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Forced Exposure New Releases for 3/9/2015

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New music is due from Jarboe & Helen Money, Butch, and Fabiano do Nascimento, as well as a brand new Buddha Machine (5), while old music is due from Esplendor Geométrico, Françoise Hardy, and the Depressions.


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4M 245LP

STAPLE SINGERS, THE: Hammer and Nails LP (4M 245LP) 22.00
"Hammer and Nails is a reissue of the classic 1962 release by The Staple Singers. This album showcases the group in their southern gospel prime on the title track, 'Gloryland,' and 'Nobody Knows the Trouble I've Seen.' The group would go on to soul glory when they signed with Stax Records later in the decade but this is the group doing what they do best: gospel. Reissued on 180-gram vinyl by 4 Men With Beards."



BRIAN JONESTOWN MASSACRE, THE: Spacegirl and Other Favorites LP (AUK 009LP) 15.50
2015 repress. Originally released in 1996 and now reissued on A Recordings, Anton Newcombe's own record label. Released on 180 gram green vinyl. Taken from the original vinyl release with the original tracks & re-cut at Abbey Road.



BRADOCK, PEPE: Imbroglios Part 3/4 12" (ATA 014EP) 14.00
2015 repress. Originally released in 2012. Third part of four in the Imbroglios series.



VANGELIS: Blade Runner Original Motion Picture Soundtrack LP (AFZ 154LP) 29.00
New 2015 repress."The Blade Runner soundtrack was composed by Vangelis for Ridley Scott's 1982 film, considered one of the finest sci-fi movies ever made. It is mostly a dark, melodic combination of classical compositions and synthesizers which mirrors the futuristic film noir envisioned by Scott. The soundtrack holds legendary status and at the time was well-received by fans and critics including Best Original Score nominations for a BAFTA and Golden Globe yet, except for a few cuts, it was not released until 1994. The movie remains a classic film with a long list of popular movie stars including Harrison Ford, Daryl Hannah, Rutger Hauer, Sean Young, and Edward James Olmos, most of whom appear on this record in movie dialog samples mixed into the 12 tracks of nearly one hour of music. Vangelis makes each track flow into one another. The soundtrack features vocal contributions from Demis Roussos and the sax solo by Dick Morrissey on "Love Theme." The gatefold jacket includes many colorful stills from the film. Blade Runner is a timeless classic on film and now on 180 gram transparent red vinyl."



JARBOE & HELEN MONEY: Jarboe & Helen Money LP (ABX 063LP) 25.00
LP version. Legend of underground music Jarboe joins forces with visionary cellist Helen Money (Alison Chesley) to create a heavy, beautiful record, with Chesley's cello looming massive and distorted over much of the proceedings, and moments of transcendent beauty from Jarboe's ethereal vocal and piano work soaring above the drones and reaching for the beyond. Jarboe is a famed vocalist, musician, and performer, who came to prominence as a vocalist and songwriter in Swans. In addition to her numerous solo albums, she has notably worked with Neurosis and Blixa Bargeld. Helen Money is the nom de guerre of cellist Alison Chesley. In addition to working with Mono, Anthrax, and Russian Circles, she has toured with Joe Lally and Shellac, among others, and released her third album Arriving Angels on respected metal label Profound Lore Records in 2013. Working together and separately on the compositions, Jarboe and Chesley have crafted a seamless whole, with moments of sparse beauty mirrored by howling squalls of intensity. This is a human, organic album; the voice of Jarboe and the many-textured strings of Chesley's cello combine with an earthy depth but reach for the stars. Mastered by Kris Force.



PIERCE, JEFFREY LEE: Wildweed LP (BANG 083LP) 21.00
In 1985, after the first breakup of his band The Gun Club, Jeffrey Lee Pierce released his first solo album, Wildweed. Recorded with Craig Leon in London, the album centers on Pierce's obsession with violence and love gone wrong, and showcases his idiosyncratic guitar work, reminiscent at times of Tom Verlaine. This reissue features remastered sound, photos, and lyrics, as well as bonus tracks "Fire" and "Get Away," originally released on Pierce's 1985 Flamingo mini-LP.



DEPRESSIONS, THE: The Depressions LP (BEAT 050LP) 21.00
Brighton-based four-piece The Depressions were originally formed in their south coast home town as early as 1975 when, under the name of Tongue, they gigged solidly around their local area playing mainly Small Faces and Who covers. They changed their name to The Depressions and began to concentrate their efforts on their own songwriting abilities after the first punk impact in 1977. The East Sussex-based Pebble Beach Production company, run by future Bad Manners manager Andy Cowan-Martin, picked up on the band, and as well as finding them gigs, also brought them to the attention of ex-Animals bassist and former Jimi Hendrix/Slade manager Chas Chandler, who, after seeing them at a gig in Brighton, signed The Depressions on his Barn label. In fact, Barnard and Smith celebrated the signing by scrawling the band's name with spray paint across some prominent walls in Brighton, for which they were both arrested and fined 100 pounds! The LP was released in 1978, and was the first LP where they mixed their patented punk with rock and those power-pop/pub-rock moments. However, it was while supporting The Vibrators on a UK tour to promote the LP that tragedy struck the band with the death of a fan during the last number of their set at Preston Poly. A fight broke out between two rival sets of football supporters, leaving a 22 year-old dead of head injuries. The national press had a field day covering the "punk riot" and all the adverse publicity led to the band losing a lot of gigs and the departure of the guitarist Smith. Limited edition of 500 copies, pressed on 180 gram vinyl.


BR 016EP

FOOTSIE: Scars EP 12" (BR 016EP) 17.00
"We are the biggest Newham Generals fans... and these three tracks are some of Footsie's best productions that somehow haven't seen the light of day until now. 'Scars' was a hit instrumental... The vocal alongside D Double E and original Newham Generals member Monkstar alongside the one and only Wiley was an instant cult classic... one of the few tracks with Wiley and the Newham Generals together [along with] 'Prangman' Remix which is also featured on this record. 'Move to the Beat' is Footsie & D Double E at their best, a fun exchange for the ravers." --Elijah


P 751492HLP

PARTCH, HARRY: The World Of Harry Partch LP (P 751492HLP) 15.00
2015 repress; 180 gram exact repro reissue, originally released in 1969. "The World of Harry Partch collects three of his best short pieces. 'Daphne of the Dunes' (1967) is a side-long update of 'Windsong' written for dance. The melodic segments are given more emphasis than usual for a Partch piece, and harmonically this is one of his best with arpeggiated glides/cries of the Harmonic Canons evoking our sympathies. Meter changes almost measure by measure, with one section in 31/16 meter; another (polymetric) section consists of 4/4-7/4 over 4/8-7/8! Needless to say, while being very physical, Partch's music isn't something you can easily tap your foot to. What's most important is that it works. Partch was not one to introduce musical complexity merely for its own sake, another factor that separated him from his contemporaries. Not only are the rhythms complex, but they are performed at a frantic pace unequaled by any music I've hard (save perhaps the inhumanly fast player piano pieces of Conlon Nancarrow!). This is characteristic of most of Partch's works, though I think 'Daphne' is one of the most successful and exhilarating. 'Barstow -- Eight Hitchhiker Inscriptions from a Highway Railing at Barstow, California' was composed in 1941 as part of 'The Wayward.' It offers such statements as 'Go to 538 East Lemon Avenue for an easy handout' and 'Looking for millionaire wife...' This charismatic piece is successful due to the contrasting of Partch's intoning voice with others in the ensemble and to increased instrumental emphasis. Last is 'Castor and Pollux' in a more modern performance than From the Music of Harry Partch, with greater vigor and fidelity. The World of Harry Partch is an excellent introduction to his works that comes highly recommended." -- Surface Noise



FLUGEL, ROMAN: Sliced Africa 12" (DIAL 069EP) 14.50
Happiness Is Happening again! Following up his acclaimed 2014 album (DIAL 031CD/LP) Roman Flügel presents another 12" of his outstanding, seductive sound-world. With Sliced Africa he proves once again his deep commitment to making the dancefloor a fabulous place.


