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Forced Exposure New Releases for 3/30/2015

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New music is due from James Blackshaw, Biosphere Deathprod, Florian Hecker and & Mark Leckey, Ellis Island Sound, and Benoit Pioulard, while old music is due from Busta Rhymes, The Fuzz, and Charlemagne Palestine.


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IF 015LP

TELEVISION PERSONALITIES: They Could Have Been Bigger Than the Beatles LP (IF 015LP) 19.00
2011 release. "Comprised of early singles, demos, outtakes and unreleased tracks recorded between 1979 and 1982, They Could Have Been Bigger Than the Beatles was Television Personalities' third full-length. The unannotated retrospective is a surprisingly cohesive collection of singular and classic tunes, from the haunting single 'Three Wishes' ('If I had three wishes I'd wish for three more') and the brilliant 'David Hockney's Diaries' (a different and much better version from the one on Mummy Your Not Watching Me) to the perennial punk classic '14th Floor' and the enthusiastically sloppy versions of The Creation's 'Painter Man' and 'Making Time,' to the gentle freakbeat of 'The Boy in the Paisley Shirt' and 'Psychedelic Holiday.' It's a perfect autumn soundtrack, and autumn is the whole year."

IF 016LP

2011 release. "Originally released by Illuminated Records, the Television Personalities' 1984 album The Painted Word is a near-perfect collection of jangly, riffing guitars, organ chords, freaky tambourines and Velvet Underground-like drumming. Every song on this dark, hauntingly beautiful masterpiece is a gem in the rough. It's easy to hear similarities to Swell Maps, The Only Ones and The Modern Lovers in the group's unique style that draws from both DIY punk and post-punk psychedelia. Is Dan Treacy one of England's last great songwriters? With even more Britishness than Ray Davies, this wounded romantic's lyrics are both detached and resonant. The Painted Word is a stark, heartfelt album made by a vulnerable and damaged genius backed by an amateurish band offering loads of brilliantly adapted pop-art weirdness."


3000GRAD 010CD

GLITZ, THE: No Drama CD (3000GRAD 010CD) 17.00
The Glitz (Daniel Nitsch and Andreas Henneberg) present their debut full-length album, No Drama, the result of two years of studio work. Since 2003, Nitsch and Henneberg have been running their label Voltage Musique Records with Markus Hille and traveling around the world with their respective solo projects; these engagements, combined with the distance between their homes (one lives in Rostock, one in Berlin) have limited the time available for studio work. This is still "no drama" for the boys; in fact, they benefit from the distance and always bring new ideas and creativity to their meetings. In other words, the title No Drama can be taken as their attitude toward life. A north German laid-back attitude meets rascally Berlin cheeriness. Their disparate influences and musical backgrounds are probably the most important bricks in the foundation of their album's independent sound -- without losing the red thread one can find clear traces of downbeat, trip-hop, jazz, and funk next to club-friendly tracks. American singer and electronica songwriter i Am Halo is featured on two tracks, and the vocalist from Parasite Single lends her wonderfully charismatic voice to "Sugar to the Milk," weaving her way into the listener's ear alongside a groaning bassline. German rock singer and close friend Stefan Krogmann and internationally active pianist Johann Blanchard contribute to two more surprisingly different tracks. Some of the songs included here will be recognizable to those familiar with The Glitz's DJ sets -- they've been extensively tested in clubs and continuously refined. No Drama is an album thoroughly suitable for the club, and can also be excellently enjoyed while enjoying a cup of tea in your grandparents' living room.


7S 011CD

VA: Secret Lounge 4: The Finest in Chill Out and Ambient Music 2CD (7S 011CD) 21.00
Secret Lounge: the finest in chill out and ambient music. Secret Lounge 4 is a fantastic double set of the most relaxing chill-out groove sounds around for two sensual hours. Friends of high-quality electronic music will get 31 of the best tunes around on this exclusive collection. Smooth, sexy, balearic feeling. Includes tracks by Carpatica, Digital Project (including tracks featuring Katy Blue, Erin Panto, and L.O.B.) Florian Fai, Tom River, Bob Brazill, Niestolik & Richter, Francis Milia, D-Chill feat. Katy Blue, Krusty, Miki Leris, Extranova, Cedrik Zimmermann, Electric Moonlight, Flow River's, Crystal Noise, Marco Zappala, Castlebed, Alberto Casallo, Lemonchill, Gavin & Nox feat. Sinatic, Stereo Out, Bastian Harper feat. Jonathan Price, Phazed Romance, Oliver Backens & Stefan Gruenwald feat. Ela Wardi, Dennis Landman, Sinatic, Submission, and Perry Frank.

7S 012CD

VA: Detox Music 2CD (7S 012CD) 15.50
A two-CD compilation showcasing the American "detox music" trend. Music that invites you to calm down and relax, and give your body new energy. Ambient and chill out music at its very best to support nutritional detox measures. Wellness for your ears! Double CD in three-page digipak. All-exclusive track list.



SWEARING AT MOTORISTS: Swearing At Motorists CD (AUK 117CD) 9.00
Originally self-released in 1995 on 100 cassettes, Swearing At Motorists' long out-of-print self-titled debut album is now reissued by A Recordings. Recorded in 1994 on equipment borrowed from roommates Brainiac, this 17-minute lo-fi gem was Dave Doughman's first experiment with songwriting and home recording. The reissue serves as insightful glimpse into the beginnings of the band, whose album While Laughing, The Joker Tells the Truth (AUK 113CD/LP) was released in 2014. Swearing At Motorists have come a long way since their birth on a poster for a fake band in 1994. A few months after the posters mysteriously appeared in record stores and music venues around Dayton, OH, Doughman jokingly scrawled the name on a cassette of home recordings that he gave to friends, and the band was officially born, joining already established Dayton bands Guided By Voices, Brainiac, and The Breeders in releasing music made in the Miami Valley. The late '90s found S@M releasing a slew of 7" EPs on different labels, and after getting repeated plays from the BBC's John Peel and favorable press worldwide, the band landed a contract with Secretly Canadian, with which they released two EPs and four LPs, including 2000's Number Seven Uptown and 2002's This Flag Signals Goodbye, both of which were named MOJO's "Underground Album of the Year" for their respective years. This reissue precedes the band's 2015 appearance at South By Southwest, where they will also play several day parties, including their own, the second annual All Tomorrow's Tacos (a mix of bands and stand-up comics). Swearing At Motorists: 20 years and two million miles under the radar. LP pressed on 180-gram vinyl.


SWEARING AT MOTORISTS: Swearing At Motorists LP (AUK 117LP) 15.50
LP version on 180-gram vinyl.



Edition of 400 copies. Includes original photos from the recording sessions. High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, Charlemagne Palestine's "HellsBells" became the sonic mainstay of 53rd Street and 5th Avenue, NYC, from 1963 to 1970. In 1963, while attending The High School of Music & Art in New York, the 15-year-old Palestine was asked if he'd be interested in playing a 26-bell carillon at the St. Thomas Episcopal Church. He decided that he loved the voluptuous Taylor bells, and played them every day from 1963 to 1970, when he left New York to study and teach at CalArts. During his time above 53rd and 5th, Palestine became known as the Quasimodo of midtown NYC, and his dissonant and "klanggdedangggebannggg" style of playing attracted a diverse group of fans, from Moondog to John Cage to Tony Conrad, among others. Palestine was able to continue playing his clanging-bell soap operas for seven years, dinggdonggingggg every late afternoon and Sunday mornings. This LP collects some of the most relevant recordings from those early days. Side A presents the complete reel-tape "Bells Studies," an intense, pulsating work in five movements. It begins with slow, hypnotic, large sonorities and accelerates into more dense and maximal explosions. Side B collects some shorter studies: "Bells," the two parts of "Confiscated Bell Tape," and an excerpt from "Dumb Bell Tape." Each track was recorded by the composer in single takes around 1965 and unheard since, until now.



SPUR: Nowhereland 2LP (ANTIME 003LP) 22.00
André Wittmann's debut album under the moniker Spur was made with both the body and the mind, in order to indulge in an odd but somehow familiar "dance of cultures," as the young Lübeck-based Bavarian and member of calls it. "I find it disturbing to see how all those fields of music are still strictly separated until this day. I'd rather see them all combined," he explains. Nowhereland compiles a selection of the best cuts out of 20 to 30 compositions Spur perfected during a month-long stay in Ghent in early 2014. Seemingly odd time signatures form the backbone of what are essentially club-orientated tracks. Spur, who started playing drums as child, took to other instruments like guitar, marimba, violin, and piano, and draws on wide range of influences, from hip-hop to Stravinsky to flamenco to gamelan music, approaching songwriting both theoretically and intuitively. "I aim at putting the mind and the body in motion." Limited double LP on white vinyl in transparent PVC cover with download code.



TEJADA & ARIAN LEVISTE, JOHN: Reactance 12" (AREAL 077EP) 12.50
On a hot summer day, I suddenly got up to return my friend's basketball, after not returning it for more than ten years. I don't know why I had to do it. I was flooded with memories. One was especially blurry, the one where I pick up that basketball. I was alone in my friend's garage, the repetitive sound of filtered kickdrums coming from inside the house. The garage door was open. I try to put the ball back in the cardboard box as the garage door closes. Darkness. A voice whispers: "I smell your sound I eat your colors."


AUS 1575EP

DEMAC, TOM: Smoke Stained Ivories 12" (AUS 1575EP) 14.00
Aus Music follows 2015 releases Youandewan's Spiral Arms (AUS 1474EP) and Escape's Just Escape (AUS 1573EP) with a four-tracker from label favorite Tom Demac, who aligns his arsenal of hardware and readies a pack of rattling club tracks peppered with armored kicks and luminescent textures. Throughout his releases on Hypercolour, Morris/Audio, Murmur, and liebe*detail, Demac has showcased his knack for filtering myriad influences into a constantly evolving sound. Smoke Stained Ivories carries this power forward as it spans a variety of moods and textures propelled by his tough, thrumming percussion and sportive synth work.


BC 008EP

RADIANCE: 12" (BC 008EP) 10.00
2015 repress. "'Radiance' is the companion release to the revolutionary 'Octagon/ Octaedre' 12" (Basic Channel 007). This explores the less club compatible side of the BC works. Multi-layered, ambientish, drifting sound textures and the extensive use of accidental sounds found within the mixdown process making this EP a unique listening experience."


BEC 5156003

VA: Electro Shock 3 2CD (BEC 5156003) 19.50
Because Music and legendary magazine Les Inrocks present the third volume of Electro Shock, a meticulous selection of the best of the nouvelle vague of the electronic and indie scene, from a French perspective but with an international appeal. The best of the international scene mixed with the newest and most significant kids on the French block, in one two-CD set. Includes tracks by ZHU, The Flexican & Sef, SBTRKT feat. Denai Moore, Disclosure feat. Sam Smith, Christine and the Queens remixed by Domenico Torti, Tove Lo feat. Hippie Sabotage and remixed by Habits, Faul & Wad Ad & Pnau, Sia remixed by Four Tet, London Grammar remixed by The Shoes, The Avener, Metronomy remixed by Soulwax, Duke Dumont feat. Jax Jones, Diplo feat. Faustix & Imanos and Kai, Klaxons, Yelle, Caribou, Jungle, Jamie xx, Tourist feat. Will Heard, FKA twigs, Lido, Daniel Avery remixed by KiNK, Boston Bun feat. Bear Who?, Little Dragon remixed by Totally Enormous Extinct Dinosaurs, Joakim, Ghost Culture, Ásgeir remixed by Montmartre & Fever 105, Synapson feat. Victor Démé, Chet Faker, Fakear, Tropics, Para One, Bondax, Get a Room! feat. Geisha Boy, Paul White, and Com Truise.



EKMAN: Go?delian Argument 12" (BDN 004EP) 17.00
"Ace, eagerly-awaited, five-track EP, after drops for Trilogy and Berceuse. Ramped-up, banging and decayed, computer-age and apocalyptic, in fine signature style. 180g vinyl, handsomely sleeved; short run."


BS 009LP

FUTURO ANTICO: Dai Primitivi All' Elettronica LP (BS 009LP) 25.00
2015 repress. An outstanding raga-like drone LP with a distinctive cosmic vibe, Futuro Antico was a short-lived collaboration between the two Italians Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes lends associations to slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey through ancient, primitive cultures and modern electronic soundscapes. Originally released in 1980, the sound is completely analog and warm. This limited to 300 copies reissue maintains the original tape artwork, with info and photos.

BS 010LP

FUTURO ANTICO: Futuro Antico LP (BS 010LP) 25.00
2015 repress. For the first time on vinyl, Black Sweat Records presents this obscure gem from the Italian project Futuro Antico, released only on tape in 1980. This record contains a hypnotic session from members Walter Maioli (Aktuala) and Riccardo Sinigaglia. Warm analog sounds, and a perfect mix of drone synth and ancient flutes make you feel like you're flying on a spaceship towards exotic locales. If this record reminds you of the incredibly astonishing live Köln jam between Terry Riley and Don Cherry, the comparison fits. In a limited edition of 300 copies, this reissue features the original tape artwork with info and photos inside.

BS 015LP

KALMA, ARIEL: Open Like a Flute 2LP (BS 015LP) 36.50
Originally composed between 1981 and 1984 and initially appeared only on tape in two different editions, the proposed material from Ariel Kalma for this work confirms his pantheistic vision of the ethnic sound that had already emerged in 1978 with the masterpiece Osmose (BS 007LP). The deep consciousness of the compositional techniques of Indian ragas is mixed here with embroidered electronic textures on which flute and sax explore the most secret archetypal elements of nature. In this way Kalma offers to the listener a personal idea of sacred music with luminous and oneiric tones but always dialoguing with a higher cosmic conception of things. With a clever use of effects, harmonium, delays and exotic percussions, Kalma becomes the creator of soundscapes from the endless myriad shades. Such a fusion of Western avant-garde and eastern tradition approaches other big names of the international panorama such as Popol Vuh, Angus MacLise or László Hortobágyi. The master comes from the original 1/4'' analog tape from the '80s. Limited edition of 300 copies in a gatefold cover with info.



