previously unreleased bonus tracks from 1972 (featuring Tractor as backing band), recorded for aborted third album High Mass. Also includes four-page insert featuring the first cover design (which was never used), plus detailed liner notes by Beau himself and lyrics. Master tape sound.


SP 036CD

BORDEN, DAVID: Music for Amplified Keyboard Instruments CD (SP 036CD) 15.50
David Borden, born Christmas Day, 1938, in Boston, Massachusetts, is an American minimalist composer and electronic music pioneer. He was one of the first people to beta test Bob Moog's modular synthesizer systems. His Earthquack Records imprint inspired Mimi Johnson to found the legendary Lovely Music, Ltd. with Robert Ashley. He formed the first all-synthesizer ensemble, Mother Mallard's Portable Masterpiece Company, in 1969. If there were ever a missing link in American minimalism, Borden is it. Music for Amplified Keyboard Instruments is his masterpiece, released in 1981 to little fanfare on the now-defunct Dutch label Red Records. As its reputation has grown, most listeners have had to settle for compressed YouTube clips and poor vinyl-to-digital transfers, with original copies increasingly rare and expensive. Now, 34 years after its original release, Spectrum Spools presents the first reissue of Music for Amplified Keyboard Instruments, after recovering in Borden's private archives the only known safety master. Music for Amplified Keyboard Instruments contains four pieces, each utilizing three players and six keyboard instruments. "Etsy Point, Summer 1978" begins with a mournful, ominous mood and slowly blossoms into an immense, humid labyrinth of colorful, buzzing textures and howling melodies. "The Continuing Story of Counterpoint" is a 12-part cycle for synthesizers, acoustic instruments, and voice, upon which Borden labored for over 11 years. Parts nine and six, included here, are miraculous achievements in prodigious playing technique, remarkable mosaic-like structure, and aural magnitude, operating in the relative terrain of Steve Reich's Music for 18 Musicians and Terry Riley's Dervishes pieces. The "Counterpoint" pieces here are rigidly arranged with breakneck key changes and intricate time signature maneuvering. The resulting audio conjures kaleidoscopic patterns of beautiful melodies and compositional anatomy unparalleled in much of American minimalism. "Enfield in Winter" displays some of Borden's more ambient leanings, with slow, morphing drones and gentle pad sounds that erupt into shimmering patterns backed by a grandiose chord progression. Music for Amplified Keyboards represents a veritable zenith in Borden's corpus; a radiant achievement in sonic elegance, experimentation, and ambitious composition technique, and a work of the highest archival significance. Music for Amplified Keyboard Instruments was remastered with love and transparency by Giuseppe Tillieci at EnissLab, Rome. These newly remastered works are superior to the original vinyl master, giving the world a chance to hear this remarkable work in the highest possible fidelity across multiple formats. Includes extensive liner notes and photos by Borden.



PLASTIC TRASH: Slag On the Tracks 1983-1985 CD (SPITTLE 045CD) 18.00
"Maybe at that time it wasn't so clear as it is today, but Plastic Trash is a perfect name for an '80s group... When I discovered them, 1983 was going to be replaced by Orwellian 1984 and their line-up had [been] stable [for] a year and a half. Our 'meeting' happened thanks to a cassette that I received through the magazine for which I was writing... Those five tracks really impressed me and in my review I even wrote: 'One of the best demo tapes I ever received.' After one year that tape was followed by a new one called In Between Us. Something just a bit more improved and still defined by the same hard-hitting sound alchemies based on guitar, keyboards, rhythm section, and solemn, evocative vocals. Some kind of synthesis not too romantic, not too dark, not too pop with a very inspired songwriting style and a sound that was more professional than most of the Italian tapes and records of the period... [They appeared on] A White Chance, a compilation of local artists moving in their orbit: Go Flamingo!, Intelligence Dept., and Plastic Trash, contributing [three tracks from] In Between Us ('All Before You,' 'First Time,' and 'If You Turn Off the Light')... they released a third demo with four tracks, again with no title: the same old formula seemed to be enriched by a saxophone leading towards some kind of more commercial (new) wave. The wish of breaking through to a wider audience seemed to be a pretentious dream of glory that never came true; after some more concerts, most of them with a new drummer, in 1990 Plastic Trash realized that the time had come to give up. In 2013, while I was working on my book Noi conquisteremo la luna, I found the three demos, and listening back after all those years they still sounded fresh and dynamic and even brilliant sometimes. That's how the wish (moral imperative?) of bringing together Slag On the Tracks took shape, as a sort of remedy to the unjustified limited diffusion of that material. In chronological order, the 15 tracks correspond to the band's entire studio legacy. All first choice material and absolutely no slags. So, no reason for any skepticism. Take my word for it." --Federico Guglielmi, June 2014