ACV 2045LP

BONFA, LUIZ: Brazil's King of the Bossa Nova and Guitar LP (ACV 2045LP) 22.00
"This reissue... proves why Bonfá is heralded as one of bossa nova's most important and prolific interpreters. Accompanied by an unidentified horn and rhythm section and recorded in Paris in 1962 and '63, the album features original compositions, many of them coauthored by Maria Helena Toledo, and features Bonfá's rhythmically charged guitar style and his extraordinary, expressive vocal. The fourth track, 'Dor Que Faz Doer,' includes his percussive beating on the body of the guitar, and his probing vocal on the lilting 'Teu Olhar Triste' makes for one of the more tender pieces in the collection... Le Roi de la Bossa Nova is a celebration of the brilliance of one of Brazil's most beloved artists and should be a must for all avid collectors." --Rebeca Mauleón, JazzTimes

ACV 2046LP

The song "Garota de Ipanema" was performed in public for the first time in 1962. This registration was never published -- this record does not exist. Rediscovered and remastered, this LP is the historical memory of this important moment in Brazilian music. Imagine yourself in the summer of 1962. You have never heard most of these songs. On stage: Antônio Carlos Jobim, Vinícius de Moraes, João Gilberto, and Os Cariocas, with Milton Banana on drums. The venue is the restaurant Au Bon Gourmet in Copacabana, Rio de Janeiro. The date August 2, 1962. The rest, as they say, is history...

ACV 2048LP

EVANS ORCHESTRA, THE GIL: Out of the Cool LP (ACV 2048LP) 22.00
Originally released in 1961, Out of the Cool is widely considered to be Evans's masterpiece, on par with Duke Ellington in terms of orchestration, and essential listening for any jazz fan. Evans had spent the previous few years working with Miles Davis on such acclaimed works as Miles Ahead, Porgy and Bess, and Sketches of Spain (DOG 904LP), a collaboration that proved to be extremely enriching for both artists. This LP was Evans's first post-Miles recording, and the album's title, Out of the Cool, is an obvious nod to that fact (a play on Davis's own Birth of the Cool). The album showcases two particularly significant Evans compositions: the groundbreaking "La Nevada" and "Sunken Treasure." Features Elvin Jones on drums; Charlie Persip on percussion; Ron Carter on bass; Ray Crawford on guitar; a horn section of Ray Beckinstein, Budd Johnson, and Eddie Cane on saxophones; trombonists Jimmy Knepper, Keg Johnson, and Tony Studd; Johnny Coles and Phil Sunkel on trumpets; Bill Barber on tuba; and Bob Tricarico on flute, bassoon, and piccolo. 45 RPM audiophile version.

ACV 2049LP

EVANS TRIO, BILL: Waltz for Debby (Clear Vinyl) LP (ACV 2049LP) 22.00
Recorded live at The Village Vanguard in New York on June 25, 1961, and originally released the same year, Waltz for Debby is the fourth album by the Bill Evans Trio, composed of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian. LaFaro was one of the supreme jazz bassists, a virtuoso player whose playing changed the very conception of his instrument. This album unfortunately also represents one of LaFaro's last performances, recorded just days before his tragic death at the age of 25 by automobile accident. Interestingly, the album also contains tracks that Evans had recorded prior to working with LaFaro, allowing for an accurate index of the bassist's great contribution to the trio.

ACV 2050LP

HARDY, FRANCOISE: Francoise Hardy (Clear Vinyl) LP (ACV 2050LP) 22.00
A seminal album of the French yé-yé era, Françoise Hardy's self-titled 1962 full-length debut, released in the U.S. as The "Yeh-Yeh" Girl from Paris! in 1966, appeared shortly after her 1962 debut single Oh Oh Chéri/J'suis D'accord. The success of this album, along with its hit "Tous les Garçons et les Filles," made the 18-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other yé-yé girls of the '60s like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world. On 140 gram audiophile clear vinyl; limited numbered edition of 500.


HERRMANN, BERNARD: The Wrong Man LP (DOC 120LP) 22.00
The Wrong Man (1956) was a unique project for the legendary Alfred Hitchcock. Undertaken as a flamboyant experiment with neorealism, it differs significantly from his most famous films in both style and substance. Similarly, Bernard Herrmann's minimalist score took simple devices already in evidence in his previous film work to an unprecedented extreme. While Hitchcock never again attempted such an austere and moody work, the brooding score laid the groundwork for much of the rest of Herrmann's career. First press limited to 500 copies.


CARDEW, CORNELIUS: We Sing for the Future & Thalmann Variations LP (DOZ 409LP) 23.50
Restocked, last copies. "Recorded in 2002 by American contemporary composer and pianist, Frederic Rzewski, We Sing For The Future & Thalmann Variations are two compositions from English composer Cornelius Cardew's Marxist-influenced 'People's Liberation Music' period. Rzewski came to prominence in the mid-sixties in Rome as a founding member of the MEV (Musica Elettronica Viva) improvisation group (along with Alvin Curran and Richard Teitelbaum), which shared a vision with groups like Cornelius Cardew's Scratch Orchestra of the same period. However, like Cardew, in the 1970s Rzewski also became interested in Communism and the power of music to express the will of the people, so it is fitting that Rzewski should chose to revisit these two compositions. 1974's 'Thalmann Variations' was written to commemorate the 30th anniversary of the death of Ernst Thalmann, the Secretary General of the German Communist Party, and is based on a popular German Worker's Movement song (1934's 'Thalmann Song'), while 'We Sing For the Future' is a solo piano piece meant to convey the struggle of young people in an imperialist world. It was written in 1981, the year Cardew - who by this time was an active member of the Communist Party - was mysteriously killed in a hit and run accident in London."


EM 1100CD

NOAHLEWIS' MAHLON TAITS: Gift from Noahlewis' Mahlon Taits CD (EM 1100CD) 18.00
Gift from Noahlewis' Mahlon Taits, which was previously issued on vinyl LP by EM Records in November 2012 (EM 1100LP), is now finally available on CD with three additional tracks, a new track sequence, and new cover art. The band has a unique place in the current Japanese music scene; a hard-to-classify blend of original compositions (swinging garage-sax swagger, serpentine accordion/musical saw funk, pensive sky musings) and well-chosen covers, acclaimed (Rogers and Hart, Joe Meek) and obscure (lounge wizard Bobby Hammack and '50s pianist/composer Bob Brandt). Recorded in 2011-2014 in Tokyo, this album captures the special Noahlewis' Mahlon Taits frontline blend of sax, accordion, and musical saw, joyfully urged on by the rhythm section. This band, so distinct from the mass of typical Tokyo sounds, is intent on pursuing its own musical vision, joyously melodic and defiantly timeless. The 10 songs on this CD, two of which feature vocals from Tomoko Kanda, were previously released this year on an EM 7", are sure to bring a smile to your face, a tap to your toe, and perhaps, a tear to your eye.