EXPLORING JEZEBEL: On a Business Trip to London LP (BLACKEST 008LP) 28.50
LP version. On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.



DECERF, JEAN-PIERRE: Spaces Oddities: 1975-1979 CD (BORNBAD 068CD) 14.50
Jean-Pierre Decerf was born in the Paris suburb Neuilly-sur-Seine in 1948, lived in Paris until 2003, and now lives as a hermit in a remote village in the Touraine. From the early '70s to the mid '80s, this self-taught musician composed about 20 albums of production and library music with generic cover art and titles (Out of the Way, Keys of Future, Pulsations, etc.) that evoke interstellar travel. These experimental discs, made with love, humility, and rudimentary means, had no ambition other than to accompany other peoples' images. By exhuming these obscurities from the dustbin of history, Born Bad Records have decided otherwise. Archaeologists with an agenda, they seek to give Decerf the renown he deserves: that of an innovator whose rhythmic, synthetic compositions inspired the harbingers of the French touch (Air comes to mind), and were sampled by many East Coast rappers, including the Wu-Tang Clan. CD version includes exclusive track "Panorama."


BB 096CD

SCHICKERT, GUNTER: Uberfallig CD (BB 096CD) 17.00
2015 repress. Bureau B reissues Günter Schickert's album Überfällig, originally released in 1979 on Sky Records. "No sooner had electronic music broken through in Germany, principally aligned in the two schools of Düsseldorf and Berlin, than Günter Schickert also began his first musical experiments. Although GAM, the group he founded in 1973, did not then release a record, he did issue his first solo effort, Samtvogel, a year later -- an album which was eagerly snapped up and re-released by the Brain label. It would take five years for Sky Records to release his next LP, entitled Überfällig (trans. "Overdue"), which proved to be the last for a number of years. This album, as its German title suggests, was long overdue. Günter Schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of German electronics. In spite of the clearly discernible influence of music from the so-called Berlin school (Tangerine Dream, Ash Ra Tempel etc.), Schickert is anything but a copycat. Schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. He is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. Similar experiments had also been attempted by Manuel Göttsching (Inventions For Electric Guitar) and Achim Reichel (A.R. & Machines: Die Grüne Reise), but without stretching the multifaceted nature of their music to the point of microtonality, as Schickert dared to do on Überfällig. His own take on minimalism places him closer to the likes of Steve Reich and Glen Branca, free from the reach of Klaus Schulze and Tangerine Dream. Schickert's use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s. In 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. Günter Schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. The reissue of Überfällig was, in a word, overdue." --Asmus Tietchens; Liner notes by Asmus Tietchens.

BB 192CD

CAMOUFLAGE: Greyscale CD (BB 192CD) 18.00
The year 2015: one retro wave follows the next. Synthpop is bigger than ever. All around the world, current productions reference the sound that emerged from pre-reunification Germany. So where are the originals -- the bands and artists of that time -- today? Many can be found doing the rounds at '80s parties held by local radio stations. Others are investing the royalties from their back catalogs in the cultivation of organic vegetables. Not so for Camouflage. That's right -- THE Camouflage -- the masters of sadness dressed up in electronic songs. Flashback: in the late 1980s, Heiko Maile, Oliver Kreyssig, and Marcus Meyn were schoolboys with synthesizers and a keen ear for the musical zeitgeist. It was a world dominated by fears and apocalyptic scenarios, non-aggression pacts and embargoes. The Cold War was almost over; the Berlin Wall was still standing. It was in this landscape that Camouflage unleashed their music: driving, demanding, and so beautifully sad in its invitation to lose oneself in eternity while dancing. The band flitted directly from the small German town of Bietigheim-Bissingen all the way to the United States in 1987 with "The Great Commandment." Their music brilliantly combined the icy coolness of Kraftwerk, the pop of OMD, and the melancholy gloom of Depeche Mode. Their 1988 debut album Voices & Images went to number one on the Billboard Dance Charts in the U.S.A., and the 1989 follow-up, Methods of Silence, merged seamlessly with this momentum. With the single "Love Is a Shield," Camouflage created a gem of a hit that still graces dance floors and radio stations worldwide. A lot has happened on the planet since then, and the band has traveled a long path that was anything but straightforward. In the '90s they played with styles and producers and experimented. The record companies, meanwhile, placed their bets on other horses that could chase the trends faster. "That's show business," thought the band, while continuing, undeterred, to make records and tour the world from Russia to Mexico, steadily expanding their fan base all the while. The temptation to indulge in nostalgia has always remained very faint with this band, so it's no surprise that Camouflage now emerge with Greyscale, an album that is strikingly current and compelling, both musically and lyrically. Features an appearance from Peter Heppner (Wolfsheim). CD includes exclusive track "If..."

BB 194LP

LORENZ, RUDIGER: Southland LP (BB 194LP) 25.00
LP version. Pressed on 180-gram vinyl. Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died -- unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Dorau's live ensemble), can be heard speaking a few lines into a vocoder on "Strange Feelings," and later, as a graphic design student, Tim prepared artwork for his father's releases.



LUCIEN-N-LUCIANO: Grace of an Art 12" + CD (CADENZA 100EP) 14.50
Cadenza's 100th release comes, aptly, from label boss Luciano. Reviving his Lucien-n-Luciano moniker for the occasion, he delivers "Grace of an Art," a Herculean piece of rubbery tech-funk, with intricate sound design over its steady and assured mechanical beat. On "Rickson Trephala," a flexible bassline wraps itself around a minimal, energetic beat, chock-full of abstract sounds and glitches. Bonus CD includes the grandiose 60-minute "Timeless Song for Lovers of the Morning Enlightenment," echoing the ideas of sound experimentalists such as Global Communication, but very much with Luciano's stamp, filled with sad pianos and wandering percussion and soaked in dubby reverb.



NOZE: Holding You 12" (CCS 093EP) 12.50
Nôze (Nicolas Sfintescu and Ezechiel Pailhes) deliver "Holding You," steeped in the warmth of synthpop with its flamboyant tones while maintaining the tightly wound funk the duo have made their own. Sfintescu steps even further into his role as the duo's resident crooner with his strained call for "physical love" in a smooth symbiosis with the sultry atmosphere of the production. The B-side features an alternative version of "Holding You" that brings Nôze's dancefloor roots to the fore and dubs the track out into a taut, Detroit-infused workout, while remaining true to the allure of the original.



BROKEN ENGLISH CLUB: Scars 12" (CITI 016EP) 22.00
"Four-song EP by Broken English Club. After the strong reception of the Violence and Divinity split with Silent Servant as well as his solo EP for Jealous God, here Oliver Ho (also known for his Raudive alias) continues in a similar vein, delivering sparse vocals and shards of live instrumentation over heavy, stuttering beats and bleak synths. The tracks on this EP are rich and darkly atmospheric, pulsating loudly through a smog-filled dance floor. A subversive spin on dance music, the blank-stared, pin-point-focused electronics and layers of noise betray no/wave and post-punk influences, dragging together industrial experimentation and pitch-black techno. Artwork designed by Veronica Vasicka and sourced from the archives of Silent Servant, the Broken English Scars EP features a one-of-a-kind vinyl pressing of white inside clear -- limited to 999 copies and housed in a matte printed sleeve."



ARBY, KHAIRA: Gossip CD (CLE 011CD) 12.00
Legendary desert blues diva of Timbuktu Khaira Arby presents her fifth album, Gossip, her first since 2010's Timbuktu Tarab (CLE 005CD). Khaira was one of the first women to break onto the music scene in Mali in the late 1970s. Her powerful voice and dynamic stage presence endeared her immediately to audiences and she quickly became a sought after performer. Having won many awards including the prestigious Tamani d'Or (Golden Drum), Mali's Grammy, Khaira has kept pushing the boundaries of her genre. Not content to stay locked into traditional griot formats, her music has grown as she encounters other cultural influences. Mali is home to several ethnicities, each with their own traditional roots. Ethnomusicologists have written that the origin of the American delta blues is in the music of the Niger River delta as it flows past Niafunke, Timbuktu, and Gao. A cousin by marriage to Ali Farka Touré, who is credited by Westerners as the link to the roots of the blues, Khaira Arby is the female vocalist who most closely represents that tradition. Drawing on traditional songs, melodies, and formats from her youth, she freely adapts elements into many of the pieces on Gossip. While on tours in North America and Europe during 2010, 2011, and 2012, Khaira recorded the base tracks for the album, which takes its title from a translation of "Tchini Tchini," the first of the album's tracks to be recorded. During this same period, political and social conditions in Mali destabilized. Rebellion, coup d'état, corruption, invasion, fundamentalism all forced Khaira to abandon her home in Timbuktu and flee to the capital, Bamako. Since 2012, she has collaborated with a number of musicians on songs dedicated to peace. Gossip features two songs in particular from this troubled period: "Djamba" and "La Liberte," both pleas for tolerance and an end to conflict. The album also includes traditional wedding songs ("Al Jama'a Bisimillah"), songs of praise ("Haidara George" in honor of George Cheicknè Moulay, "Chris" in honor of Chris Nolan, "Oumou Sall" in honor of Madame Oumou Sall Seck (mayor of Goundam), and "Tandina" in praise of the Touré clan, in particular Hamane "Bastos" Touré, guitarist for Khaira until his death shortly before the song was recorded, and father of Khaira's present guitarist, Dramane Touré), and adaptations of traditional songs ("Alouha Homoli" and "Hala").



NISENNENMONDAI: Nisennenmondai - Live At Clouds Hill CD (CLOUD 060CD) 15.50
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



DJ HYPERACTIVE: Venus Revisited 12" (CLR 086EP) 14.00
Chicago-born and -bred DJ, producer, teacher, and brother of the humble Joseph Manumaleuna aka DJ Hyperactive covers a wide spectrum of sonic and artistic possibilities, from the minimalist, bouncy original mix of "Venus," elegantly playing with a mixture of uplifting and dark vibes; to the extremely reduced and highly effective Truncate remix; the relentless, almost epic Ciren mix; and the percussive, hypnotic remix by DJ Hyperactive himself. Each version can be appropriate for a different situation, but in the end they are all aiming for the same goal: to create an absorbing soundtrack for unifying experiences on the dance floor.



Galluzzi and Schneider: two masters of merging minimal techno with dark house vibes. The jazzy, eastern bass sounds of "Mario" sit alongside shimmering effects and crazy noises. Dance to this super hypnotic beat as the percussion parts drive you further and further into the night. Turn the lights off and set the volume to max -- here comes "Mario"! Thomas Melchior and Fumiya Tanaka deliver a remix that follows the vibe of the original, with an even deeper and more hard-edged dub that lies somewhere between ingenuity and insanity, reflecting that special vibe of dark and foggy dancefloors.



LARYTTA: Jura CD (CRDS 045CD) 17.00
Jura, the sophomore full-length from the Swiss duo Larytta, is a galvanizing synthesis of essential grooves and effervescent melodies. It took years to finish the record! Christian Pahud and Guy Meldem spent this time carefully calibrating their songwriting to achieve what could be called the golden mean, i.e. the perfect balance between radio-friendly sound and club functionality. The result is a collection of songs that are instantly accessible yet wholly unpredictable. They feel familiar because they were crafted by seasoned musicians who, over the years, have mastered the science of fundamental swing and melody. The album is full of clever and tasteful references: Africa, the Middle East, the dusty Western '70s, and the white lines '80s all shine through at different points of this sonic journey. The production is chunky, juicy, warm, and analog. The lyrics are witty and even sometimes downright funny. The song titles testify to this quality: "Osama Obama," "Love Love Banana," "Broken Leg Theory," "Les Bambous" -- come on! Without a doubt, Jura is a beautifully idiosyncratic world, complete and stand-alone.



POV: CRWDSPCR007 12" (CRWDSPCR 007EP) 12.50
POV is Joakim x Krikor. This is their second EP, following 2013's Oum/Adat (CRWD 004EP).



FIORITO, ANDREA: Voodoo Grooves Part 1 12" (CYN 094EP) 12.50
After a year spent perfecting his sound and style, Andrea Fiorito makes his highly-anticipated return to Cynosure Recordings with Voodoo Grooves, the first of a two-part EP series that fuses funk, dub, and minimal with elements of analog house music straight from the New York City underground. Inspired by a recent pilgrimage to South America, Voodoo Grooves borrows from the sounds of the Amazon, the flavor of Cuban Santería, and the spirit of the rainforest in its warm, grounded basslines and hypnotic loops.



RATIER, RENATO: Soul Machine Remixes 12" (DEDGE 022EP) 14.00
Remixes of tracks from Renato Ratier's 2013 Soul Machine EP. Andre Lodemann transforms "Soul Machine" into a growling slow-burner with icy hi-hats and a growing bassline that eventually consumes the whole track and a funky riff joins it. Kyodai's remix of "Soul Machine" is a more direct and energetic tech house cut for the peak-time on the dancefloor. Ney Faustini's remix of "Old Factory" is laced with swirling pads and silvery percussive lines as well as an angelic synth sound and plenty of soul-elevating drums. Its elegant and well balanced and will mark a high point in anyone's set.