PLASTICOST: Canzoni Dada, 1981-1985 CD (SPITTLE 049CD) 18.00
"If this band from Vicenza found a place in Italian rock history, it is mainly because of their [1983] debut [self-titled] mini-LP... duly presented here at the beginning of the tracklist. I hope the frontman Sergio Volpato will forgive me if I say that, despite the quality of the following releases, their mythical status (small as it may be) is owed to that first piece of vinyl originally released by LM Records and coproduced by Discotape, a record store in Marostica. An enigmatic cover, a made-up name inspired by the original Plastic Host (a sort of subtle attack against Catholic religion), 23 minutes of music, a sequence of four songs opened by 'Canzone Dada' ('Dada Song'), a real anthem, with striking lyrics adapted from a 1923 text by Tristan Tzara. Even if the just mentioned 12" represents the core of the present CD, the rest of the program appears pretty interesting as well. 'Panorama' was recorded just a bit later for the Rockgarage Compilation Vol. 4 (the last of a series of [various artists] records produced by a Venetian fanzine) and re-released in 1987 on Evviva Evviva, an EP which started a new more pop-oriented era. The other 12 tracks never found their way to vinyl, while they made it on cassette tape, some of them sold with fanzines. The whole of the 17 songs represents the complete studio works from the first period, when the band was more in tune with the post-punk attitude. We had the chance of adding a few alternate takes, but we chose only the best versions. Thirty-one years ago, while reviewing Plasticost, I used a quite uncommon term for me: originality. I want to confirm that today because, beyond some inevitable influences from abroad, this material still shows some really peculiar aspects: unconventional sound textures, a theatrical vocal approach and a weird, ironic and creative spirit that within live performances were combined in some sort of sound and visual extravaganza. Something very unusual, considering how much the new wave circuit of the period was generally austere. Rock meets Dada? Of course! Otherwise why such an explicit title?" --Federico Guglielmi, July 2014



CYLINDER: Disco Engine 12" (STARTREE 002EP) 14.00
Darshan Jesrani's Cylinder moniker presents "Disco Engine," a futuristic joyride that draws upon late '80s and early '90s techno vibes as much as it does disco and R&B to produce a warmly insistent, buoyant, sexy, and somewhat menacing groove with ruthless, detuned 808 toms and a punchy, round analog bass synth. A greasy, giddy synth rhythm holds the middle down, and ecstatic choral synth pads and vocals by Chelsea Adewunmi soar just above the horizon. The "4-Stroke Dub" works a more DJ-oriented angle around that 808, subtly driving and every bit as engaging as the original.



FREE SCHOOL: Hudson's Whistle/French Cousins (Maps re-edit) 7" (VAN 284EP) 12.00
Free School, Birmingham's maximalist cosmic voyagers, released their acclaimed full-length Tender Administration' in 2012, following two 12"s featuring remixes from Richard Norris (Beyond The Wizards Sleeve, The Time & Space Machine) and Mark E (Ghostly International) and a string of remixes for the likes of Roots Manuva, Phil Oakey, and Maps (Mute). Free School now present "Hudson's Whistle," a feel-good, hook-laden instrumental romp with melodies aplenty to tug on your heartstrings. The record is backed with a dark, melancholic remix by Maps of contemporary disco track "French Cousins." Ethnic prog techno vitamins all in one 7" package.



LP version. 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.