EM 1133CD

YOUNG, ROLAND P.: Confluences CD (EM 1133CD) 20.00
The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie (EM 1045CD/HJ-LP) and Istet Serenade (EM 1087CD/LP), made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba, and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery, and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present, and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music." Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!



FM3: Buddha Machine 5 - Black Soundbox (BUDDHA05-BLACK) 23.50
Buddha Machine 5 - Black. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virant and Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3's 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).


FM3: Buddha Machine 5 - White Soundbox (BUDDHA05-WHITE) 23.50
Buddha Machine 5 - White. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virant and Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3's 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).


GR 2134LP

ESPLENDOR GEOMETRICO: Nador LP + 7" (GR 2134LP) 25.00
Geometrik presents the first vinyl edition of Esplendor Geométrico's Nador, originally released by Dirk Ivens' Daft Records on CD in 1995. Fans of Esplendor Geométrico have been waiting eagerly for this reissue of Nador, a collection of alternate takes and otherwise unreleased tracks recorded in 1988 and '89, one of the duo's best creative periods. Includes tracks recorded in the Sheikh Aljama (GR 2116CD/GR 2131LP) and Arispejal Astisaró (GR 2117CD/GR 2132LP) period, an especially interesting time when the unique and characteristic rhythmic-industrial EG style, developed throughout the '80s, turned more minimalistic, schematic, cold, and rough, with sporadic influences from Arabic music and rhythms. Minimalist structures in a strikingly modern approach. This edition includes an LP with the first seven tracks from the original CD and a 7" with the original CD's final two tracks. Remastered in 2014 by Alek Stark at Fundamental Audio.


GET 54042LP

WATERS, MUDDY: After The Rain LP (GET 54042LP) 21.00
2015 repress. "The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late '60s, Muddy Waters' After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983. After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players. This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass: 'I Am the Blues,' 'Ramblin' Mind,' 'Bottom of the Sea,' and 'Blues Trouble.' After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters and presented on LP with Japanese-style OBI and double-sided poster."



IRVINE, CAMPBELL: Reunion of Two Bodies 12" + CD (INF 018EP) 14.50
"Prism Split (A Scrying Song)" invokes comparisons with pioneers such as Muslimgauze or contemporaries like Shackleton, while staking out sonic territory of its own with field recordings, mixed-media samples, and delicate drum programming and instrumentation. More club-oriented and jubilant yet suitably tense, "Reunion of Two Bodies" sheds Eastern influences in favor of dubbed-out, classic electronic realms, reminiscent of Warp circa Artificial Intelligence. Bonus CD's brooding 50-minute "Terms of Propaganda" fuses musique concrète ideals with modern bass music stylings; its drum recall the The Apocalypse Now Sessions by Grateful Dead players the Rhythm Devils. Music to go up the river to.



CUTTLEFISH & ASPARAGUS: Hang On in There 12" (KKS 003EP) 14.00
Cuttlefish & Asparagus deliver a strong three-tracker made to work the hell out of every imaginable sound system. With a sound spectrum wider than the Panama Canal, "Hang On in There" is guaranteed to turn any straight-cut jeans into glossy orange bell bottoms and any mirror into a disco ball. Meticulously edited without changing the filth of the unique bassline, "Lovin You" is a wild stomper made to immediately fill or blast any imaginable dancefloor. "Drum Song" embodies the deep spirit Kalakuta Soul, always after music to dance their asses off to. A tropical bliss.


KI 014EP

AUBERT, ARP: Moshislongo 12" (KI 014EP) 14.00
Arp Aubert's "Moshislongo" rolls out a hovercraft-like texture amid a flock of happily fluttering beats while a sparkling surge from beneath bounces them along in kaleidoscopic unison. "Lowport" wanders through the deep, propelling its effervescing mass through Pascalian bubbles, before the sound-mantra acid-bass bobs through kalimbas and melancholy synth chords. Me Succeeds (Lorin Strohm and Mona Steinwidder) gracefully translate the title-track's melancholy moods into a profound sound-tableau; Steinwidder recites a text of her own over dub-character beats and fading chords. On Alexander Polzin's remix of the same track, jumbled vocals give rise to the warmth of a constant bass.



KHIDJA: Looki 12" (LOTR 004EP) 14.00
Looki, the follow-up to two 2014 EPs on [Emotional] Especial and Forgotten Corner Records, moves far away from the arabesque melodies of Khidja's previous productions and speaks to the neo-new-age generation -- no beat, no stress, just a guitar, the beach, and the sea. Lauer moves the track from chill-out to dancefloor with uplifting grace. Fantastic Man drops the guitar for good and kicks in with a tribal polyrhythm. Africaine 808 bubble up the original with a cascade of reverbs and delays embedded in a reduced yet complex dub beat.


MIR 100702LP

2012 release. An influential member of the Italian avant-garde, Roberto Cacciapaglia has spent the last four decades blurring the lines between classical and electronic music, developing a sound that has never been restricted by genre. A classically trained pianist and composer from Milan, Cacciapaglia first came to prominence in the early seventies as keyboardist for the king of experimental Italian pop, Franco Battiato. After recording his own debut LP, 1975's Sonanze in Milan, Cacciapaglia traveled to the Ohr studios in Köln to mix the results under the watchful of eye of Krautrock overlord Rolf-Ulrich Kaiser (Tangerine Dream, Klaus Schulze, Ash Ra Tempel). The resulting album was a mix of electronic (moog, synth) and classical instruments (guitar, oboe, trombone, clarinet) that was experimental in the kosmische sense, but with the musical chops and vision of a classically trained musician. Presented on 180-gram vinyl with a bonus CD of the album, which also includes 15 bonus tracks recorded between 1972 and '74, unreleased until 2000.

MIR 100732LP

LP version. Music composed by Roberto Cacciapaglia for soprano, counter-tenor, and instrumental ensemble, based on the poem "De rerum natura" ("On the Nature of Things") by first-century Roman poet and philosopher Titus Lucretius Carus. The wok was commissioned for the Aterforum festival in Ferrara, Italy, and premiered on July 9, 1988. This is the first release of a performance recorded live at Glance Studio, Milan, Italy, on June 28, 1988. Produced by Roberto Cacciapaglia and Gianpiero Dionigi.

MIR 100733LP

Double LP version. A very special and unique performance of Terry Riley's iconic 1964 minimalist piece In C, previously unreleased. Riley and the Roberto Cacciapaglia Ensemble together at the Aterforum festival in Ferrara, Italy, on July 9, 1988.



WE WILL FAIL: Verstorung 2.0 LP (MONO 020LP) 23.00
We Will Fail is a project focused on the pleasure of wandering. Field recordings, tape samples, synthesizers and electronic drum kits are mixed together to find some peculiar quality, referring to techno aesthetics. A person responsible for this project is Aleksandra Grunholz -- a graphic designer, an amateur musician, and an audio performance artist. After releasing Verstörung, We Will Fail presents Verstörung 2.0, the album continuation. During some very intensive months after releasing her debut album, Aleksandra Grunholz found time to work on some new compositions that are more drowned in intensive rhythms. Some tracks from the first album also have changed a little bit. That's why the vinyl album Verstörung 2.0 is somehow similar to earlier works by We Will Fail, and on the other hand, offer new tunes and marvelous new cover art.