NOTHING, CHARLIE: Outside/Inside LP (DESTIJL 042LP) 17.00
2015 restock. "Charlie Nothing was the fractured-psyche pseudonym of author, father, horsekeeper, organic farmer, beekeeper, philosopher and clown Charles Martin Simon, inventor of the dingulator (guitar sculptures made out of the metal from American cars). Charlie's only visible offering to the record buying public was really anything but. Due to its rarity, The Psychedelic Saxophone of Charlie Nothing, issued by Takoma Records in 1967, has been a source of consternation for in-the-know types for years. Outside/Inside, the second and only other Charlie Nothing LP, originally issued by Everitt Enterprises, thematically follows with two sidelong flute-based instrumentals. Nowhere on wax will you find a more palpable preserved air of a real-time dropout scene than with these sides of Nothing. It is a wonder that these records circulated at all outside the vacuum in which they were created. Nothingness, a California existentiality looping back on itself, preserved and disseminated as evidence. There are indeed very few records like these. Fully authorized / fully legit."



FANGO: Tuono 2x12" (DEGU 016EP) 25.50
Fango didn't sleep for six months and he and his studio became one to conceive Tuono. Four tracks full of drama, directly from his cinematic world built on colossal drums and wild clanks. Open the creaking door if you dare.



PALMS TRAX: In Gold 12" (DKMNTL 024EP) 12.50
"I can't even afford bed linen, let alone a 909." Jay Donaldson's lack of pretension is disarming in many ways. Donaldson aka Palms Trax is located firmly along the Chicago-Detroit axis, cooking up pad-driven jams, off-kilter drums, and hazy synths that shift like a gentle musical tide. In 2013 he inaugurated the Lobster Theremin label, the London-based imprint that quickly became one of the most talked-about record labels around. When not travelling the world for prime-time gigs Donaldson holds a residency at the widely respected Berlin Community Radio. This is his debut for Dekmantel.


EW 007CD

VA: Rai Rebels CD (EW 007CD) 16.50
Originally released in 1988. Hypnotic rhythms, impassioned voices, and forbidden sentiments: these are the potent ingredients that make rai so alluring to so many people and so alarming to others. Rai Rebels is the Earthworks compilation that first exposed this music to the world beyond Algeria and started the young Cheb Khaled and Chaba Zahouania on their way to international stardom. "A killer compilation," Musician magazine declared, "the best possible entrée to this outlaw genre. Baby, this is rock 'n' roll." Includes tracks by Chaba Fadela, Cheb Sahraoui, Cheb Hamid, Chaba Zahouania, Cheb Khaled, and Houari Benchenet.

EW 014CD

VA: The Indestructible Beat of Soweto CD (EW 014CD) 16.50
Originally released in 1985. Before Paul Simon's Graceland, this album, compiled by South African DJ Trevor Herman, turned the world's attention to South Africa's pop music -- vigorous and vital despite the apartheid oppression of the time. New Music Express described it as "the crucial compilation which cuts to the heart of the music" and Robert Christgau called it the most important record of the 1980s. Includes tracks by Udokotela Shange Namajaha, Nelcy Sedibe, Umahlathini Nabo, Amaswazi Emvelo, Mahlathini & the Makgona Tsohle Band, Moses Mchunu, Nganeziyamfisa No Khambalomvaleliso, Johnson Mkhalali, and Ladysmith Black Mambazo.

EW 024CD

VA: Kenya Dance Mania CD (EW 024CD) 16.50
Originally released in 1991. Rocking rumba, butt-kicking benga, and other exuberant sounds of Nairobi in the 1970s and '80s, when that bustling metropolis was the Big Papaya for musicians from all around Central and East Africa, and bands such as the Maroon Commandos, Gabriel Omolo & His Apollo Komesha, and Les Wanyika jam-packed the clubs every night. "Kenya Dance Mania is full of sparkling guitars, lilting melodies, strident horns and homespun wisdom," The Observer observed. "Just try and resist such an irresistible, knock-down-dead groove," CMJ challenged. Includes tracks by Maroon Commandos, Gabriel Omolo & His Apollo Komesha, Les Wanyika, H.O. Kabaselleh, Wanyika Super Les Les, and Daniel Kamau.

EW 040CD

VA: Roots Rock Guitar Party CD (EW 040CD) 16.50
Originally released in 1999. While the musical instrument most associated with Zimbabwe is the mbira thumb-piano, and you'll hear it on a couple of tracks in this Zimbabwean compilation, Trevor Herman selected this set with ears attuned to electric guitars and bass guitars, whether frenetic or hypnotic, easy-rocking or over-the-top. Of course there's plenty of singing and drumming, too, but guitarists such as John Chibadura, Frank Sibanda, and Muddy Face are the life of this party. As the British journalist and broadcaster Andy Kershaw put it, "There isn't a guitarist in the West fit to fondle the plectrums of these guys." Includes tracks by John Chibadura & Tembo Brothers, Four Brothers, Muddy Face, Zimbabwe Cha Cha Cha Kings, Max Mapfumo & Dopiro Band, and Knowledge K. Kunenyati.

EW 048CD

VA: Future World Funk Presents Desi Nation CD (EW 048CD) 16.50
Originally released in 2003. Traditional bhangra is the dance music of the harvest festival of the Punjab region of northern India, but modern bhangra has nothing to do with the harvest. It is urban music, a "desi" (immigrant) style, as British as it is Indian. Most contemporary bhangra stars were born and raised in cities such as London, Birmingham, Coventry, and Leeds, and of course the sounds they've grown up with -- punk rock, hip-hop, dancehall reggae, house -- thoroughly infuse the music they make. But the single-string tumbi still twangs through the mix, though it's usually sampled or synthesized, and the deep, resonant beat of the dhol drum still drives the bhangra dance. Includes tracks by Achanak, Panjabi Hit Squad, Munde Kolo, A.DH feat. Singh MC, Rhythm Dhol Bass, Nav Sarao remixed by Hit Squad, Panjabi MC, DJ Stin remixed by O-Ji, Gubi Sandhu feat. MC Coppa, Bally Jagpal, Kuldeep Manak, Tarli Digital, and Major Mehram.



NEW RIDERS OF THE PURPLE SAGE & FRIENDS: Felt Forum, NYC 18-03-73 3CD (ECHO 2017CD) 29.00
This performance by the New Riders of the Purple Sage on March 18, 1973, at The Felt Forum (in the basement of Madison Square Garden) also boasted numerous appearances by "special friends." When The Sons of Champlin dropped out, NRPS were tapped to open for the Grateful Dead for their remaining performances at the Nassau Coliseum. The Dead returned the favor on their night off by appearing at NRPS's March 18th show, sharing the stage throughout with Ramblin' Jack Elliott, who opening for NRPS. An explosive and unique performance by two iconic American rock bands. Echoes proudly presents the entire WNEW-FM broadcast of this legendary concert. Digitally remastered with background liners and rare photos.



CIULLINI, DANIELE: Domestic Exile Collected Works 82-86 LP (ELP 009LP) 20.00
Ecstatic presents an expanded reissue of Italian mail artist Daniele Ciullini's 1983 self-released cassette Domestic Exile. Hailing from Florence, Ciullini was part of the forward-thinking TRAX collective and its pan-European art and music collaboration network. When asked about the title, Domestic Exile, Ciullini explains, "The music in this cassette was born in a very difficult period of my life. A period marked by a rift with the world. 'Domestic Exile' reflects a time of recession, entrenchment within the walls of a tired soul. Most of the songs are improvised on the spot. Listening to the music today I think this aspect was perhaps naïve. But I enjoyed realizing something very close to my inner state at that moment." Ciullini's music is as sharp and controlled as his elegant photographic images of decadent marble statues, mannequins, and deserted Art Nouveau architecture. The B-side of this reissue consists of tracks originally released on compilations between 1982 and '86, some of which Cuillini describes as "sonic polaroids" in which synthetic sketches and keyboard voices sit side by side with vigorous electro-industrial rhythms and metronomic modified drum machine pulses. His music presciently fuses ambient and industrial, and echoes the synthetic alienation of 8-bit micromusic, the melodic wave sounds of Young Marble Giants, and even proto-shoegaze guitar ("Soft Marble"), as well as hints of drone music (the magmatic loops of "Bloody Machine"). Made with Boss DR-55 and Roland TR-606 drum machines, EMS Synthi AKS modular synthesizer, Roland TB-303 bass synthesizer, Yamaha CS-5 and Casio VL-1 synthesizers, Teac A-103 tape deck, Akai 4000-DS MK-II reel-to-reel tape machine, Fender Stratocaster electric guitar, and Pioneer MA-62 mixer. For fans of Chris Carter, Merzbow, Suicide, Minimal Wave, Cabaret Voltaire, Mika Vainio, Tasaday, and Nurse With Wound. This edition includes extensive liner notes by Vittore Baroni, TRAX co-founder, musician, journalist, and active figure in mail art circles. Mastered by Not Waving.



ER+ER: L'essentiel 12" (ERER 001EP) 14.00
One can only see clearly with the heart. Essence is invisible to the naked eye. Clash of the Titans: two south-hessian music biz legends teamed up in '95, long before they had the slightest idea of what life would have in store for them. Unreleased, mysterious, rough, and old-school rave adventures... These are the original tracks taken from a dusty and long-forgotten DAT. Remastered by Lopazz in 2015.



CHARLES IVTET, DENIS: Captain of the Deep CD (MTE 009CD) 9.50
1998 release. Denis Charles (drums), Nathan Breedlove (trumpet), Wilbert DeJoode (bass), Jemeel Moondoc (alto sax). Recorded by VPRO radio on 9 May, 1991, De Effenaar Cultural Center, Eindhoven, Holland. "The album you hold in your hands is a remarkable document. It is notable as one of only two recordings released under the leadership of the legendary Denis Charles. It is equally notable as the sole remaining evidence of a superb quartet, one whose existence was as brief as it was ecstatic. The opening piece, 'We Don't,' is my favorite selection. Mr. Moondoc and Mr. Breedlove achieve the rough, sanctified sax/trumpet interplay that was the Ayler Brothers' stock in trade. Mr. Charles takes a solo so evocative of West Africa's talking drum tradition as to lend the piece an ancient character. All the material on this album has a sweet congruence. This band never fails to fill you with the magnificent sense of individuals working towards a greater whole. Nobody steps on anyone else's notes, nobody shoves anyone aside, and it is obvious throughout that the interpersonal communication is happening at a very high level." --Byron Coley, Deerfield, MA


SILVA & WILLIAM PARKER, ALAN: A Hero's Welcome: Pieces for Rare Occasions CD (MTE 017CD) 9.50
1998 release. Alan Silva's playing and live composition have been a highlight of the avant-garde's living history for the past 35+ years. From his work with Sun Ra's Arkestra, through extended relationships with Bill Dixon, Cecil Taylor, and Albert Ayler, on into the Celestial Communications Orchestra and the Frank Wright Center of the World Band, Silva has been one of the music's most consistently valuable thinkers. A child of Alan Silva's other-worldly strategies for double bass, William Parker is the premier bassist of the post-Vietnam era. A Hero's Welcome is a spontaneous composition dedicated to the spiritual essence of Sun Ra and to all the great string players of the 20th century. It was recorded at the first duo performance Silva and Parker undertook, and is volume one of Eremite's Silva/Parker duos. Two full improvising orchestras couldn't mix it up more completely.


SILVA & THE SOUND VISIONS ORCHESTRA, ALAN: Alan Silva & The Sound Visions Orchestra CD (MTE 026CD) 9.50
2001 release. On his third CD for Eremite records, Alan Silva is back in front of an orchestra for the first time since 1982's Desert Mirage. An iconic figure in the avant-garde for three decades, Silva's contribution to the methodologies and vernacular of large ensemble improvisation is enormous, prefiguring the conductions of Butch Morris and John Zorn's game pieces. His three-album 1970 BYG recording Seasons is universally regarded as one of the high water marks in avant-garde jazz. Silva's orchestral pieces offer a broader view of his mad genius than perhaps any other context for his music. They also reveal an artist of uniquely American themes & sources, informed equally by the legacies of Ives, Ra, Ellington, and Mingus, developments in the visual arts (namely abstract expressionism), and a preternaturally warped response to the post-WWII American culture of show tunes, film music, radio theater, and cold war propaganda. This CD was recorded during the 1999 Vision Festival, a rare chance for Silva to work and extensively rehearse with a band of veteran improvisers, and again present his orchestra music on native soil (a first since 1968). The band's festival performance was plagued by every imaginable technical difficulty, including complete power outages and exploding television sets. They re-assembled in an empty hall one week later to play the spectacularly expansive music heard on this recording. Resolution 57! Twenty-three piece ensemble featuring Silva (conduction, vocals, some synthesizer) and Sabir Mateen, Roy Campbell Jr, Raphe Malik, "Kidd" Jordan, Joe Daley, Steve Swell, J.D. Parran, Bill Lowe, Rob Brown, Wilbur Morris, Karen Borca, Jackson Krall, et al.

MTE 030/31CD

MOONDOC & WILLIAM PARKER W/ HAMID DRAKE, JEMEEL: New World Pygmies Vol 2 2CD (MTE 030/31CD) 14.00
2001 release. Moondoc (alto & curved soprano saxophones); Parker (bass, bombard, gralle); Drake (trap drums). Eremite continues its documentation of this remarkable duo, who have played together since 1973, with a double CD set (140+ minutes) featuring two cleanly recorded concerts from a November 2000 American tour. Parker's interest in double-reed instruments and Moondoc's introduction of a soprano saxophone moves their music into realms of joyfully non-tempered playing that recall the Master Musicians of Joujouka. Elsewhere, the old bass and alto slam it out. On disc two, Hamid Drake joins the duo at Chicago's Velvet Lounge for an emotionally-charged homecoming concert for Moondoc with much of his family in the audience.