YOUNG, DENNIS: Reel to Real LP (STAUB 137LP) 18.00
LP version. Dennis Young is best-known as the marimba player/percussionist for the legendary early '80s NYC band Liquid Liquid. Reel to Real is a lovingly-assembled archive collection of his rare and unreleased solo recordings from 1982-1983. Dennis Young: "Back in 1982 at the age of 24 I bought my first recording equipment a -- two-track Teac reel-to-reel-tape recorder. I already owned a number of analog synthesizers, an electric & acoustic guitar, various effect boxes, and a full drum set. The music was recorded live over a two year period (1982-1983) when I was still playing in Liquid Liquid. I was busy with the band but I still found time at home to experiment with my own sound using various instruments and vocal effects. In early 1984, I bought my first four-track cassette machine which ended my live reel-to-reel recording phase. The tapes were boxed up and put into storage for the next 30 years. About six months ago, I was going through some old boxes and happened to find the tapes again. I was curious to hear what I had on those tapes so I purchased another Teac reel-to-reel-tape recorder. To my surprise there was a lot of music to choose from these recordings, so after hours of listening I came up with a set of songs that I thought was the best representation of my work from this period. Thanks to Staubgold, I am able to share this unique recording experience with you, the listener."



VA: V: Five Years of Artefacts - Chapter Five 12" (SA5YEARS 005EP) 14.00
After four technically and aesthetically impressive salvos of eclectic electronics, the five-year anniversary compilation from Stroboscopic Artefacts reaches its terminus. Lucy's twelve-minute "Rema Canoero" is suitably vast, with panning bits of tunnel ambience, distorted snaking figures, and metallic ephemera. Donato Dozzy's propulsive "OZ Taped" exhibits a marked indifference to the inessential and a knack for smashing together percussive atoms of a thick and bombastic quality, without turning everything into a fatiguing mess. Sendai's "Inverse Array 1" solidifies the duo's reputation for sonic precision with a highly energized low-end bounce, half-submerged brooding basslines, and cleverly twisted hybrid sounds.


SF 097CD

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.



SKENET: Allting rullar LP (SUBL 104LP) 27.50
LP version. Limited edition of 500 copies. Stellar electric instrumental folk rock. Skenet are four young musicians who grew up in rural Sweden and started playing the fiddle when they were kids. They stand for the renewal of the genre and take it in new and truly exciting directions with electric guitars and Mellotrons, among other instrumentation. Members Lena and Staffan, who both are also legitimate riksspelmän (National Folk Musicians of Sweden), have previously worked with bands like Dungen. Now they present their own musical vision. If you dig progressive psych and folk this is definitely for you. Limited edition of 500 copies.


SKENET: Allting rullar CD (SUBL 105CD) 14.50
Stellar electric instrumental folk rock. Skenet are four young musicians who grew up in rural Sweden and started playing the fiddle when they were kids. They stand for the renewal of the genre and take it in new and truly exciting directions with electric guitars and Mellotrons, among other instrumentation. Members Lena and Staffan, who both are also legitimate riksspelmän (National Folk Musicians of Sweden), have previously worked with bands like Dungen. Now they present their own musical vision. If you dig progressive psych and folk this is definitely for you.


NATURE: Nature LP (SUBL 108LP) 29.00
First ever vinyl reissue of rare and sought-after Swedish underground hard rock psych treasure from 1972. The band's serious heavyweight musicians managed to create the ultimate so-called "brass och öl" (pot and beer) album. Includes a booklet with previously unpublished photos and in-depth liner notes by Reine Fiske. Limited edition of 600 copies.


ALGARNAS TRADGARD: Framtiden är ett svävande skepp, förankrat i forntiden 2LP (SUBL 110LP) 43.00
Subliminal Sounds presents a vinyl reissue of Älgarnas Trädgård's 1972 debut album Framtiden är ett svävande skepp, förankrat i forntiden, a rare and totally flipped-out psychedelic underground space rock masterpiece from Sweden. The band name translates to "The Garden of the Elks" and the album title to "The Future Is a Hovering Ship, Anchored in the Past." A long, long time ago, long before our time, there was high-standing civilization on earth. It was then that the elks lived. In their garden was a huge generator of pink glass that radiated the four elements. It was a sort of primal force for everything that one might call God. These elks eventually learned to master the matter and then went into the astral transcendental plane. Since then nobody has seen them... This reissue is a facsimile deluxe re-release from the master tapes. Includes additional LP with previously unreleased recordings from the same time period. Features never before seen photos and liner notes by the band.