MR 329LP

LOS SAICOS: Demolicion: The Complete Recordings LP (MR 329LP) 21.00
2015 repress. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton

MR 350LP

ESKORBUTO: Los demenciales chicos acelerados 2LP (MR 350LP) 25.50
Los demenciales chicos acelerados is Basque punk band Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of Quadrophenia by their beloved legends The Who. Los demenciales chicos acelerados tells the story of an unscrupulous young man who wishes to achieve power at all costs and steps over everyone and everything for political ends, only to be betrayed by everyone around him. Hence lines such as "crowds are a nuisance," "I'll come unscathed out of the attacks planned by my image consultant," or "shouting in front of the scum." This political satire also accounts for the controversial Nazi pictures on the front and back covers -- Eskorbuto were equating the unprincipled politician of their rock opera with the Nazis and Francisco Franco. In 1988 band members Jesús "Iosu" Expósito and Juan María "Juanma" Suárez narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster, making clear the conceptual attack on any kind of dictatorial political regime. The album stirred controversy, particularly due to its original packaging, with its photos of Nazis, an image of the Spanish flag, and the words "Of national interest." Although Los demenciales chicos acelerados came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to Producciones Twins, which also released it a few months later with a different cover. The album contains new versions of a few tracks such as "Ratas rabiosas" and "Enterrado vivo" plus the studio version of "Más allá del cementerio." For the recording, the band enlisted keyboardist Aitor Amezaga, who would also appear on their next album, Las Mas Macabras de las Vidas (GBR 011LP). This is the first facsimile vinyl reissue of one of the most piercing albums in Spain's rock history, by a band whose significance has crossed all kinds of borders. Housed in a gatefold sleeve.



MASIN, GIGI: Talk to the Sea 2LP (MFM 002LP) 30.50
2015 repress. The highly-anticipated second release from the Music From Memory label takes you into the world of Italian musician Gigi Masin. Part of only a small and very much underground music scene in his hometown of Venice, Gigi Masin self-released two modestly pressed LPs, Wind (1986) and Wind Collector (1991), and appeared alongside Charles Hayward for the Sub Rosa compilation LP Les Nouvelles Musiques De Chambre Volume 2 (1988). Having met with little commercial success in Italy at the time, Gigi Masin's solo albums remained for the most part totally unknown. His music has though in recent years, and seemingly by pure word of mouth, developed almost something of a cult following. Gigi Masin's uniquely intricate and at times deeply emotive compositions take the listener into a realm of contemplation, a spellbound mind state where time and space appear to dissolve. His sparse and hypnotic often loop-based compositions seem to draw parallels with Detroit techno's earliest beginnings, all at once conjuring those same feelings of both melancholic longing and ecstatic joy. With access to Masin's large body of work, far greater than that of the handful of released recordings, Music From Memory's new compilation covers a period of over 30 years, from the mid-1980s up until recent works. Including 17 compositions, most of which have remained unreleased or unavailable until now, Talk to the Sea aims to shine a light on Gigi Masin's unique and heartfelt talent. This is electronic music from the soul.


BIBILONI, JOAN: El Sur LP (MFM 003LP) 19.50
2015 repress; LP version. Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his '20s he formed Spanish prog-rock outfits Zebra and Euterpe, where he would meet Pepe Milan, the two of them becoming the bluesy folk duo Milan & Bibiloni. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage, to name but a few. In 1982, Bibiloni set up his own label Blau in order to highlight the much-overlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands. While Bibiloni's first solo releases on his Blau imprint have stronger echoes of the contemporary jazz fusion of the time, it is on the album known as Una Vida Llarga I Tranquila where Bibiloni really began to experiment with new sounds and technologies; fusing tape loops, drum computers and synthesizers. Taking these more electronic-infused works as a departure point for the compilation and drawing on material from across his following five albums, El Sur sets out to highlight Joan Bibiloni's unique ambient fusion and sun-drenched Adriatic beach-boogie.


GAUSSIAN CURVE: Clouds LP (MFM 004LP) 19.50
Music from Memory's fourth release sees the Amsterdam-based label taking an exciting sidestep with the release of Clouds. It's the debut album from Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land of Light's Jonny Nash, and Marco Sterk (also known as Young Marco). The trio came together during a weekend-long recording session in April, 2014, with no preconceived ideas. Developed around improvised jams, the eight tracks on the album are all single-take live recordings. The three musicians succeed in developing a musical language all of their own, with Gigi Masin on Rhodes and piano; Jonny Nash on guitar, melodica, synths, and trumpet; and Marco Sterk on synths, rhythmic structures, and production duties. Recorded in the heart of Amsterdam's red-light district, the album reflects the unusually warm spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. And on the more introverted late-night compositions, the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. Clouds is a simple, heartfelt record of an inspired meeting of unique souls in unique surroundings.



LANDO: MYTH002 12" (MYTH 002EP) 15.50
"No Matter (Where You Are)" embodies the primitive hypnotizing rhythms that Lando's releases are known for. He then drops listeners into the deep end with the dubbed-out, subaquatic groove that is "Posse Form." On the other side of the record (and the galaxy) you can find "Abaraxas II," the new national anthem of utopian Neptune. Preceding this otherworldly communication, however, is the B1, "Insyde," which is somehow the hidden surprise on the record. To best describe this sweaty bassline workout it might be best to just quote DVS1... "Lando has the funk!"



VAN ZANDT, TOWNES: Live at the Jester Lounge - Houston, Texas 1966 CD (NOR 260CD) 12.50
2015 repress. "This album, which may be the earliest extant recording of Townes Van Zandt at a commercial performing venue, immediately brings to mind the fabled Sun Sessions of Elvis Presley. Both recordings document young performers at the hopeful threshold of their professional music careers (Elvis age 19, Townes age 22). Their performances are fresh and unjaded, guided by instinct rather than experience or training. . . voices bursting with exhilaration at the simple thrill of letting loose and singing music they love. There is no self-consciousness, no overt stylization, no world-weariness here, and certainly no hint of the darkness and tragedy that would later consume the lives of both men. The Sun Sessions and Live at the Jester Lounge offer a fascinating portrait of two young singers on the brink of musical self-discovery, and it is a pleasure to share in the brilliance and wonder of those moments captured for posterity more by accident than design. The material on this CD is a prime example of the repertoire-influenced-by-context principle, in this case tunes that appealed to the good time-seeking, beer-drinking audiences Townes encountered at his club gigs during this period. There are topical humor pieces about sex, booze and pop culture ('Talkin' Birth Control Pill Blues', 'Talkin' Thunderbird Blues', 'Talkin' Karate Blues') and a wide range of light and dark bluesy numbers (jazzman Richard Jones' classic 'Trouble in Mind', Lightnin' Hopkins' 'Hello Central' and Townes' own 'Badly Mistreated Blues', 'Louisiana Girl Blues', 'Mustang Blues', 'Black Crow Blues'). Three country standards (Jimmie Rodgers' 'T for Texas', the Carter Family's 'Cannon Ball Blues', Hank Williams' 'I'm So Lonesome I Could Cry') round out the collection. Live at the Jester Lounge - Houston, Texas, 1966 shows a rarely-seen, unabashedly joyous side of a songwriter known mostly for his intense seriousness and uncompromising explorations of psychic angst. The essence of the mature artist Townes Van Zandt would become is here in all its natural, soon-to-blossom glory."