MALIK QUARTET, RAPHE: Companions CD (MTE 034CD) 9.50
2002 release. Recorded at the 1998 vision festival Jimmy Lyons memorial celebration, a powerful commemoration from four of Lyons's oldest and closest comrades. Malik (trumpet); "Mad" Paul Murphy (drums); William Parker (bass); Glenn Spearman (tenor saxophone). One of the best groups ever assembled under Malik's leadership, with all the concentrated drive, tautness, and ferocity characteristic of his strongest music.


2001 release. Vol I of the 2001 ICA concert in Boston, recorded on 23 February 2001. A 17-piece version of Little Huey perform Parker's five-section narrative suite based on the life of the late street musician Marvin Nunez (aka Uncle Marvin). Featured soloists include Parker (who solos four times on four different instruments), Roy Campbell Jr, Rob Brown, and vocalist Leena Conquest. A considerable leap forward in recording quality from the band's highly estimable past productions.


2003 release. Eremite continues its extensive documentation of Jemeel Moondoc with this previously unreleased 1981 session. Recorded at Tucasa Sound Studio on Avenue B, Moondoc and authentic jazz legend Denis 'Jazz' Charles are completely and totally on fire from start to finish.


MURRAY, SUNNY: Perles Noires vol. I CD (MTE 045CD) 9.50
2005 release. Sunny Murray: drums; Sabir Mateen: alto and tenor saxophones, alto-clarinet; Dave Burrell: piano; Alan Silva: bass; Louis Belogenis: tenor saxophone. Sunny Murray's talent is bigger than any category you could use to describe it. He's one of the most original musical minds of the past 50 years, a genuine innovator, the liberator of the drum kit, and an artist of uncompromising honesty. Murray's playing in the 1960s with Albert Ayler, Cecil Taylor, Archie Shepp, and others opened up entirely new expressive realms for the drums in jazz. Murray's act of liberation -- to free drummers from their strict time-keeping role -- still outrages many listeners, and his militant individuality, his obstinate adherence to his artistic vision over the years, still make him something of an outlaw presence in jazz. It should come as no shock to his listeners, then, that the music on this CD and its companion volume (MTE 046CD), recorded on brief visits to the U.S. from Murray's home base in Paris, is full of fire and surprise, ornery as hell, charming and urbane, and totally, unstintingly true to his free-spirited aesthetic.


MURRAY, SUNNY: Perles Noires vol. II CD (MTE 046CD) 9.50
2005 release. Sunny Murray: drums; Sabir Mateen: alto and tenor saxophones, clarinet; John Blum: piano; Oluyemi Thomas: bass clarinet and c-melody saxophone. There's enough great music from Sunny Murray's 2003 Northeast tour to fill yet another volume, following Vol. I (MTE 045CD). The designation is dictated partly by chronology -- this material comes from the later part of the tour -- and partly by an aesthetic decision to program the music to show off the diversity and contrasts in Murray's handling of the different ensembles he worked with on the tour. Murray is a different drummer than he was when he first made jazz history with Cecil Taylor and Albert Ayler. Partly that's because it's harder at his age to physically sustain the intense high energy of previous decades. Partly, it's a matter of artistic growth, development, and change. Murray's drumming on these discs is unfailingly musical. His unerring touch, sensitivity to sound and color, his relaxation and swing are the mark of a mature talent who knows exactly what he's doing. Murray's creativity, wit, and power are at a mature peak and no aspect of improvised music is beyond this most individual -- and still radical -- drummer.

MTE 047/48CD

2005 release. Blue Winter is a milestone achievement in the great career of one of the stalwarts of the tenor saxophone, Fred Anderson. An exponent of the illustrious Chicago heavyweight tenor tradition that includes his contemporaries Gene Ammons, Johnny Griffin, John Gilmore, and Von Freeman, Anderson spent decades as a family man and bar owner before starting to seriously tour and record in the nineties. Born 1929 in Monroe, Louisiana, Anderson migrated to Chicago in 1940, where he devoted many years of study to the music of Lester Young, Coleman Hawkins, and Charlie Parker. In 1964 Anderson co-founded the seminal Chicago musicians' organization the Association for the Advancement of Creative Musicians (AACM). The strength and individuality of his playing in early AACM ensembles with Muhal Richard Abrams, Joseph Jarman, and Henry Threadgill earned Anderson the nickname "the lone prophet of the prairie." On Blue Winter, Anderson is joined by one of the premier rhythm sections in any music genre, William Parker on bass and nagaswaram (an Indian double-reed instrument) and Hamid Drake on drums. The two-CD set features a beautifully recorded complete concert from the trio's 2004 northeast tour.


BLUM ASTROGENY QUARTET, JOHN: John Blum Astrogeny Quartet CD (MTE 049CD) 9.50
2006 release. John Blum (piano), Denis Charles (drums), Antonio Grippi (alto sax, alto clarinet), William Parker (bass). Studio recordings from 1998. There are few sessions to rival this one for sheer urgency and gusto. It's as if something pent-up in these four musicians waited for this combination of players to unleash it... the music explodes into action. Pianist John Blum is a secret hero of New York's free jazz community, known as a proficient and forceful improviser in the tradition of his mentors, Borah Bergmann and Cecil Taylor. Blum's performance on "Astrogeny" is his shining moment on disc to date. The legendary Denis Charles was at his best when paired with William Parker; together they formed one of the great, yet under-documented, rhythm sections in the music. Antonio Grippi, a shadowy figure in free-jazz history, makes an appropriately rousing contribution on alto saxophone.


JAMAL CREATIVE ARTS ENSEMBLE, THE KHAN: Drum Dance to the Motherland CD (MTE 050CD) 9.50
2006 reissue of this 1973 private press album. There's not another record on the planet that sounds even remotely like vibraphonist Khan Jamal's eccentric, one-of-a-kind masterpiece, Drum Dance to the Motherland. In its improbable fusion of free jazz expressionism, Black psychedelia, and full-on dub-like production techniques, Drum Dance remains a bracingly powerful outsider statement decades after it was recorded live at the Catacombs Club in Philadelphia in 1972. Comparisons to Sun Ra, King Tubby, Phil Cohran, and BYG/Actuel merely hint at the cosmic otherness conjured by the band and by recording engineer Mario Falana's real-time "enhancements." The first edition of 300 copies, issued by Jamal in 1973 on the local Philadelphia label Dogtown, was barely distributed outside the city's limits. Since then Drum Dance has assumed a mythic status among the very few aficionados, eBay mutants, and heads who know of it at all. Hallelujah that it can finally be heard outside their murky inner-sanctums!


FD 7504CD

ROGERS, D.J.: D.J. Rogers CD (FD 7504CD) 13.00
"DeWayne Julius Rogers was an extraordinary talent and a beacon of gospel soul. This first ever CD edition of his debut album is a self-assured and soul-searching declaration of salvation straight from the pulpit. All songs are written and arranged by Rogers, who had worked under the direction of Harrison Johnson in the Los Angeles Community Choir and with the venerable Reverend James Cleveland as director of the Watts Community Choir."

FD 7505CD

SYLVERS, FOSTER: Foster Sylvers CD (FD 7505CD) 13.00
"Foster Sylvers' self-titled debut album features one of the greatest slabs of kid-soul ever released, 'Misdemeanor.' It has been sampled numerous times, perhaps most famously by Dr. Dre for The D.O.C.'s 'It's Funky Enough.' Following up that amazing cut is a great album of seventies pop/funk/soul in the mode of the Jackson 5, plus a bonus unreleased remix of the classic track."

FD 7506CD

FUZZ, THE: The Fuzz CD (FD 7506CD) 13.00
"Their 1971 self-titled debut LP featuring the Top 10 R&B single 'I Love You for All Seasons.' Written by then 19 year old lead singer Sheila Young, that record is now regarded as a soul harmony classic and a all-time favorite of the low-rider oldies scene."



GRANDBROTHERS: Dilation CD (FILM 001CD) 17.00
Following their debut Ezra EP (FILM 001EP) and support from the likes of Gilles Peterson, Grandbrothers present their debut album Dilation. Twelve modern experimental ambient piano pieces, with sounds generated completely from a grand piano using small electromagnetic hammers. Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Sarp and Vogel formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Sarp is a trained jazz pianist, while Vogel constructs synthesizers at Access Music by day. Together, they create a sound that combines classical composition with modern, experimental production and sound design. The product of two years' work, Dilation builds on some of the ideas established on Ezra while exploring further elements of minimalism, ambient music, IDM, and techno. Tracks start as repeated two- or three-note patterns, which gradually develop into sweeping, cinematic soundscapes, recalling the structural and rhythmic qualities of club music as much as they do the work of a composer like Steve Reich, as well as Ryuichi Sakamoto's collaborations with Alva Noto. Surprisingly, there are no synthetic sounds on Dilation: Sarp and Vogel deliberately restrict themselves to the sounds of the grand piano across the album. "We wanted to make modern-sounding music using classical instruments," Vogel explains. "Instruments with a lot of history." To achieve this modern sound, Vogel developed an unusual system for playing the piano. Drawing on his technical background, he created a series of electromagnetic hammers that could be controlled via laptop (on software that he designed himself, no less) to play the piano. This process allowed the duo to discover new, previously unknown sounds -- sounds that couldn't be achieved through conventional playing -- which give the record its unique sonic qualities. "Dilation is a physical term for expansion and widening," Sarp says. "We see the project as an experiment: how far you can go with a piano? How much you can get out of it, sound-wise?" With further manipulation using loops, effects, and amplification, Dilation is an album that covers an extraordinary range of sounds despite coming from such a small, unorthodox setup. Classical, yet forward-thinking; expressive and emotional, yet with one foot on the dancefloor. CD presented in Digipack with high-gloss print.


GRANDBROTHERS: Dilation 2LP (FILM 001LP) 25.50
180-gram double LP version in high-gloss gatefold sleeve; includes WAV & MP3 download code. Following their debut Ezra EP (FILM 001EP) and support from the likes of Gilles Peterson, Grandbrothers present their debut album Dilation. Twelve modern experimental ambient piano pieces, with sounds generated completely from a grand piano using small electromagnetic hammers. Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Sarp and Vogel formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Sarp is a trained jazz pianist, while Vogel constructs synthesizers at Access Music by day. Together, they create a sound that combines classical composition with modern, experimental production and sound design. The product of two years' work, Dilation builds on some of the ideas established on Ezra while exploring further elements of minimalism, ambient music, IDM, and techno. Tracks start as repeated two- or three-note patterns, which gradually develop into sweeping, cinematic soundscapes, recalling the structural and rhythmic qualities of club music as much as they do the work of a composer like Steve Reich, as well as Ryuichi Sakamoto's collaborations with Alva Noto. Surprisingly, there are no synthetic sounds on Dilation: Sarp and Vogel deliberately restrict themselves to the sounds of the grand piano across the album. "We wanted to make modern-sounding music using classical instruments," Vogel explains. "Instruments with a lot of history." To achieve this modern sound, Vogel developed an unusual system for playing the piano. Drawing on his technical background, he created a series of electromagnetic hammers that could be controlled via laptop (on software that he designed himself, no less) to play the piano. This process allowed the duo to discover new, previously unknown sounds -- sounds that couldn't be achieved through conventional playing -- which give the record its unique sonic qualities. "Dilation is a physical term for expansion and widening," Sarp says. "We see the project as an experiment: how far you can go with a piano? How much you can get out of it, sound-wise?" With further manipulation using loops, effects, and amplification, Dilation is an album that covers an extraordinary range of sounds despite coming from such a small, unorthodox setup. Classical, yet forward-thinking; expressive and emotional, yet with one foot on the dancefloor.



VA: Life Is Dance! 2LP (FKR 049LP) 26.50
2015 repress. Once again, Finders Keepers Records is given unparalleled access to the EMI Pakistan vaults to bring you Life Is Dance, the 2011 follow-up to 2010's critically acclaimed groundbreaking Lollywood cinematic pop compendium The Sound of Wonder! (BMS 012CD). Commonly, ignorantly, but understandably lumped in with its wealthy not-too-distant cousin, Bollywood, Lollywood was inspired by, but often overshadowed by its posh and well-travelled relative. Following the simplistic Bombay + Hollywood = Bollywood name game (that would in later years spawn Nollywood in Nigeria), Lollywood's Lahore, Pakistan-based film industry was a profitable and vibrant one that found great success in the modest boundaries of its own country but was seldom savored outside Pakistan. However, the hugely important musical business spawned a byproduct that was viewed as a potential earner for international entertainment industry, EMI, which allowed talented musicians to create ambitious music with world-class media ranging throughout the '60s and '70s from fuzz guitars to space echo machines and American and European synthesizers, but, due to the composers' indigenous roots, rarely a drum kit. Here you'll find fuzzy, scuzzy, twang-happy, spaced-out, and funked-up Urdu-grooves complete with harmonium melodies and driven by some of the most random factor, freakish, finger-numbing percussion that the South East Asian mainstream has ever had to offer. Above all, Lollywood soundtracks sound RAW! The lack of gloss on a dusty Pakistani mini-LP makes for truly experimental Eastern pop music. So, it's time to meet the culprits -- as an introduction, in place of R. D. Burman and Asha Bhosle, we have Mr. M. Ashraf and his long-term female collaborator, Naheed Akhtar. This duo would provide Pakistan with its Gainsbourg/Birkin or Morricone/Dell'Orso for over 20 years, recording squillions of cut-and-paste sonic collages and moog-fuelled desperate love/hate/chase/chill/kill songs mixing onomatopoeic Urdu lyrics with unexpected bursts of user-friendly English language and the odd motif from a Barry White or Donna Summer hit. We also have legends like Noor Jehan, a national treasure and household name in Pakistan whose discography of film songs have deprived the vaults of EMI Pakistan of floor space for half a century. Also includes tracks by Tafo, Mehdi Hassan, A. Nayyar, Nazir Ali, Mehnaz, Kamel Ahmed, Sohail Rana, Abdul Hameed, Afshan, and Cheeku. All tracks licensed exclusively through the EMI Pakistan vaults in Lahore and remastered from the original reels.