ROMBOY, MARC: Elgur/Nasa 12" (SYST 103EP) 14.00
Marc Romboy returns with "Elgur" and "Nasa," previously featured at the legendary 2014 Boiler Room show with Stephan Bodzin in São Paulo. Both traxx do display the classic Romboy Moog synth lines and remarkable arpeggios as we know and appreciate them. This 12" on colored vinyl is part one of a three-part series.



PINCH B2B MUMDANCE: Pinch B2B Mumdance CD (TEC 018CD) 15.50
2014 release. Tectonic founder Pinch teams up with Mumdance for the collaborative mix set Pinch B2B Mumdance. 2014 saw both artists receiving critical acclaim for their creative endeavors, with Pinch's CO.LD compilation winning over the likes of XLR8R, Resident Advisor, and Mixmag, while Mumdance's Take Time collaboration with Novelist (RINSE 043EP) has been turning heads across the board. Pinch B2B Mumdance acts as a musical snapshot of the sound the two artists have been building and features a host of Tectonic material alongside a selection of their collaborative works. Keen listeners will note the "VIPinch Mix" of Mumdance & Logos' "Legion" and Pinch & Mumdance's "Double Barreled Turbo Mitz," a rework of the previously released killer "Turbo Mitzi." "Noctis" and "Lucid Dreaming" are collaborations that the pair are unleashing exclusively for the very first time and Pinch's "Obsession" appears in its original form alongside a punishing remix from Shed. Mumdance, reflecting on the project, describes it as "the perfect chance to sit down with Pinch and bring together a sonic which we both feel we have been working toward for a while, albeit from very different angles. In my opinion the dance music climate in the UK is enjoying a healthy and extremely interesting transitional period; one which I would draw parallels to the '93/'94 'proto' era when people were literally making up the rules as they went along. This mix is an ode to that time and our attempt at throwing some ideas out there, with the hope of sparking some imaginations and pushing things further forward." Pinch presents a similar forward-thinking view: "I like my music to have interesting percussion; some bass, space -- and arranged with a little grace. It was there in dubstep for me for many years but then I got a bit bored with the beats. Same with D&B before that. I see this mix as a part of the next step in that story." Also includes tracks by Alex Coulton, El-B remixed by Ziro, Nurve, Asusu remixed by A Made Up Sound, and Ipman.


MUMDANCE & LOGOS: Proto CD (TEC 019CD) 12.50
Mumdance and Logos present Proto, a collection of future-facing club tracks that, against the odds, also provides a deep and involving experience for the listener. Proto focuses on the very brief sparks of innovation when new scenes were just forming and genre rules and paradigms were still gray areas; the early bleep track days when imported American techno was starting to be appropriated by the UK, the '93-'94 proto era when hardcore was morphing into jungle and later, when the darker sound of tech-step reared its mechanical, dystopian head. All of this is underpinned with "Wot Do U Call It?" grime sensibilities and Mumdance and Logos's trademark sonic disorientation. Mumdance and Logos concentrate on taking the moods and colors created by these leaps forward in sound and twisting them into something new, keeping in line with the futuristic visions of the originators. Both producers had a banner 2014, launching their label Different Circles and spearheading a movement of what Logos calls "spatially untethered club trax," dubbed "weightless" by the duo. Mumdance took up a residency on Rinse FM; went B2B with Tectonic founder Pinch on their acclaimed mix release (TEC 018CD), about which Resident Advisor claimed "no one else is putting music together quite like this" in a 4.0/5 review; and was selected to perform at the Red Bull Music Academy in Tokyo. Logos, aside from appearing with the Boxed crew across London, had his track "Metropolis" lead off the compilation Keysound Recordings Presents... Certified Connections (LDN 050CD/LP). Not to mention that FACT named Mumdance's Twists and Turns (2013) as number 31 and Logos's Cold Mission (LDN 042CD/LP, 2013) as number 27 in its "100 Best Albums of the Decade So Far" list.