NA 5121CD

DO NASCIMENTO, FABIANO: Dança dos Tempos CD (NA 5121CD) 16.00
"Dança dos Tempos is the debut album from thrilling, young Brazilian guitarist Fabiano do Nascimento, and it features legendary percussionist Airto Moreira in his first album project in over ten years. Dança dos Tempos follows folkloric Brazilian music as experienced through the mind and able fingers of an expansive musician, not yet thirty years old, and combines the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. It is the second Brazilian album released on Now-Again, following Seu Jorge and Almaz. Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own name, with his wife Flora Purim, and whose resume contains the names of -- seriously -- every musician worth mentioning from America or Brazil from the past 50 years -- plays percussion on the album and is joined by do Nascimento's long time drummer, Ricardo 'Tiki' Pasillas on trap drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental album that allows the guitarist's virtuosity to shine through originals, folkloric Brazilian songs, and select covers by the likes of Pascoal and Powell, both formative influences on the guitarist. These duets show the camaraderie that two master Brazilian musicians -- of two different generations, but of the same spirit -- share with comrades of ages past as they imagine music for the years to come. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances."

NA 5121LP

DO NASCIMENTO, FABIANO: Dança dos Tempos LP (NA 5121LP) 21.00
LP version.



ORCUTT, BILL: Gerty Loves Pussy LP (PAL 034LP) 15.00
Solo electric guitar performance recorded at the Brooklyn offices of Triple Canopy magazine, January 2014, as part of their annual marathon reading of Gertrude Stein's 1925 novel The Making of Americans. Explores the rhythms and repetitions of Stein's language using Fender Telecaster, Music Man 100 amplifier, and the acoustics of a very small room. Edition of 300. Reissue of a 2014 limited tour-only tape, PAL-010.



VA: Love, Peace & Poetry -- Brazilian Psychedelic Music LP (QDK 043LP) 16.50
2015 repress; LP version in deluxe full color gatefold sleeve. "Music, and the arts in general, in the 1960s provided first hand experience with freedom and creativity of thought and ideas that stretched far beyond the confines and borders set by oppressive regimes and repressive political leadership in general. In Brazil the musical artists of the 1960s and 1970s blended rock, tropicalia, classical, jazz, eastern music and regional music with everything available to create an amazing music universe that we have just skimmed the surface of in this collection." Artists include: O Brando, Os Brazões, A Bolha, Liverpool, Bango, The Buttons, Assim Assado, O Têrço, Spectrum, Módulo 1000, Os Lobos, Rubinho E Mauro Assumpção, Sound Factory, Terço, Paulo Bagunça, Lula Côrtes E Zé Ramalho, Marcos Valle, Hugo Filho, Marconi Notaro.


VA: Love, Peace & Poetry - Chilean Psychedelic Music LP (QDK 049LP) 17.00
2015 repress; LP glossy gatefold heavy sleeve; 180 gram pressing. The Love, Peace & Poetry series from QDK continues in Chile, with 17 tracks culled from some of the lost treasures of the psychedelic music scene of the 7-year period between 1967-1973. In 1973, the Chilean dictatorship banned most rock bands and most musicians had to stop or leave the country, or take it underground. The ban extended to the retroactive destruction of many master tapes for many of the albums included here, which only just stopped as recently as the 1980s. Kissing Spell represents with "Yellow Moon" taken from their 1970 album Los Pajaros, as well as Embrujo who released their self-titled LP in 1971. Los Jaivas' debut LP was pressed privately in 1971 in a small edition of 500 copies, making this track extra-rare. Los Vidrios Quebrados were one of the real South American psychedelic classics -- their Byrds-like jangle-pop coming through clearly on their track. Aguaturbia were pioneers of psychedelic rock in Latin America, who also generated considerable controversy over their album covers. Los Blops released three now very rare and very sought-after LPs between 1970 and 1973, and their sound was focused on their guitarist's electric 12-string guitar (an unusual instrument in Chile at the time). Sacros were among the first electric folk-rock bands to perform during Catholic mass -- their recording was almost destroyed by the military and only a handful of copies survived. Los Macs' 1967 masterwork, Kaleidoscope Men, is rightfully considered by many collectors to be one of the finest examples of '60s psychedelia from South America and original copies are impossibly rare. Los Beat 4 was one of the most successful groups of the national scene in the mid-'60s and both of their rare LPs are represented here. Tumulto was respected for being non-commercial, and their track is taken from their rare debut album. Escombros released their sole LP in 1970 and are a gem in the psychedelic progressive folk style. Congregación released their sole LP on the IRT label in 1972, and El Congresso's sound is the result of a unique blend of contemporary elements and Andean roots. Chilean psychedelic music was produced during a time of great cultural change and social turmoil and is exceedingly rare and very special.



VA: Charred Remains 2LP (RADIO 009LP) 24.00
Repressed. "In the annals of early 80's American hardcore, no compilation holds more seminal weight than Charred Remains. Initially released in 1982 on cassette through Bob Moore's Version Sound label and available in limited supply, the release served the world the first earfuls of such groundbreaking and legendary bands such as Hüsker Dü, Die Kreuzen, Void, Violent Apathy, Toxic Reasons, Articles of Faith, Rebel Truth, Personality Crisis, and Sin 34. Besides the actual sounds contained on the tape, Charred Remains was a testament to that primary quake of DIY ethics that empowered many a short-haired youngster to start bands, record labels, and fanzines and forge the underground to where it is today. To find an original copy of this compilation and not have to give up a kidney in exchange would be quite a feat, but now Radio Raheem waves their magic wand and Charred Remains is something for everyone to enjoy in the vinyl format. Re-mastered from the original master tapes with liner notes from Bob Moore and Die Kreuzen vocalist Dan Kubinski, Charred Remains is rescued from the collector ghetto and plopped right down into your lap to behold."


RUM 2011090LP

BEACH BOYS, THE: Surfer Girl LP (RUM 2011090LP) 22.00
Surfer Girl (1963) is the third studio album from The Beach Boys, and the first on which the brilliant Brian Wilson was given complete production credit. The album features the hit title-track, the classic "Little Deuce Coupe," and, perhaps most importantly, the gorgeous and lush "In My Room," which gave a hint of the dense production brilliance that Wilson would perfect three years later with the immortal Pet Sounds (1966). Surfer Girl spent more than a year on the US charts and is the perfect balance between early surf party Beach Boys and the later, more introspective sounds they are now best known for. Another early '60s American classic resurrected by Rumble.

RUM 2011091LP

WRAY & THE WRAYMEN, LINK: The Original 1958 Cadence Sessions LP (RUM 2011091LP) 22.00
This is the album that Link Wray originally offered to the Cadence label in the wake of his groundbreaking debut hit "Rumble" back in 1958. Even though people loved 'em in Washington, D.C., Link and the boys did not last long on the label. Faster than you can say "Rumble," everyone was talking about the new threat to the morals of American youth. Their street image seemed to be sharply at odds with Cadence's formality, so the guys were dropped. Link eventually re-recorded some of the tracks for his next label, Epic, who actually released his debut album in 1960 (RUM 2011003LP), but these are the original Cadence versions from the original session tapes.


RB 053EP

DALY, JOHN: 11 51 26 41 2 EP 12" (RB 053EP) 14.00
Techno powers from Ireland; pirate John Daly shifts up one or two gears into the fifth. Tracks and tools of diverse adaptabilities for different DJ tastes. If this is too fast, you are too slow.



SENDO: Absent EP 12" (SINO 029EP) 12.50
Spanish musician Sendo presents the Absent EP, the result of his lifelong passion for sci-fi films, and his effort to translate these movies into sound. Three tracks engaged with esoteric electronic and ambient-styled music. An adventurous trip through utterly deep soundscapes and mysteriously rattling compositions with a cinematic approach.