VA: Disco Dildar CD (FKR 065CD) 17.00
DIY disco from the Pakistani pop workshop. Never ones to merely scrape the surface of a niche genre, Finders Keepers Records dig deeper still into the core of the Indian subcontinent, exhuming a concise party pack of opulent, off-center Pakistani party targets driven by the pounding drum box rhythms of some of Lollywood pop's most notorious studio scientists. Disco Dildar features rare plugged-in proxy pop from some of the country's lesser-known teen flicks spanning the late 1970s and '80s, featuring drum-heavy disco guesstimates built around multilingual lyrics celebrating Saturday nights, Disco Dildars, and Hindustani Hogmanays. These original synth-dripped 45 EPs are not from the front of the pile, nor the quirky result of some token musical tourism. The music found here once soundtracked rebellious all-nighters and hotel bar rendezvous from films of which your parents might have not approved, hence their scarce obtainability. Again, the Sound of Wonder (BMS 012CD) team that bought you Life Is Dance (BMS 038CD/FKR 049LP), Ilectro (BMS 049CD), Bollywood Bloodbath (BMS 039CD), and others shares equal doses of the excitement, wonderment, and bewilderment that comes when first needle-dropping these elusive gems. Featuring the cut-and-paste electronics and fuzz-tones of flightless super heroes such as Tafo, Ashraf, Bazmi, Rana, and Ahmed, while voiced by Mehnaz, Nahid Akhtar, Runa Laila, and Queen Noor Jehan, it is plain to hear why the work of these DIY cosmic composers have eclipsed the collectable desirability of filmic fruits, igniting dancefloors and providing sample fodder of the wider continent for Wu-Tangular producers in their stride. This workshop funk redefines both DIY and disco, revealing a whole new side to world music, and marks Pakistani pop culture's transformation from disposable and indefinable to indispensable. Form a circle -- Disco Dildar is now in rotation.


VA: Disco Dildar LP (FKR 065LP) 25.00
LP version.



TERROR DANJAH/CHAMPION: Cannon/Run Out 12" (FRMCS 002EP) 14.00
Champion's "Cannon" is a rhythmic stomper that's heavy on the percussion and thick on the bass. With slabs of kick drum, insistent cowbell, tumbling sub bass, and claps that jump out of the mix, the track comes across as drum workout with a hint of G-funk, complete with a stepping snare hit that cuts to the bone. Original grime don Terror Danjah switches it up with a bubbling sub-bass ride that MCs will be screaming to jump on. Shuffling rhythms combine with a jump-up bass melody that's built for peak-time pressure in the dance -- a pure Terror Danjah rolla.


GET 52719LP

BUSTA RHYMES: When Disaster Strikes... 2LP (GET 52719LP) 25.00
"By the time Busta Rhymes hit with his second solo album, When Disaster Strikes, he was already cemented as one of the most powerful voices in the rap game. With a lead single that countered that statement 'Put Your Hands Where MY Eyes Can See' he proved he is more than just a one act man. The single was an immediate smash and was followed by an equally amazing album. The albums second single 'Dangerous' continued to push Busta creatively and was accompanied with a stellar video gained him major air play on BET and MTV. Critics and fans alike applauded this release for its depth and well-crafted songs which made it platinum at the time of its release. Songs like 'Turn UP,' the Flipmode-assisted 'We Could Take It Outside,' and 'Rhymes Galore' showcase Busta at his best; rapidfire delivery over hard pounding beats. Other standout cuts include 'So Hardcore' and 'One,' which is a great collaboration with Erykah Badu. On the production side Busta brings along his trusted team; Rashad Smith, Dilla, Rockwilder, and DJ Scratch to serve him just what he needed for When Disaster Strikes to be full on dope!"



ROACH MOTEL: The Night 12" (GPM 286EP) 14.00
Why stop when you've got a good thing going? That was Get Physical's reasoning behind GPM 286EP, a special vinyl release inspired by the crazy goodness that was Roach Motel's 1996 The Night EP. With remixes by Tuff City Kids and Fred Everything, this vinyl edition of The Night puts their old-school-leaning seven minutes of popping rhythm heaven on wax for all the black gold enthusiasts to enjoy.


GB 021CD

HANOI MASTERS: War Is a Wound, Peace Is a Scar CD (GB 021CD) 17.00
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 816CD

OLSON, MARK: Good-bye Lizelle CD (GR 816CD) 17.00
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. LP version includes CD.

GR 830CD

WHITE BIRCH, THE: The Weight of Spring CD (GR 830CD) 17.00
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 CD (GKL 003CD) 17.00
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.



JULY: July LP (GUESS 080LP) 29.00
2015 restock. Guerssen Records is proud to release on vinyl nothing less than an essential album to anyone with a minimum interest in psychedelic music. This very rare 1968 UK album, originally released on the Major Minor label, features essential psych classics such as "Dandelion Seeds" and "My Clown." This is the definitive vinyl reissue of this beauty, pressed on 180 gram vinyl and housed in a high-quality carton cover with old-style backflaps and a fantastic 4-page insert with photos and extensive liner notes by UK psych authority David Wells. Also included is a full-color reproduction of the rare-as-hell original promo poster.



LEINER, ROBERT: Duff 80/Injected 7" (HNR 003EP) 11.00
Höga Nord Rekords pays respect to one of the true Swedish pioneers of electronic underground music, Prof. Robert Leiner. Leiner has been highly productive since starting back in 1992. Countless releases on classic high-profile dance labels such as R&S Records, Apollo, H. Productions, Ohm, just to name a few. The time has come for 12-and-a-half more minutes of analog machine funk signed "Robert Leiner" to hit the streets. Tune in, turn on, and stay up forever.


BASSMAN, PETE: Small Town Illusion/Poison Butterfly 7" (HNR 005EP) 11.00
Pete Bain aka Pete Bassman, a pioneer and the true bassist from Spacemen 3, The Darkside, and Alpha Stone, presents Small Town Illusion/Poison Butterfly on Höga Nord Rekords. Ten minutes of pure acid-folk comin' straight outta Drugby. Don't miss out on this!


KRIGET: Din Con/Sama 7" (HNR 010EP) 11.00
Kriget: drums, bass, saxophone. Here, they've added mad nice electronics. Krauty, spacey, free jazzy, so forth... let's settle on free music for free people. The bass of "Din Con" seduces you so subtly you hardly notice you're about to take off on a ride you can't fight. Only feel. "Sama" kicks off like a session with a sleazy elektro-shaman who wants to program you with methods so vicious the CIA would be impressed. When the acid kicks in at the end, breathe slowly and quietly repeat to yourself, "Keep calm and remember that paranoia doesn't mean they aren't after you."



SQUADRA OMEGA: Il serpente nel cielo LP (HOL 077LP) 25.00
Il serpente nel cielo is the first of three Squadra Omega titles to be released in less than six months in 2015. This two-piece jam was recorded live at Outside Inside Studio, with the always-evolving group reduced to three core elements: OmegaFrank (drums, xylophone), OmegaG8 (synth, bass), and OmegaMatt (sax, acoustic and electroacoustic percussion). The trio hauls its instruments through a free-form improv-ambient session frequently peaking with moments of free jazz, sustained by a skeleton of intense droning electronics, and wonderfully rendered by an exquisite cut made at SST in Frankfurt. Cover artwork by Re delle Aringhe.



SECOND STOREY: Shaman Champagne 12" (HTH 024EP) 14.00
Formerly known as Al Tourettes, Alec Storey unveiled his Second Storey project with 2013's Margosa Heights EP. Now comes "Shaman Champagne," the lead single from his forthcoming Double Divide LP. Storey produces music running from multi-part suites of hefty sound design to club-shaking dance epics for labels like Apple Pips, Aus and more. "Shaman Champagne" is an adventurous club tune crafted by an inspired mind, displaying his bass roots and his psychedelically-inspired musical abilities. Perc Trax boss Perc offers up a heavy, pummeling remix, complimented by a bouncy dancefloor roller from Aden (rumored to be the Ultramajic label's A&R, Machinedrum).



BLACKSHAW, JAMES: Summoning Suns CD (IMPREC 407CD) 14.00
Summoning Suns is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from '60s and '70s singer-songwriters, baroque and orchestral pop, and folk music, while still sounding contemporary, Summoning Suns is Blackshaw's foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice while his words combine his personal experiences, neuroses, and fantasies through many layers of abstraction, poeticism, and dark humor. While the deft acoustic guitar fingerpicking of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute, and pedal steel guitar and feature contributions from Simon Scott (Slowdive), Annie Nilsson, and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom Blackshaw duets in Japanese on one song). LP pressed in a first edition of 500 copies.


BLACKSHAW, JAMES: Summoning Suns LP (IMPREC 407LP) 22.00
LP version.


IP 018LP

RUN DUST: Serf Rash LP (IP 018LP) 23.00
"Luke Calzonetti, following up on the Zeckenentferner tape from Opal Tapes: eleven tracks ranging from proper songs to brutal techno, romantic melodic stuff to dystopian minimal. A unique feel for texture and storytelling holds it all together, infused with a melancholic, fragile wanderlust."



MITTOO, JACKIE: Rides On LP (JRLP 031LP) 14.00
2015 repress. Jackie Mittoo, organ and piano maestro, was also one of the founding members of Jamaica's top session band The Skatalites. Musical arranger for Studio One, he provided the backbone to so many of Jamaica's finest tunes. Here Jamaican Recordings have captured some fine 1970s cuts that feature Jackie's numerous talents, showing his ability to embellish tracks with a feel that few could do better. Musical arranger, bandleader, all-around studio ace -- enjoy the set.


LEE & KING TUBBY, BUNNY: Brass Rockers LP (JRLP 037LP) 14.00
2015 repress. LP version. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. After discovering a mistake that became a "serious joke," they went on to release the first pressings of this new musical genre named "Dub Music." Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard -- the remix/version cuts to an existing vocal tune. Osbourne "King Tubby" Ruddock was born in Kingston, Jamaica on January 28th 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's National Technical College and also did two correspondence courses from the U.S.A. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the backyard of his mother's home. His work in the early days included winding transformers and building amplifiers for Kingston's Sound Systems. Tubby built his first Sound System in 1957 playing jazz and rhythm & blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily, and as the '60s drew to a close, Tubby purchased his own basic two-track equipment. He installed this alongside his dub-cutting machine, a homemade mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue, which he christened his music room.


HOLT, JOHN: 500 Volts of Dub LP (JRLP 042LP) 14.00
2015 repress. John Holt was one of the finest and most versatile voices to come out of Jamaica, whether fronting The Paragons or as a solo artist. Born in Kingston, Holt was a child prodigy who began his career as a regular voice on the talent contests run by Vera Johns across Jamaica. He cut his first single, I Cried a Tear/Forever I'll Stay, for Leslie Kong's Beverley's label in 1963, and sang many duets with various singers of the day, including "Rum Bumper" with Alton Ellis. The period from 1965 to 1970 was John Holt's paragon era, during which he also ran solo with such hits as "Fancy Make Up," "A Love I Can Feel," and "Let's Build Our Dreams."


KK 082CD

VA: Jeff Ozdemir & Friends CD (KK 082CD) 15.50
Presented here is the next chapter in the history of Faruk Green keyboardist and co-founder Jeff Özdemir: a compilation of soulful pop- and electronic-inspired music. Özdemir, multi-instrumentalist, composer, and producer, owns the independent record store 33rpm Store in Berlin and runs the label 33rpm Records with some of his friends. The record store has become part of Özdemir's own musical education, a place to experiment and discover new sounds and new bands. Over the years, his broad exposure to different eras and genres of music has had a strong influence on what he produces. And it's these kinds of influences you'll hear on Jeff Özdemir & Friends, in the chords, rhythms, atmospheres, production styles, and sound aesthetics. A colorful mix of all decades, continents, tempos, and genres, with some fierce micro-grooves. The album includes solo tracks and a handful of collaborations. Faruk Green, Özdemir, and the whole local urban music scene around them are geographically located between the German cities of Bremerhaven, Hamburg, and Berlin, but the dots connect across the globe, in a network that reaches all the way to Vienna, Metz, Helsinki, Istanbul, Minneapolis, Michigan, and Ghana. This compilation is an eclectic and unique album for people who like jazz-funk, indie, the German language, strings, record stores, vinyl, movie soundtracks, Moogs, and pop vocals. Sit back and enjoy the ride. Double LP includes download code and is limited to 300 copies. Includes tracks by Faruk Green, Jeff Özdemir, Lee Buddah, Jeff Özdemir's Halloumi Express, Elyas Khan, Nicholas Desamory, Jeff Özdemir's Weapons of Mass Destruction, Jeff Özdemir With The Adam & Steve Arkestra, James Merle Thomas, Alogte Oho Jonas & His Sounds of Joy, Rimini Sunset, Edwyn Tokyo, Durand Durand, and J.R.Plankton.

KK 082LP

VA: Jeff Ozdemir & Friends 2LP (KK 082LP) 23.50
Double LP version; includes download code; limited to 300 copies.