MUMDANCE & LOGOS: Proto 2LP (TEC 082LP) 23.50
Double LP version.



THING, THE: Garage LP (TTR 004LP) 22.00
Garage is Scandinavian free jazz trio The Thing's acclaimed third album, originally released in 2004 by the Norwegian label Smalltown Superjazzz. In the wake of this album's original release, which was heralded by media outlets ranging from the BBC to Uncut to The Observer, the trio played a sold-out show in London with Four Tet and Prefuse 73 and embarked on European and American tours. Their performance at Oslo's Øya Festival with Sonic Youth's Thurston Moore as a guest guitarist was particularly mind-blowing, and the trio was soon invited by Basement Jaxx to play the Wireless Festival in London. Garage includes covers of songs by the Yeah Yeah Yeahs, The Sonics, Peter Brötzmann, The White Stripes, and Norman Howard, along with two of the trio's originals. It was recorded on January 3 and 4, 2004, by Kai Andersen at Athletic Sound. Played by Mats Gustafsson: tenor and baritone saxophones; Ingebrigt Håker Flaten: double bass; Paal Nilssen-Love: drums, percussion, and megaphone-sampler.



DREXCIYA: Harnessed the Storm CD (TRES 181CD) 17.00
2014 repress. After the re-release of Drexciya's Neptune's Lair (TRESOR 10129CD/LP) and Transllusion's The Opening of the Cerebral Gate (TRESOR 270CD/LP), Harnessed the Storm is the third album in Tresor Records' great Drexciya reissue program. Originally released in 2002, Harnessed the Storm was conceived as the opening chapter of the legendary Seven Storms -- a series of seven albums created within a single year and released via several labels under different names. Harnessed the Storm was the sole one in the series credited under the main Drexciya project. The album, which is considered to be one of the pair's darkest, was produced in a time of creative outbreak and emotional turbulence. The duo's confidence was at a peak, new techniques revolutionized musical production, but the duo also had to face Stinson's severe health issues. This led to a radical shift of pace in producing and releasing music. For the Detroit pair it was time to move on from their ground-breaking past. It was time for some shape-shifting and wave-jumping to occur, in Drexciya's terms.



One of two different sets, along with Two City Blues 2 (TROST 128CD), 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.



Awake is a collaboration between noise veteran Mike Shiflet and guitarist John Kolodij (aka High Aura'd), and was recorded over the course of three autumn days in Kolodij's Rhode Island studio. This isn't your expected by-email collaboration though; rather, the two sat together in the same room with amps humming and strings vibrating, letting the space and the physicality dictate the music. The sessions were improvisational in nature, and as the recordings were cleaned up and edited, only sparse field recordings were added to enhance the live takes. It's a record that might sound electronic in parts -- indeed, echoes of Tim Hecker or Yellow Swans are present throughout -- but has the guitar at its core. Awake is a direct descendent of Godspeed You! Black Emperor or even Glenn Branca, but has been smudged, distorted, and delayed beyond recognition. What's left are traces -- the ghosts and outlines of songs, trapped in a fog of white noise and overdrive -- and the end result is disarmingly serene. Mastered and cut by Matt Colton. Edition of 500 copies.