TEG 76530LP

DINOSAUR L: 24-24 Music 2LP (TEG 76530LP) 25.00
2015 repress, originally released 2007. "Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde/experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, 'Go Bang!' and 'Is It All Over My Face?' were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L's 24->24 Music for the first time ever on double LP. Includes the original album tracklisting plus rare 12" remixes and edits."


ST 003LP

Released on Columbia Records in 1960. The Twilight Zone is a cornucopia of space age sounds and great space age pop names. Jerry Murad on harmonica, Mundell Lowe on guitar; Lois Hunt sang the ethereal wordless vocals, while Harry Breuer played the vibes and Phil Kraus covered miscellaneous percussion. Manning himself covered keyboards, using both Ondioline and Ondes Martenot. The album also earns a footnote in musical history as one of the very few recordings to use a serpent, the instrument, that is. Manning got his start during the Big Band era, and he was working as a freelance arranger by the early 1940s. He worked in radio, arranging and conducting for a variety of NBC and CBS shows, and began a long relationship with Columbia Records in the early 1950s. He arranged and conducted on many of Tony Bennett's earliest hits, such as "Rags to Riches," and he went on to provide backing for most of Columbia's roster of singers through the late 1960s, including Vic Damone, Buddy Greco, Andy Williams, Robert Goulet, and Barbra Streisand. His arrangement for Bennett's biggest hit, "I Left My Heart in San Francisco," won a Grammy Award in 1962, and he was nominated several other times for other arrangements for Bennett, Perry Como, Brenda Lee, and others. The Twilight Zone opens with a version of the show's well-known title music and is a very odd and different approach to "space pop." Band leader Manning plays the Ondioline and the "Martinot" (sic), accompanied by a stellar cast of studio helpers including Mundell Lowe (guitar), Jerry Murad (harmonica), and Harry Breuer (percussion). There is so much percussion, in fact, that at times this sounds like "jungle exotica" gone to outer space. Special effects are attributed to Attilio J. Macero. Song selections include "Forbidden Planet," "The Unknown," "The Moon Is Low," and "Far Away." The industrial-sounding arrangement on the latter is referred to in the liner notes as a "tuned motorboat." The effect-laden "Night on Bald Mountain," featuring screams by vocalist Lois Hunt and electric guitar by Lowe, is another highlight. Limited edition of 300 copies.



MATRIXXMAN: StuxNet 12" (SPC 129EP) 14.00
For his 2014 debut on Spectral Sound, San Francisco DJ and producer Matrixxman presented a strong and versatile four-track EP, Amulet (SPC 123EP). Rich with analog ideas, the EP explored his interests in deep Chicago moods and techno futurism. StuxNet follows the futuristic path that Matrixxman has carved out with two acid-leaning cuts, "StuxNet I" and "StuxNet II," paired with two Amulet stand-outs, "Venetian Mask" and "The Caravan," remixed by Hieroglyphic Being and Silent Servant respectively.


SP 038LP

CARAGNANO & DONATO DOZZY, ANNA: Sintetizzatrice LP (SP 038LP) 20.00
LP version. Sintetizzatrice is the first recorded document of the collaboration between veteran DJ and producer Donato Dozzy and female vocalist Anna Caragnano. Through his solo work, and in his collaboration with Giuseppe Tilleci (Neel) as Voices from the Lake, Dozzy has achieved some of the most remarkable vistas contemporary electronic music has seen since the turn of this century. By removing himself from his areas of mastery to shift his focus on the voice, he has achieved a new peak with Sintetizzatrice. Over nine tracks, Dozzy works exclusively with the voice of Rome-based vocalist Anna Caragnano, with no other instruments. Heavy layering and effects processes are used to display an astoundingly versatile voice-centric vocabulary. Rarely can a record morph from R&B to kosmische, through traditional Italian folk music, to Fluxus styles and traditional chamber choir with no additional instrumentation. Just a singular, beautiful voice. The results are simply phenomenal. With the opening, "Introduzione," an immeasurable cosmic weight arrives and remains through the duration of the album. "Star Cloud" ascends with melancholy extended drones that evaporate concepts like time and being, rendering basic human perceptions void all the way through "Parallelo." "Parola" dances around the stereo field with dazing rhythms and melodies, while "Festa (A Mottola)" is an homage to the traditional music found in the rural region where, coincidentally, both Dozzy's mother and Caragnano were born and raised. The album's closing pieces "Love Without Sound" and "Conclusione" hit hard in a way to which no words can do justice. By fearlessly entering uncharted territories, Dozzy and Caragnano have made a collaboration which is truly experimental. Sintetizzatrice is a grand debut for Anna Caragnano and a fantastic twist for Donato Dozzy. Produced and mixed by Dozzy at Alaska Studio, Rome, in 2014. Mastered by Giuseppe Tilleci at EnissLab Studio, Rome. Transferred to tape by Pietro Micioni, Angelo Compagnoni, and Massimo Zuccaroli at Village Studio, Rome. Cut by Christoph Grote-Beverborg at Dubplates & Mastering, Berlin. Front cover painting by Angela Scaramuzzi. Cover design by Koto Hirai.



VA: Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7 10" (STAGO 070LP) 16.50
Vinyl-only 10" release. Stag-O-Lee presents Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7, released alongside Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 (STAGO 071LP) and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late '50s and early '60s -- a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Plas Johnson & His Orchestra, Chance Halladay, Nick Anthony, Nicky de Matteo, David Seville, Ted Jarrett & Band, The Astro-Jets, Titus Turner, Ronny Savoy, Malcom Dodds, Alan Arkin, and the Dave Brubeck Quartet.


VA: Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 10" (STAGO 071LP) 16.50
Vinyl-only 10" release. Stag-O-Lee presents Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8, released alongside Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7 (STAGO 070LP) and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late '50s and early '60s -- a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Dick D'agostin & The Swingers, Don Carroll, Mike Shaw, Chance Halladay, Deane Hawley, Jim Burgett, The Viscounts, Bobby Scott, Malcolm Dodds, Trini Lopez, Jimmy Ricks, and Oscar Perry.