KH 9042CD

CLARK & THE FYREBIRDS, GENE: Live at The Rocking Horse Saloon, Hartford Connecticut January 13th 1985 2CD (KH 9042CD) 23.00
This superb double live set was recorded for broadcast by a local Connecticut radio station in January 1985. Though it came at a troubled time in Gene Clark's career, this performance at The Rocking Horse Saloon in Hartford, Connecticut, finds him in terrific form, as he performs a mixture of acoustic and electric songs spanning his whole catalog, including his time with The Byrds, his renowned 1974 classic No Other, and his collaborative work with Doug Dillard. Particular highlights include a 15-minute rendition of "So You Want to Be a Rock'n'Roll Star" and a sublime slow version of "Eight Miles High." It's presented in wonderfully vibrant sound, complete with background notes and rare images.

KH 9043CD

COUNTRY JOE & THE FISH: Carousel Ballroom 14-02-68 CD (KH 9043CD) 17.00
Recorded at San Francisco's legendary Carousel Ballroom on Valentine's Day 1968, this superb live set captures Country Joe & The Fish, one of the city's original psychedelic rock bands, at the peak of their powers, performing a mixture of material from the two albums they'd released the previous year (Electric Music for the Mind and Body and I-Feel-Like-I'm-Fixin'-to-Die), as well as the classic "Rock and Soul Music," from their 1968 third LP, Together, unreleased at the time of this performance. It's offered here in superb fidelity, complete with background notes and rare images.



"'The basis of the album was a series of field recordings of tones and unintentional harmonies that I made in the summer & fall of 2013 -- whistling industrial air conditioners, bird songs, locust drones, washing machines -- that I mimicked or interpreted on the guitar, making loops that developed into fuller compositions. Several of the pieces are recreations of harmony loops that I heard in a series of extraordinarily vivid dreams, and then woke up and recorded. A few pieces had lyrics and vocal parts that I ultimately removed; at a certain point the album became an exercise in restraint, so I strove to leave only what I felt absolutely essential. Unlike most of my previous recordings, there are no digital/software after-effects on the album; all sounds are from analog tape and/or my few guitar pedals' --Thomas Meluch (Benoit Pioulard). The sound of the fifth Benoit Pioulard full-length is lush and verdant, a temperate rainforest of ear ecstasy that reflects the environment surrounding the artist. A mostly instrumental work, it is an adept melding of song and sound, melody and texture, the intangible and the palpable, that in an abstract sense recalls the more fractured and loose end of the '70s krautrock movement."


LP version.



LIEM, EDDIE NESS & JOHAN KASETA: Let's Get Playa 12" (LHLT 002EP) 14.00
180-gram vinyl. Lehult follows Lucky Charmz' acclaimed 2014 Follow Me to Flottbek Falls EP (LHLT 001EP) with Let's Get Playa, introducing Liem (pictured on the cover, gin and tonic in hand), Eddie Ness, and Johan Kaseta (infamous for his wild one-deck DJ sets). They all take their shots in mixed couplets: "Bassforce XXL" delivers an uplifting chord progression and a fruity, dynamic bassline; "M-Trax" revolves around the same sunlit feeling but plunges deeper with swirling birdsong melodies and raw, thumpin' drums 'n' congas. "Let's Get Playa" is a seductive cut of low-slung breezy house that doesn't fail to surprise.



MASSIANDE: Stand 12" (MOS 022EP) 12.50
Stand, Chilean producer Massiande's first release since a 2013 EP on Housewax, explores cloudy, atmospheric house with plenty of panache and flair. "Stand" is a raw house kicker with rubbery basslines, frazzled machine-lines, and muted voices in a spaced-out and slightly acid vibe. "The Future (Is Now)" is another mid-tempo cut, this time with loud, dramatic chords and strings dominating a Chicago-referencing bottom end. "That Feeling" features rolling bass, icy hi-hats, and subtle Larry Heard-style melodies. The far-gazing pads and airy percussion of "Get House" accompany the sorts of drums that make you want to shake your limbs.



ROUND 1: I'm Your Brother 12" (MAIN 002EP) 10.00
2015 repress. Classic 1994 release. "With I'm Your Brother Basic Channel initiates its deep house label Main Street. The A-side features the original vocal track which production is orientated on the classics of the genre. As one would expect the result is outstanding. This fact is even more true since the dub mix on the B-side has been done by Chez 'n' Trent -- a producer dream team of the early/mid 90s."


ROUND 2: New Day 12" (MAIN 004EP) 10.00
2015 repress; originally released in 1995. "'New Day' is the second deep house anthem produced by Basic Channel. Included is a main vocal mix and an instrumental mix on the B-side. The sound aesthetic presented here is undeniable Basic Channel alike. The instrumental version is not just the original tune without the vocals but a stripped-down-to-the-bones groove monster which lasts."



STOTT, ANDY: Passed Me By 2x12" (LOVE 069LP) 23.50
2015 repress. Produced slowly and meticulously, these seven tracks by Manchester's Andy Stott take influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era. These seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro "Signature," "New Ground" heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. "North To South" starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. "Intermittent" is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before "Dark Details" delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. "Execution" and "Passed Me By" end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company. Mastered and cut at Dubpates & Mastering, Berlin.


STOTT, ANDY: We Stay Together 2x12" (LOVE 072LP) 23.50
2015 repress. Recorded in the immediate aftermath of his last EP Passed Me By, this new double pack from Andy Stott features six new productions that are more desolate and exposed than anything on its predecessor. The opening "Submission" tumbles into being with layers of washed-out digital revolutions, creating an artificial landscape that's quite at odds with the analog machinations that follow -- yet somehow rendering the alienated feel of this material perfectly. "Posers" nudges its way into being abruptly and embeds another squashed funk variant that's all low-lit neon and growling textures, awkwardly shuffling into a more robust 4/4 template suffused with sparkling percussion and disembodied vocals. "Bad Wires" is the centerpiece of the EP, a relentless percussive clusterfuck that belies its slow tempo with a fearless, rhythmic attitude. It's as immersive and narcotic as anything ever produced by Stott -- peeling away one layer after another with each repeated listen. "We Stay Together" (Part One) was the first track written for the EP and offers a more spacious narrative and a more sparkling, hazy palette -- culminating in a beautifully frayed central hook that's somehow in keeping with the VHS aesthetic of both Jamal Moss and Ferris Bueller. "Cherry Eye" tumbles deep into a darkened hole before EP closer "Cracked" turns up, fuelled by an odd mixture of adrenalin and sorrow to send you on your way, buzzing and forlorn. Mastered and cut at Dubplates & Mastering, Berlin.


ND 007LP

2015 repress. LP version. Instrumental versions. Jeri-Jeri is the stunning, spectacular collaboration between the renowned Berlin-based producer Mark Ernestus and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists -- including mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists. Aficionados of cutting-edge world music and underground dance will have noted Ernestus' remixes of Afrobeat legend Tony Allen and Kinshasa rockers Konono No. 1, and his co-compilation (with Honest Jon's) of the critically-acclaimed Shangaan Electro showcase. On the quiet, though, he has become increasingly hooked on Mbalax with its hyper-vivid Sabar and talking-drum workouts, and ultra-repetitive, sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio former known as Xippi, with more than 20 of the finest musicians in the country. Ndagga Versions present the results, presenting instrumentals in a swingingly masterful style of Mbalax, heady and hard-grooving, with highly complex, fiercely succinct polyrhythms; an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Get ready to be knocked out.


NEOS 11504CD

HERCHENRODER, MARTIN: Linien aus Nachtlicht - Organ Works CD (NEOS 11504CD) 15.50
To coincide with the 2015 20th anniversary of The Studio for New Music of the University of Siegen, NEOS presents a CD collecting the complete solo organ compositions of Martin Herchenröder. Linien aus Nachtlicht - Organ Works was recorded in 2014 on a Woehl organ in Piteå, Sweden, and consists of organ music from the years 1991 to 2011, performed by the ECHO Prize winner Christian Schmitt, Professor Hans Davidsson from the Royal Danish Academy of Music, Copenhagen, and by the composer himself. Among other things, the CD brings together the works "Linien aus Nacht-licht" ("Lines out of Nocturnal Light") and "Meerleuchten" ("Sea Lights"), both based on paintings of Paul Klee, as well as the two "zeit-raum" ("time-space") cycles, composed for the re-dedication of the restored organ in Wenzelskirche, Naumburg, which had earlier been inaugurated by Johann Sebastian Bach. The CD contains Herchenröder's complete oeuvre for solo organ since 1991, in which the development of the organ music of this period is simultaneously reflected, offering excellent insight into his musical world.



OD/MB: Shplittin' the Shtones 12" (RHD 021ODMB-EP) 17.50
Marvelous split mini-LP from the Rathmines nook. Mastered at New Atlantis by Sonic Boom. "Licked a drop from the silver tether, The vein that held the grit together, Ridges scored when grunt met bone, When shtones were shplit when shplittin' stone. He rose from the roots in fine spirits did Lankin, And magicked up money from none. With no cause to work I'm bone-idle and bored! And I miss the days, days shplittin' the shtones." --Lee Eel



JORDAN GCZ: Crybaby J 12" (OMR 001EP) 12.50
2015 repress. Jordash of Juju & Jordash pops up solo on his own exciting new label. "Off Minor" is the name of a classic song written by Thelonious Monk. "Crybaby J" is the name of a song by Jordan Czamanski aka Jordan GCZ, who used to be a big crybaby, too. Jordan played "Crybaby J" to three super-critical, scary music critics. They thought it was dope as hell. He also played it to a few fancy world-traveling DJs. They thought it was dope as fuck.


MAX D: Shaping EP 12" (OMR 005EP) 14.50
"Juju Jordash member Jordan GCZ's impeccable Off Minor imprint [releases] the four-track Shaping EP from prolific DC-based producer Maxmillion Dunbar [aka Andrew Field-Pickering]... Shaping sees the Future Times co-head dishing out four more of his slightly off-kilter dancefloor constructions, with plenty of restless synthlines, percolating percussion, and celestial pads to be heard throughout." --XLR8R



MARSEN JULES: The Empire of Silence CD (OKTAF 010CD) 17.00
German ambient composer Marsen Jules presents The Empire of Silence, an impressive soundtrack to the epic power and beauty of Nordic snow- and ice-landscapes. He sounds even more elegiac, warm, and romantic than ever before, which may be a result of a strict reduction to bittersweet symphonic string-sounds, sounds that Jules lets subtly meander on the listeners' eardrums, moving on the particle-layer of the sound-continuum. Diving deeper into the sounds than ever before, he lets the frequencies reflect across the sound spectrum with an impressive precision. Actually, there is not much space for real silence on the album. Instead, the epic sounds of The Empire of Silence seem to unfold their archaic euphoria best at high volumes. It's a euphoria that carries everything away and occupies the whole space. For the track titles of the eight gems on this album Jules refers to different words for "snow" in the Inuit languages, of which legend says there are dozens. While the melancholic openers "penstla" (the idea of snow) and "tlaslo" (snow that falls slowly) travel softly, the album raises to its full euphoria with "kayi" (drifting snow) and "skriniya" (snow that never reaches the ground). With its epic magic, the nine-minute "katiyana" (night snow) thrills the listener, while "naklin" (forgotten snow) brings a short inhale. The album finds its peak with the ecstatic glissandi of "chathalin" (snow that makes a sizzling sound as it falls on water) and finds its finish in the beautiful and lofty "ylaipi" (tomorrow's snow).



HOPPNER, NICK: Folk 2LP (OSTGUT 019LP) 26.50
Double LP version.


Berlin-based DJ and producer Nick Höppner presents his debut solo album, Folk. From his tenure as the founding label manager and A&R man for Ostgut Ton to his extensive solo output and of course his genre-sprawling late-night DJ sets at his musical home, Panorama Bar, Höppner has managed to dance in and out of the spotlight, remaining an intriguing and perhaps a defining member of the Berlin techno/house community. Folk is a deeply personal and intimate album created for everyone; an album of idiosyncratic tracks that cross the vast continent of techno and house music. Each track is adorned with many different musical styles brought together by the unifying power of the 4/4 kick. From the submerged sounds of "Paws" through the upbeat slap bass rhythm of "Out Of" to the highly infectious vocal hymn "Come Closer," Höppner's open-minded attitude toward music leaves little reason to discriminate by genre. Recorded throughout 2014 in Höppner's Berlin studio, Folk is a musical statement that goes beyond the politics of his Hamburg-bred DIY roots. Höppner elaborates: "I decided to call my album Folk because I feel that we all work with a sonic vocabulary that was developed by a relatively small set of pioneers 20 or 30 years ago, that took their cues from disco which was influenced by R&B, funk, soul, etc., down to the most primal ritualism of tribal drums. This sort of traditionalism appears to have been passed on from generation to generation with everyone adding their own perspective to it, thus making it more difficult to trace it all back to a source. One can argue that a lot of it is passed through records but I feel the most important ways of experiencing, enjoying, and learning about the music happen inside a club. I also call this Folk as the blueprint of this music was laid out on what were originally cheap instruments from a dusty thrift store -- in 1985, the TB-303 was the equivalent of a worn-out acoustic guitar. Today this is reflected by the immense and accessible power of creation found in a $500 laptop running a crack of Reason or Ableton." Nick Höppner has brought Folk to the digital age. A full-length that can be easily listened to in the club or at home, a testament to his voracious appetite for music, and a significant addition to the soundtrack of Berlin. CD includes exclusive track "Airway Management."


OP 024EP

DJ SLUGO: Ghetto 12" (OP 024EP) 14.00
Pressed on 180-gram vinyl. Pitchfork, November 30, 2014: "Nicolas Jaar has shared a new track from Chicago ghetto house/juke veteran DJ Slugo. It's called 'Ghetto,' and it was produced by Jaar... According to Jaar, it was made 'in light of recent events.'"