TRASH KIT: Confidence LP (UTR 061LP) 22.00
LP version. Trash Kit, formed in 2009 by Rachel Aggs, Rachel Horwood, and Ros Murray, have become the glowing core of London's DIY underground. Their music is primal yet thoughtful, affirming yet sincere, drawing on the potential of post-punk and the naturalism of an internal folk music. Although Trash Kit have their forebears in bands like X-Ray Spex, The Ex, and The Raincoats, their sound is very much their own take on facing forwards. Galloping polyrhythms, overlapping sung-spoke lyrics and wordless vocals, and entwining guitars are all drawn together into a taut unity, sounding willfully alive. Both Rachels tangle their vocals with each other while expressive drumbeats and restless guitar flurries provide the rhythmic drive. Aggs's guitar playing is as much informed by African fingerstyle patterns as the percussive attitude of various no wave shredders. Horwood approaches her drum-kit with an untamable freedom, pushing it into the realm of a vivid lead instrument. Trash Kit's music is full of pauses, woven silence, and punctuation too, and this is where Murray and her resonant, soulful bass work finds a perfect home. In 2010, Trash Kit released their self-titled debut album on Upset the Rhythm to critical applause. The Sunday Times called it "tumbling, spirited and joyously nimble," while The Quietus remarked, "female punk can sound like cocoons cracking open in full fierce sunlight." As a follow-up to their exuberant debut album, Confidence sticks with their beloved "play it all live" pluck. There's a minimal bent, a lyrical directness, an unadorned ethic that all evoke the sense that the song is being written at the same time as it's performed. Yet while the first album at times felt too fleeting, its succinct songs flashing by so fast, Confidence is startlingly more assured, allowing ideas to develop, and conclusions to be gathered. Tracks like "Hair," "Skin," and "Boredom" embrace dynamics like never before. Their clatter and chime are complemented with subtler passages of introspection and the occasional noisy breakdown, with snare and cymbals approaching roar. Ros is joined by her previous bandmate Verity Susman (of Electrelane) on a few tracks, including the adventurous "Shyness" and lead single "Medicine," lending some fluently inventive saxophone flourishes. It all adds to the heady sensation of free-falling through the album. A feeling that the horizon has become broader. Recorded at Sound Savers with Mark Jasper; mixed by Sherry Ostapovitch; mastered by Mikey Young (Total Control, etc.).


VA10Y 001EP

VA: VA10Y1 12" (VA10Y 001EP) 14.00
First installment of a mini-series with each release featuring with four new and previously unreleased tracks from four different artists. VA10Y1 features Anonym, Tolga Fidan, Mathias Kaden, and Livio & Roby.



HODGE/ACRE: X/Don't Get Me Started 12" (WSDM 002EP) 14.50
Club-ready tracks from the cutting edge of the UK underground, exploring the fertile, undefined space between techno, grime, and UK bass music. Following acclaimed releases on Livity Sound, Berceuse Heroique and Tempa, Bristol boy Hodge brings his unique breed of gritty, sub-heavy techno to the record's A-side. "X" is a punishing, high-pressure clanger, propelled forward by a warping sub line and rough, scuffling hi-hats. On the flip, we find the hypnotic bounce of Acre's "Don't Get Me Started," on which gloopy synths revolve and warp around a steady kick and precise, razor-sharp hats. Vinyl only. Limited to 500 copies.



LOHHOF: WOOD001 12" (WOOD 001EP) 14.00
Vinyl-only label Woodwork debuts with an EP from Lohhof. With a spherical soundscape, "Algentee" welcomes the listener into the soul-soothing world of Lohhof's dreams, coming to a feathery halt right before the descent toward "Vaulty By Nature," an undiluted, raw jam with bubbly, acidic depths that growl monstrously. "Midway Moodswings" delivers a most memorable melody before revealing its real soul, a boldfaced open-saw bassline. Terekke's dreamy remix of "Midway Moodwsings" is a real time-bender, and "Happy Times" leaves the listener wanting more. Pressed on 140-gram vinyl.



NEGRO & SEAN P, JOEY: Supafunkanova Vol. 1 2CD (ZEDD 012CD) 17.00
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. The double CD edition features some old school rap styles from Billy Lamont & The Unn Band and South Bronx, plus some proper jazzy street funk from The Pied Piper of Funkingham and Hypertension. For the beat-focused, the double CD has some killer breaks from J. Gayle Gaymon, BLT, and Legacy. The gatefold double LP features Joey Negro's exclusive edit of Foreal People's "Love Begins With You," which appears in its original form on the double CD. 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, Needa, Jahneen, Marcia Pharr, Billy Evans, Jackie Boy & Nature's Creation, and Standing Room Only.


NEGRO & SEAN P, JOEY: Supafunkanova Vol. 2 2CD (ZEDD 034CD) 17.00
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. Once again Z Records gives outstanding value with 20 tracks spread across a double CD. 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, J.S. Theracon, Silver Flash Funk, L.S. Movement Band, Larry Harris, Nick Allen, Bright Moments, Blackrock, Storm, Contact, and Wizzard.

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