SF 085LP

VA: Choubi Choubi! Folk & Pop Sounds from Iraq Vol. 2 2LP (SF 085LP) 25.50
2015 repress. In 2005, Sublime Frequencies released Choubi Choubi: Folk and Pop Sounds from Iraq, and in the ensuing years it has become one of the most beloved and venerable titles in their catalog. Now almost 10 years later, this highly-anticipated second volume is finally here. Compiler and producer Mark Gergis has once again put forth a revelatory and poignant collection of Iraq's national folk music. What has happened to Iraq since the 2003 U.S. invasion and eventual occupation? Endless death, destruction and chaos, the complete take-down of a functional and sovereign secular government (regardless of your opinion on that government), puppet installations, contrived sectarian divisions, the wholesale looting of culture, rampant opportunism, and apparently no lessons learned -- all at the Iraqi people's expense. Naturally, music has continued to be produced in Iraq -- however, since 2003, musicians and artists have been consistently targeted and attacked by extremists, who have also bombed music shops and forced the closing of venues and music halls. The musical style most prominently focused on in this volume is the infamous Iraqi choubi, (pronounced choe-bee), with its distinct driving rhythm that feature fiddles, double-reed instruments, bass, keyboards, and oud over its signature beat. Choubi is Iraq's version of the regionally popular dabke, another celebratory Levantine folkloric style of rhythm and line dance. What really defines the Iraqi choubi sound are the crisp, rapid-fire machine-gun style percussive rhythms set atop the main beat. To the uninitiated, they sound almost electronic. Sometimes they are, but more often this is the work of the khishba -- a unique hand-drum of nomadic origin (aka the zanbour -- Arabic for wasp), which appears across the board in many styles of Iraqi music today, with extensions of it also heard in Syrian and Kuwaiti music. Among other styles featured in this volume are Iraq's legendary brand of mawal -- an ornamental vocal improvisation that sets the tone of a song, regardless of the style, and the outstanding Iraqi hecha, with its lumbering and determined rhythm pulsing beneath sad, antagonized vocals -- as heard on tracks A4 and B2. The tracks on this collection were produced during the Saddam era -- between the 1980s and early-2000s. An important goal within the Iraqi Baathist agenda was to promote its brand of secularism, which saw the establishment of cultural centers, and a fostering of the arts. Music was more encouraged, albeit more institutionalized than ever -- particularly folkloric and heritage music such as choubi. In an Iraqi army comprised of seven divisions, Saddam referred to singers as the eighth. Still, unless a rare level of stardom has been achieved, being a singer or musician isn't usually encouraged or viewed as a respectable lifestyle in much of the Arab world. It's often those deemed social outsiders that tend to find their niche in music -- particularly the "party music" heard on this collection. Among them are the Rom Gypsy Iraqis (known as Kawliya in Arabic). A number of female singers wear masks and adopt pseudonyms to protect their identities, as some are runaways or prostitutes making ends meet in the seedy nightclub scene. Occasionally, they end up with successful recording careers. Sajida Obeid, who has appeared on both volumes of Choubi Choubi! is an example of a talented Kawliya singer from the nightclub scene of the 1980s who rose to choubi infamy in Baghdad. Choubi inevitably invokes tawdry connotations within Iraqi society (cheap nightclubs for the lower classes, outcast gypsies and singing prostitutes), but in fact, many calibers of Iraqi singers and ensembles have recorded and performed the music. Unofficially, choubi can be called the national dance of Iraq. Though some may deny this claim (mostly due to its reputation and stigma), at most Iraqi weddings you'll find people from all walks flaunting their best choubi moves. Iraqi music has always had a way of transcending religious groups and ethnicity, collectively shared between Arabs, Kurds, Assyrians and myriad other Iraqi minorities. In 2013 sadly, this diversity and unity within Iraq is increasingly fragmented, but traditions continue throughout the internationally displaced diaspora. Limited edition 2LP set in a heavy gatefold jacket with beautiful artwork and liner notes by Mark Gergis.



PARSON SOUND: Pärson Sound 3LP BOX (SUBL 073LP) 61.00
Restocked. Deluxe triple LP box set. A spectacular archival package of primitive drone and minimalist rock/trance/psych from the Swedish underground -- believe the hype as follows; one of the most memorable audio documents ever. After years of research, Subliminal Sounds is proud to present the nucleus of the Swedish 1960s-'70s underground psych rock scene: the legendary Pärson Sound. This deluxe 3LP box set presents the most remarkable Swedish underground band, known in a later incarnation and continuation as International Harvester and Träd, Gräs och Stenar (trans. "Trees, Grass and Stones"), and features both intricate studio recordings and orgiastic live performances. Pärson Sound never released any records in their time and that is why very few have heard about them at all. The recordings date from 1967-1968 while the band explored unknown musical territory as well as inner- and outer space. In 1968, they were invited by Andy Warhol to play at the opening of his exhibition: "Screens, Films, Boxes, Clouds and a Book" at the Museum of Modern Art in Stockholm and they also opened for The Doors. Influenced by the musical concepts of Terry Riley, Pärson Sound worked at discovering and perfecting their own unique approach towards the mixing of rock and minimalism, creating some of the most remarkable psych- trance-drone-pre-noise music-rock sounds ever recorded. Pärson Sound's music described contexts, interplay and organic growth and shaped a conception of the world in opposition to fragmentation, individual achievements and intellectual construction. This world was to be perceived as one body, a whole of inviolable parts. Their minimalist repetition with slight changes renders associations with slow growth, cyclic process, breathing, pulse, life, movement and machines. This persistent repetition also gives the listener an opportunity to discover the sounds, to meditate, to go into the music and join the same journey. Many times, one can discover a relationship with music of other cultures, and in comparison, the music of the Western world can feel cursory, unreliable -- as a fear of entering deep into feeling. Pärson Sound's compositions often consist of harsh structures -- rhythm patterns with ostinato bass, a melodic figure which forms a base for improvisation. Other songs have a more thoroughly-elaborated structure that still leaves room for variation. The moment, the audience, the location formed their music. Their key phrase was "We, Here and Now!" and with time, the music came to have an increasingly religious or shamanistic streak, with more intensity, presence and warmth, striving for euphoria and ecstasy. The band's psychedelic approach is so fresh and vital that it transcends time. Listen to it now! A 3LP with informative, revised liner notes in English and lots of photos.



MARTINEZ, HANFRY: Misterio (incl. Brothers Vibe Remix) 12" (TAVERNA 003EP) 14.00
For the third release on Taverna Tracks, Hanfry Martinez delivers three timeless house cuts. American legend Brothers' Vibe adds some New Jersey flava with his remix of "Misterio." Taste it while it's hot!



HAACK, BRUCE: Electric Lucifer Book II (In Which Lucifer Tempts Jesus of Nazareth) LP (TER 030LP) 20.00
2015 restock. "The original Electric Lucifer was released back in 1970, and basically invented electronic music as we now know it. Bruce Haack was ahead of the entire electronic music game! Over the years, that album has been hailed as one of the most important in modern music, and is seen as a sacred thing to many, many music nerds. What a lot of people don't know is that Bruce Haack continued to make amazing music well after Electric Lucifer, and a decade later actually recorded a follow up, aptly titled Electric Lucifer Book II. Tragically, this absolute gem was not released upon original completion, and has never been given the proper North American vinyl treatment...UNTIL NOW!"



J:KENZO: Urban Guerilla 12" (TEMPA 097EP) 12.50
Dubstep firebrand J:Kenzo continues to develop his futuristic, synapse-scrambling minimalism, while remaining deeply rooted in the community-led sound system attitude. "Urban Gorilla" epitomizes that aesthetic, with tough, ruffneck yet dexterous vocals from Ghost crew member Juiceman, famous for his appearance on El-P's 2002 track "Buck & Bury." "Expansion" trips still further into the dark, with its whiplash bolts of sub-bass and eerie, two-note refrain instantly recalling the characteristic immersive, physically powerful sets of scene lynchpin Youngsta. The EP closes with the instrumental version of "Urban Gorilla" recast as "Technoid," which draws out the track's contours in sharp, brusquely metallic relief.


COULTON, ALEX: Recall/Wiretrap 12" (TEMPA 098EP) 12.50
Recall/Wiretap, from Manchester's Alex Coulton, follows his stark, atmospheric contribution to the 2014 compilation Tempa Allstars Vol. 7 (TEMPA 094EP), and furthers his ultra-stripped-back, rhythm-driven aesthetic of techno refracted through a sub-heavy sound-system prism. Hypnotic, sidewinding rhythms, packing intense, percussive energy for peak-time 'floors. "Recall" is a gradually unfurling firestorm of distorted kick drums, reverb, and molten sub-bass, which repeatedly dies away to near-silence before returning with twice the impact. On the flip, "Wiretap" is lighter but no less intense; a whirling assembly of drums, warping bass, and freakily catchy struck melodies that's as tough yet elastic as tensile steel.