HECKER & MARK LECKEY, FLORIAN: Hecker Leckey Sound Voice Chimera LP (PAN 047LP) 25.50
In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera -- a mutant configuration of two genetically discrete solo works -- was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and is now presented on LP. In Hecker Leckey Sound Voice Chimera, Hecker decomposes, modulates, and re-synthesizes the vocal track from Leckey's 2010 performance piece GreenScreenRefrigeratorAction (for which Leckey intoned the inner monologue of a black Samsung fridge) and his own 3 Channel Chronics installation from that same year, where distinct sounds from three speakers telescoping down from the ceiling were combined and altered by visitors' movements. The resulting work -- like that three-headed beast of Greek mythology -- is a multivalent, tri-part hybrid in which heavily distorted fragments of Leckey's narrative intersperse Hecker's synthetic textures and fidgety tonal patterns. On the PAN release itself, channel 1 from Hecker Leckey Sound Voice Chimera corresponds with side A and channel 2 with side B; channel 3 is available as a monophonic mp3 download. Florian Hecker returns to PAN following his 2011 vinyl issue of Sun Pandämonium. Trained in computational linguistics and fine arts, Hecker's work deals with specific compositional developments of post-war modernity, electro-acoustic music, and psychophysical domains of audition. Mark Leckey is a British artist, pop-culture provocational agent, and self-described autodidact working across sculpture, sound, film, and performance. His notable video works (collaged from found material) include the 1999 cult short Fiorucci Made Me Hardcore (soundtrack available on The Death of Rave (LECKEY 001LP)) and Industrial Lights and Magic, for which he was awarded the Turner Prize in 2008. A career retrospective, "Lending Enchantment to Vulgar Materials," was presented at WIELS in Belgium, and his work is included in the collections of the Centre Georges Pompidou, Hammer Museum, and Walker Art Center, among others. He has served as Film Studies professor at the Städelschule in Frankfurt-am-Main, Germany, and is currently Reader in Fine Art at Goldsmiths, London. The first comprehensive monograph of his work, On Pleasure Bent, was published in 2014. Hecker Leckey Sound Voice Chimera is written and produced by Florian Hecker; GreenScreenRefrigeratorAction courtesy of Mark Leckey. Mastered and cut by Rashad Becker at D&M. Includes liner notes by art historian Alex Kitnick, and artwork by Florian Hecker and Bill Kouligas.


PP 003BK

LAMBKIN, GRAHAM: Millows Book w/CD (PP 003BK) 21.00
2012 release. The third release in Penultimate Press's series of publications focusing on the art of Graham Lambkin following Dumb Answer to Miracles (2009) and Dripping Junk (2010). Millows brings together two previously unpublished works, both dating from 2004. Full-color hardcover book with factory-pressed CD containing 20 minutes of audio works. Limited edition of 500 copies.

PP 006CD

JOHNSON, DENNIS: November 4CD BOX (PP 006CD) 37.50
2013 release. First recording of Dennis Johnson's five-hour minimalist masterpiece, November. Until recently, one of the most substantial and signi?cant pieces of the minimalist repertoire was virtually unknown. Written in 1959 by Dennis Johnson, November was purportedly six hours long as originally conceived. La Monte Young, who knew Johnson while at UCLA in the late '50s, credited the piece for inspiring The Well-Tuned Piano. November anticipated many trends in minimalist music in addition to its prodigious duration: diatonic tonality, additive processes, and repetition of small motives. It is beautiful, slow-paced, and introspective, and was nearly lost entirely. Irritable Hedgehog and Penultimate Press present the ?rst ever release of this historically signi?cant and thoroughly engaging work. Noted critic Kyle Gann rescued November from obscurity, reconstructing the piece from the only existing materials: a hiss-ridden, 112-minute cassette recording played by Dennis Johnson himself (which Gann received from La Monte Young) and a rough score he received from Johnson. The score, such as it is, consists of several pages of short musical ideas, meant to be improvised upon as desired by the performer. Flexible instructions are also given for the order of the material to be performed. Pianist R. Andrew Lee has established himself in recent years as one of the foremost interpreters of the minimalist piano repertoire and has boldly embraced the challenge of this monumental work. Utilizing Gann's reconstructed score, he has recorded a sublime interpretation that ?nally documents one of the most important lost works in the 20th century canon. At once highly listenable, melancholic, warm, and unique, Dennis Johnson's November is a work of immense historical signi?cance that will appeal to those with a taste for 20th century repertoire, minimalism, exploratory piano works, and substantial and haunting works of art. November comes in a deluxe box with four CDs in individual slipcases and a 20-page booklet featuring reproductions of the original score (and Johnson's later annotations) along with an essay on the work by Kyle Gann and anecdotal essays by Andy Lee, David McIntire, and Mark Harwood. Includes download code to allow for continual playback.

PP 007LP

GERNES, POUL: Untitled LP (PP 007LP) 20.00
2013 release. Penultimate Press presents the only known recordings by Danish artist Poul Gernes. Gernes only ever recorded just under 20 minutes of music; his entire musical production is therefore on this LP. The recording was made on a Tandberg recorder at Gernes's house in the south of Sweden in 1969 and features Gernes playing an old harmonium salvaged from a local primary school. The result is an informal quasi-drone work, which, along with the ambient sounds and domestic interference, comes across as a snapshot of the recording itself, a sonic Polaroid. The voice of a child, Gernes's daughter Ulrikka, is heard making small remarks and pointing out when the needle enters the red. This audial domestic background is too included as an incidental yet natural part of the work, as Gernes saw no limit between art and life. Gernes (1925-1996) was one of the central figures in Danish art life during the latter half of the 20th century. His experimental art holds a firm place on an international level and as one of the founders of the legendary Den Eksperimenterende Kunstskole (The Experimenting Art School) he exerted considerable influence on a whole generation of artists who make up the Danish post-war avant­ garde. His wide-ranging body of work remains a source of inspiration for younger generations of artists in Denmark and abroad. This recording was initiated by John Hunov, who was the chairman of Ung Dansk Kunst (Young Danish Art), an association dedicated to the presentation and publication of many Danish artists of the period. Gernes's major musical inspirations at the time were J.S. Bach, Terry Riley, and Gregorian chant. An alleged encounter with John Cage and close collaborations with, for instance, composer and Fluxus artist Henning Christiansen are likely to have encouraged the musical endeavor. During the 1960s Gernes also made a large number of happenings and performances, together with Per Kirkeby and Joseph Beuys. Originally issued in a miniscule edition on cassette in 1969, this was reissued in 1998 as a very limited edition CDR via John Nixon's Document Records, Australia. This is the first vinyl issue of these recordings. A one-sided LP, it features a beautiful etching of a Gernes painting on the B-side and is packaged in a full-color sleeve retaining the nature of the recording itself. Also included is an insert with a list of Poul's hypothetical track titles. Limited to 400 copies.

PP 011LP

ORA CLEMENTI: Cover you will softer me LP (PP 011LP) 23.50
2014 release. Ora Clementi is the pen name of Canadian sound artist and improviser crys cole and Australian performer and composer James Rushford. crys has previously collaborated with Keith Rowe and Oren Ambarchi while James worked alongside Joe Talia on the highly acclaimed Manhunter LP (Kye, 2013). Penultimate Press presents this duo's hermetic world of sound, song, and speech. Employing farfisa, contact mics, percussion, viola, recordings of James's pet chickens, ocarinas, piano, and miscellaneous junk, Cover you will softer me slides from the sublime to the startling, with individual elements delicately folding and falling among an unnerving tableaux of failed lip readings, haunted hiss, piano motifs, and glistening debris. The unique combination of sound and voice lends itself to an air ripe with mystery and magic as our humble practitioners invoke images of childhood, as, when half asleep, you can hear your parents watching TV in the other room, mumbling moving through walls. Recorded in Melbourne throughout 2013 and 2014 with additional recordings made at No Recording Studio in Essex under the guidance of John Hannon. Cover you will softer me was mixed and mastered by Joe Talia and presents itself in a beautiful full-color sleeve designed by Matthew Revert as a limited edition of 400 copies.


BEC 5156029

AVERY, DANIEL: New Energy (Collected Remixes) 2CD (BEC 5156029) 19.50
Following the international success of his acclaimed 2013 debut album Drone Logic (BEC 5161626/5161627), Daniel Avery expands his wide-reaching world with a carefully curated collection of remixes from the artists with whom his forward-facing electronic style shares the deepest affinity. Inviting each producer to either complement, reconstruct, or occasionally rebuild his original compositions, New Energy stands as a testament to the strength of the current state of affairs in electronic music, borne out of one of its most original talents. Includes remixes by Gabe Gurnsey, Roman Flügel, Volte-Face, Ø [Phase], Silent Servant, Matt Walsh, Kink, Beyond the Wizard's Sleeve, Rødhåd, Audion, Perc, Ricardo Tobar, Conforce, Powell, Special Request, and Danny Daze.



FREUD, JAMES: 5-Track Extended Play 12" (POEM 002EP) 15.50
James Freud isn't the deceased singer of the Australian new wave band The Models; he isn't a young art-school dropout with an affinity for electronic music; he doesn't live in Berlin. It's hard to say whether his production is analog or digital, whether it is sampled or designed; with its strange maturity it seems to come from both the past and the future. A selection of his oeuvre is now available, thanks to the digging talents of DJ Good News (Poem founder and DJ at Hamburg's Golden Pudel Club). To make a long story short: mental futurism is wise optimism.


PP 009EP

KLINT, ANTON: Drunch EP 12" (PP 009EP) 14.00
Anton Klint returns with another highly danceable EP. "Save yourself some time and have Drunch," says the sticker gracing the cover. This dictum can be interpreted in various ways, but one thing is for sure, if you buy this record, you will have at least two tracks that will help you control the dancefloor with ease any given night. "Drunch" is a euphoric track with layers of emotional guitar riffs in typical Klintman manner. Flip to discover what Anton serves for "Dessert." At 132bpm, this high-energy twister leaves no questions unanswered. Double cheers from Anton Klint to all of us.



BOWANE, HENRI: Double Take - Tala Kaka CD (RETRO 006CD) 12.50
Originally released in 1994. The co-writer, guitarist, and harmony singer on the first Congolese hit record, Wendo's "Marie Louise," in 1948, Henri Bowané was one of the first stars of modern Congolese music. As a composer, arranger, talent agent, and record producer in the '50s, '60s, and '70s he was crucial to the success of such great bands as Franco's OK Jazz, Kallé Kabasele's African Jazz, Rock-a-Mambo, Ry-Co Jazz, and Sam Mangwana's African All-Stars. In 1976 he produced an important album by Zaïko Langa Langa at the renowned Essiebons Studio in Accra, Ghana, and between sessions he recorded some of his own songs with Ghanaian musicians and members of Zaïko Langa Langa. However, those recordings remained unreleased until two years after Bowané's death in 1992, when RetroAfric discovered and issued them as Double Take - Tala Kaka.


SHIKAMOO JAZZ: Chela Chela Vol. 1 CD (RETRO 009CD) 12.50
Originally released in 1995. Although Shikamoo Jazz was formed in 1993, its members were all veterans of popular Tanzanian dance bands of the '60s and '70s such as Western Jazz, Kiko Kids, Dar Jazz, and Les Wanyika, augmented by the Kenyan star Fundi Konde, whose career began in the 1940s. Reviving the golden oldies of a bygone but fondly recalled era, Shikamoo soon won fans all over East Africa. The songs in this album are all Swahili classics.


KIDUDE, BI: Zanzibar CD (RETRO 012CD) 12.50
Originally released in 1998. When Bi Kidude died in 2013 none of the many tributes paid to her could state her age with any certainty. She herself hadn't known for sure, but researchers calculated that she was over 100 years old even though she was still giving concerts in the last year of her life. This much is factual: that Bi Kidude was born on the island of Zanzibar when it was still a sultanate and that in the 1920s she became known as the Queen of Taarab, the Swahili music of the East African coast and Indian Ocean islands. A featured singer and dancer with several of the top taarab orchestras, she toured widely over four decades before settling down in Zanzibar, where she became a sort of priestess, guiding girls through puberty rites. In the 1980s she resumed touring, traveling through the Middle East, Southeast Asia, and Europe with the Twinkling Stars, the Taarab All Stars, and Shikamoo Jazz. The recordings on this album were made in Zanzibar, Tanzania; Dar es Salaam, Tanzania; Berlin, Germany; Helsinki, Finland; and Reading, England. In addition to definitive performances of taarab classics, the album includes a very rare field recording of an unyago girls' puberty rite, with Bi accompanied by an all-female chorus and drum corps.


ORCHESTRE VEVE: Vintage Verckys CD (RETRO 015CD) 12.50
Originally released in 2001. Kiamuangana Mateta, better known as Verckys, is one of the most famous characters in Congolese music. An outstanding saxophonist with a vigorously funky sound, he was still a teenager when he started playing in prominent bands and only 20 when the great Franco recruited him into OK Jazz, the top band in the land, in 1964. In addition to being a talented instrumentalist, composer, and arranger, Verckys was a showman whose stage antics and dancing won him an avid following that stayed with him when he quit OK Jazz to lead his own Orchestre Vévé in 1969. He started his own record company, Vévé, and proved to be one of the savviest talent scouts and entrepreneurs in the Congolese music business, discovering or putting together many of the best bands of the second generation. His greatest legacy is probably the Orchestre Vévé records he made in the late '60s and early '70s, when Loko Massengo and Saak Saakoul were among the singers and the lead guitarist was Roxy Tshimpaka. Here are ten exemplary tracks for your listening delectation and dancing pleasure.