TSQ 5104CD

VA: Imaginational Anthem Vol. 7 CD (TSQ 5104CD) 14.00
"Imaginational Anthem Vol. 7 is compiled by 20-year-old guitarist Hayden Pedigo, from Amarillo, TX. Hayden has recently been featured in Vogue and The FADER behind his own recent album release, Five Steps. Hayden's curation represents a balanced cross-section across the modern solo acoustic guitar spectrum. As with previous volumes, this one truly represents the state of the art -- an area of evolving musical expression that is very vibrant and healthy indeed."


TEG 78504LP

SOULS OF MISCHIEF: 93 'Til Infinity 2LP (TEG 78504LP) 21.00
2015 repress. 2010 release. "There are very few albums across any genre that stand the test of time better than 93 'Til Infinity, the classic debut record from the Hieroglyphics crew's very own Souls of Mischief. In an era where gangsta rap and G-Funk dominated the West Coast rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre's and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples."



TRANSLLUSION: The Opening of the Cerebral Gate 3LP (TRESOR 270LP) 33.00
Repressed; 3LP version. In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's The Opening of the Cerebral Gate. For the ?rst time, music fans will be able to experience the whole journey on vinyl. The 3LP package includes the vinyl version of the album as it was originally released plus a bonus 12" featuring "Look Within," "Unordinary Realities," and "Do You Want to Get Down (Vocal De Void)" -- for the ?rst time available on wax. Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, The Opening of the Cerebral Gate was conceived as the second part of the so-called Drexciyan Storms -- a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album Harnessed the Storm being the ?rst). This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply re?ected in Transllusion's ?rst album. Thematically, The Opening of the Cerebral Gate saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game. The album is chock full of hypercharged arpeggios and driving pulse patterns, Morse-like tones and chord stabs, huge, uber-booming tympanic kicks and grainy snares, (see openers "Transmission of Life" and "War of the Clones"). On the other end of the stylistic spectrum it features sweeter tones and moments of sheer, staggering beauty ("Dimensional Glide" or the CD's centerpieces "Look Within" and "Unordinary Realities"). In between, all kinds of alien electro funk shadings are to be found, every single track so well-executed, making it impossible to pick a highlight.



PRATES/MIECIO ASKANASY, JOSE: Tam... Tam... Tam...! LP (JBH 055LP) 23.50
LP version. Trunk Records presents the first reissue of Tam... Tam... Tam...!, an incredibly rare Brazilian LP by José Prates and Miecio Askanasy. In August of 2014, London-based DJ and record collector Gilles Peterson, who had been offered an original copy for $4,700, sent out a request for someone to reissue this extraordinary album. Originally issued in a one-time 1958 pressing as part of Askanasy's 1950s touring Braziliana show, Tam... Tam... Tam...! is a landmark in the development of the Brazilian sound that would explode around the world in the decade to follow. It's stunning both as a historical touchstone and as a standalone musical triumph. The solid blueprint of 1960s Brazilian music runs through it; for example, "N?n? Imborô" clearly prefigures Sérgio Mendes's 1966 hit "Mas Que Nada." The infectious rhythms, melodies, and exotic sounds that fill this album are deep, raw, and totally engaging. And the more one listens to Tam... Tam... Tam...! the more one hears its importance and future influence. This reissue comes at a time when, in a world saturated with information, few important things have escaped attention and reappraisal. Finding anything new and genuinely incredible is a rare feat. This is a prime example of amazing, influential music that until now has remained hidden. In producing this reissue, spurred on by Peterson's request, Trunk Records found that no master recordings could be located. The original 1950s label showed no interest in a reissue, but Ed Motta, the renowned artist, producer, and record collector, agreed to transcribe his original copy on his EMT deck and send the files from Brazil to the UK. The sound was not in the best condition, and the original 1950s vinyl pressing has several musical inconsistencies. Trunk Records painstakingly worked toward a suitable sonic balance, making sure to maintain the bright and driving original sound without cleaning it up so much that the life of the music was diminished. Accordingly, the vinyl edition of reissue was pressed with some very slight surface noise -- any more cleaning would interfere with the true wax sound. Vinyl edition includes original full color LP sleeve.



FIELDS, LEE: Emma Jean (Instrumentals) LP (TSLP 027LP) 21.00
"Instrumental version of Lee Fields & The Expressions' Emma Jean record."



VA: Tumba Rumba LP (UOVR 013LP) 21.00
The most torrid tropic-o-Latin record ever! A collection of fast, hot and intense Latin songs played by Cuban, Puerto Rican, Venezuelan, Peruvian and Mexican wild dance orchestras. Recorded in the '40s/'50s/'60s, and originally released on vinyl and 78rpm shellac records. Savage bongos, volcanic trumpets, atomic rumbas, mambo inferno and primitive boogaloo for a successful party of exotic ecstasy. Artists include: Tojo y su Orquesta, Orquesta Ciudad Trujillo, Chico Salas, Orquesta Riverside, Noro Morales, Tino Contreras, Beto Ovalle, Chino Ortiz, Miguelito Valdés, and Joe Valle.



NITAM: Retold EP 12" (UTON 006EP) 14.00
Berlin-born and -based Nitam's first release as a producer immediately gives a clear impression of his versatile production style. Whereas the record as a whole gauges dark, vibrating spaces, its subtle details bristle with musicality, be it the gradually building layers of melody ("Retold"), the strikingly euphoric vocal snippets ("Value Time"), the chilled synth lines ("Exiam"), or the meandering sound pads ("Neotyp"). With modulating rhythmic structures, dry percussion slaps, straightforward milling bass drums, and late '80s- and early 90's-inspired house elements, the Retold EP does not follow a single, rigid master-plan and should please techno and breaks devotees alike.


WG 022EP

BUTCH: Songs About Unconsciousness 12" (WG 022EP) 14.00
Originally included on Butch's 2015 Watergate 18 mix (WG 018CD), "The Spirit" is a massive cut with his partner in crime, Hohberg. They create a vivid and euphoric tour of emotions with a hypnotic looping lead, lush pads, and a pulsating, relentless groove. It's a serious burner that makes you want to close your eyes and get lost in another world. Adriatique's take has a deeper, more melodic vibe, ripe with warm sub-bass and rich organic drums. "Shahrz?d" is an acid trip laced with spaced-out washes of Arabian winds, voices from a dream, and infectious loops of percussion.



PALESE, DODI: Chemtrails EP 12" (WEN 007EP) 14.00
Label boss Dodi Palese delivers a six-track EP including remixes from D'Marc Cantu (Crème Organization, M>O>S) and rising Italian techno artist Chevel (Enklav, Non Series, Stroboscopic Artefacts). "Chemtrails" is a sick combination of well randomized drum patterns, synths, and abstract layers turned into a bouncing house interpretation by the mighty D'Marc Cantu. The electric shocks of Dodi's machines go all the way through "Storm," a monster dub track that Chevel reshapes with slow-tempo doped beats. Two additional luscious tracks, "Barium" and "Aluminum," complete the package.



ANDRE VII: I Wonder 12" (WILD 001EP) 12.50
Cosby (100% Silk, Car Crash Set) launches his label Wild Evidence with the peak-time club pressure of "I Wonder" by Mexico City producer Andre VII featuring vocals from Andrea Torre. Following the inclusion of "Holy Muerte" on Bromance's 2014 Homieland Vol. 1 compilation and past appearances on Sicario Music and Electrique Music, Andre VII moves squarely onto the dancefloor with a soaring, heavy-hitting house number. The 12" is backed by a deep house take from hotly tipped producer Hugo Massien (Audio Rehab, Top Shelf Material), whose steel drums and slinky bass groove pin the vocal line.

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