Originally released in 2005. The second generation of Congolese pop groups emerged in the 1970s, and one of the engines of its rapid and prominent rise was a relatively new medium in Central Africa: television. No band benefitted from TV more than the Stukas. These guys put on a show, week after week, that was as entertaining to watch as it was to hear, and vastly more people around the country could get in on the fun than could ever get into a club in Kinshasa. The star of the Stukas was Gaby Lita Bembo, the energetic lead singer wearing flashy clothes, often brandishing humorous stage props, and always coming up with new dance moves. But the Stukas' visual appeal wouldn't have held up long without their substantial musical appeal, and RetroAfric wouldn't have put this compilation together if the band (which included guitarists Samunga Tediangaye and Bongo Wende, bassist Ngouma Lokito, and drummer Awilo Longomba) hadn't been so talented, tight and dynamic.


CAPTAIN YABA: Yaba Funk Roots CD (RETRO 019CD) 12.50
Originally released in 2003. Captain Yaba was the professional name of Azongo Nyaaba, who was born and raised in the dry grasslands of the far north of Ghana. He was four or five years old when he started playing the koliko (also known as the molo), an ancestor of the banjo. Mac Tontoh of the internationally famous band Osibisa brought Nyaaba to the Ghanaian capital, Accra, and there he began performing with various groups and as a soloist under the name Captain Yaba. In 1994 he recorded his second album of traditional Fra Fra songs, this one with a modern funk band called Ninkribi, and that raised sufficient interest abroad for Captain Yaba & Ninkribi to tour Europe. After returning to Ghana, Captain Yaba continued to perform on his own and in groups, but in 2001 he died of tuberculosis at barely past the age of 30. Two years later RetroAfric reissued the Captain Yaba-Ninkribi album, duplicating five of the tracks in their rough and even funkier mixes.



TRULZ & ROBIN PRES. KSMISK: Change EP 12" (RIF 003EP) 14.00
Number three in Prins Thomas's Rett i Fletta excursion (following 2014's Blusketuta (RIF 001EP) and Åpne Slusa (RIF 002EP)) welcomes the label's good friends from Full Pupp, Trulz & Robin. "Change" is a ten-minute deep techno buildup piece in a somewhat classic, almost Trentemølleresque soundscape+ tradition. Minimalistic but huge in a motoric wall-of-sound-style long-unheard. Large! "Dunjon" sets the counterpoint, with bass-ridden, sparse, bubbling, sturdy grooving techno. "Is Dub" comes back to the richer atmosphere of "Change" for another hallucinatory, deep, and dubby piece. Written and produced by Trulz & Robin (Truls Kvam and Robin Crafoord).



VA: Psychedelia 5CD BOX (RUBBOX 002CD) 57.00
Rubble presents a deluxe five-disc box set comprising of all four original volumes of the highly revered Psychedelia compilation series originally issued in limited quantities by Tiny Alice Records in the early '90s. Disc five is the previously unreleased volume originally intended as the last in the series. An herbal mixture of psychedelic remedies and freakbeat fantoms collected together for your listening pleasure. Ultimately rare and genuinely obscure sounds recorded around the world between 1966 and 1974, with a particular eye on the hidden rumblings of British psychedelia. Spans the psychedelic period with ultra-rare and previously un-compiled nuggets from Enough's Enough, Wheels of Time, Virgin Sleep, Mandrake, Now, The Scene, The Factory, The Difference, Autumn, Mooche, Blue Effect, No to Co, and many others. A musical hocus pocus with 67 blasts of psychedelic artifacts and freakbeat enigmas. Fully remastered; includes 32-page full-color booklet with expanded liner notes, detailed biographies, full discographies, and a plethora of rare and original photos and memorabilia not originally available in the vinyl series. Also includes tracks by David, The Matadors, Alan Avon and the Toyshop, Svensk, The Jackpots, Junior's Eyes, State of Micky and Tommy, The Bluejeans, Cape Kennedy Construction Company, Giorgio and Marco's Men, The Hi-Fi's, The Gibsons, Kinetic, Glass Opening, Freedom, Edwick Rumbold, Executives, John Carter and Russ Alquist, Favourite Sons, The Tangerine, Motivation, Tickle, Kirkbys, Anteeks, Kippington Lodge, The Fire, Wayne Faro's Schmaltz Band, Steerpike, Smoke, Orange Machine, The Barrier, Ron Grainer Orchestra, Jigsaw, Team Dokus, Tales of Justine, Nimrod, White Trash, Flames, Nashville Teens, The Mirage, George Bean, The Majority, Esperanto, 1984, Electric Food, Henry Schifter, Harsh Reality, LA, and Shere Khan.



ATKINSON, FELICIA: A Readymade Ceremony CD (SHELTER 055CD) 15.50
Félicia Atkinson (visual artist, writer, musician, graduate of École nationale supérieure des Beaux-Arts in Paris) presents A Readymade Ceremony, a concrète/post-digital oratorio in five parts. In pursuit of a radical economic autonomy, she created A Readymade Ceremony entirely on her laptop using basic software. The album's first foundational element is a text collage of extracts from Atkinson's own 2014 book Improvising Sculpture As Delayed Fictions, French poet René Char's 1955 Recherche de la base et du sommet, and Georges Bataille's 1937 erotic prose piece Madame Edwarda, as well as found texts, mostly from the Italian magazine Mousse. Objects speaking, sculptures arguing: there is a surrealistic feeling in the dark whisperings that one hears responding to Madame Edwarda on "L'Oeil." The other foundational element is Atkinson's return to her early artistic influences, including The Martenot Method; such literary figures as Antonin Artaud, Henri Michaux, and Jean Genet; Structures Sonores Lasry-Baschet, Pierre Henry, Cornelius Cardew, John Cage, Fluxus, Robert Ashley, Morton Feldman; noise, punk, drone, folk, and electronic music; and the filmmakers Brian de Palma, Nicolas Roeg, and Dario Argento. There's something potentially frightening that happens here, reminiscent of a feeling she felt while listening to Henry's Apocalypse de Jean as a child; something both scary and beautiful; something uncanny, like Ruth White reciting Baudelaire... a readymade ceremony. Notes on each track: "'Against Archives': What can a French woman in her 30s answer to this mostly masculine core of references? 'L'Oeil': What about asking a sweater or an electronic device to speak? 'The book is the territory': It's all about nostalgia; how the shifting of time changes our vision of the past and the future, like an echo or a delay. 'Carve the concept and the artichoke': Is this a waiting room? the prologue of an inexistent play or an introduction for a possible delayed climax? 'Recherche de la base et du sommet': Translates to 'research of the base and the peak,' as a raw reading of René Char. 'There is always a lack in the accident. There is no accident in the expression... the poet is not made of wood. The mouth and the eye speak separately.'" The music can be related to the work of Jefre Cantu-Ledesma, Valerio Tricoli, Grouper, Geoff Mullen, Sachiko M, and Kassel Jaeger. Mastered and cut by Helmut Erler at Dubplates & Mastering. CD limited to 1000 copies.



SHOEBOX: Electric Blue 12" (SHOEBOX 003EP) 12.50
Shoebox mostly bide their time, inhabiting the shadowy space at the back of the cupboard alongside out-of-date cans of food, forgotten records, and misguided charity-shop purchases. Electric Blue is their third hand-stamped record, and their first since 2013. It's as dusty, fuzzy, musty, and intoxicating as their previous outings, shuffling between enveloping dancefloor voodoo and otherworldly downtempo beats. Unlikely doses of off-kilter drum-machine soul for horizontal joggers, wayward dancers, and armchair ravers, created during sporadic Sunday-night sessions spent hammering away on a well-worn MPC, mostly from beats, samples, and melodies rediscovered in shoeboxes piled high with vintage zip disks.



TAKEN: Terrorfish 12" (SKUDGEX 002EP) 16.50
A collaboration between Elias Landberg and Nihad Tule. They started this conceptual project in November 2014 with the goal of recording and mastering a complete EP in one day. The resulting analog jams are pretty different from each other. The A-side, "terrorfish," is reminiscent of simplistic acid rave tunes from the '90s while the B-side, "halcyon," is a dreamy ambient trip. Pressed on red and black marbled vinyl with a printed A4 inlay.


SOL 1209CD

HUFF & SPECIAL DELIVERY, TERRY: The Lonely One CD (SOL 1209CD) 13.00
"Timeless sweet soul classics including 'The Lonely One' and the brilliant 'I Destroyed Your Love.'"


SP 038CD

CARAGNANO & DONATO DOZZY, ANNA: Sintetizzatrice CD (SP 038CD) 15.50
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.



ZINGER & DON ROGALL, EARL: Vol. 2 10" (STAGO 062EP) 16.50
The second of two limited 10"s, following 2014's Vol. 1 (STAGO 055LP). The contents of both 10"s are collected in the 2015 CD In the Backroom (STAGO 063CD). Deep down from the swamp delta of Berlin, D.C., and straight outta Gin Lane, Londinium, the feral stepsons of carpet dealers and long-forgotten record sellers, Don Rogall and Earl Zinger, with their long-awaited debut. As Alan Lomax once said, "I wish I could have done those recordings with Earl and Don." The music? Rock 'n' blues, dealing with some nasty boogie, jive, and ingredients of exotic origin -- a new breed of juke-joint anthems. Earl Zinger's biography would fill books: poet, mountebank, musician, physician, beast showman, and, to some extent, diviner and sorcerer, he is also the orator of the public marketplace, the man adored by the crowd to whom he offers his songs and couplets. Questions of morals and politics; toothache; pious legends; scandalous tales about priests, noble ladies, and cavaliers; gossip of grog shops; and news from the Holy Land are all in his domain. Rogall has been around, too. Jimmy Castor himself told him once to continue with the music, and there's even a John Lee Hooker tune, "Messin with Don." His music straight from the underground, not quite complete unless you can visualize the dancers who respond to it, the solo exhibitionists like the cigar-puffing, rubber-legged man and the woman whose pelvic grinding would shame any burlesque queen, and this amid a room filled with thrusting, swaying couples including, invariably, one in which a young man's joyous movement is gradually breaking down the shy reserve of his partner -- shouting out loud: "Rock 'n' Rogall!" All efforts have been made to make this release possible; it took years to distill these tunes out of live performances and studio recordings. Already solid hits in the Berlin underground, these releases on Stag-O-Lee are a document of something that otherwise would have been left to the "oral culture" forever.


SBM 5604LP

CZAR: Czar LP+CD (SBM 5604LP) 25.50
Originally released in 1970, Czar is firmly established as one of the most sought-after progressive rock albums ever released in the UK. An intense brew of Hammond organ, Mellotron, and scorching psychedelic guitar, it's certain to appeal to fans of King Crimson, Atomic Rooster, The Nice, and Led Zeppelin. Presented here complete with eight bonus tracks and a full-color booklet (incorporating rare photographs and comprehensive sleeve-notes), this definitive reissue is simply essential for all lovers of heavy progressive psychedelia. 180-gram LP with 15-track CD and booklet.



BRECHT, JOHANNES: In My Time of Dyin' 12" (SMR 010EP) 12.50
Johannes Brecht follows up his previous Sunday Music release, 2013's Holla EP (SUNDAY 007EP), with In My Time of Dyin', a reflection of jazz and classical minimal music into electronic music. Deep trippy music with a strong swing on the A-side. Cleverly written patterns with a hypnotic vibe. Side B features a live jazz version in 6/8 signature on piano and drums (with the drummer of German pop star Max Herre). When a classically trained musician looks into electronic music and manages to bring together the best of both worlds the results can be very exciting.



INTERSTELLAR FUNK: Untitled 12" (TAPE 008EP) 12.50
First solo EP by Interstellar Funk, Amsterdam. Driving sinister tracks giving you an eerie sensation of spaciousness supported by subtle melody-lines bubbling up and touching you right where it matters.


TR 310LP

LILAC TIME, THE: No Sad Songs LP+CD (TR 310LP) 25.50
LP version. Includes CD. A prose poem, which Stephen Duffy composed especially for the release of the ninth album by his band The Lilac Time, contains the lines, "I was a flower child, now I'm a flower man." It took a long time before one became the other. When viewed from space, Duffy's path may well appear labyrinthine, filled with loopholes and trapdoors. Yet a sober perspective reveals the path of a musician and poet who is independent in the very best sense of the word. Nevertheless, a lot has happened since the young boy kept his Praktica camera trained on street scenes in the Birmingham of the Cold War. Back in 1979, an 18-year-old Duffy was a founding member of Duran Duran. Yet he did not board the train to superstardom. The visionary instinct of the young artist had other intentions. He might have had Bob Dylan, Nick Drake, and The Incredible String Band in mind, but he himself was not allergic to success. He quickly understood that a songwriter with an acoustic guitar had little access to the merry-go-round of the charts in the early '80s. Instead, he formed the band Tin Tin, trading his guitar for a synthesizer and making chic, clever, and sparkling pop music. The young man with the melancholy expression even landed two international hits with "Kiss Me" and "Icing On the Cake." But before the record company was able to put their plan into action and turn Duffy into the next Rick Astley, he took flight. He mothballed his pop persona and founded a band with his brother: The Lilac Time. On their debut in 1987, they made what Duffy had long dreamed of: flower music. The 1988 single Return to Yesterday conjured visions of Simon & Garfunkel. In an era of slapping basses and smacking snares, the instrumentation was exceptional: mainly acoustic, with guitars, banjos, fiddles, and accordions, all beautifully arranged by Nick Duffy, who was also responsible for composing the instrumental pieces on the record. Keep in mind that the new acoustic movement, which brought forth bands like Belle and Sebastian and Kings of Convenience, was still more than ten years away. Often in diametrical contrast with this melancholy folk pop were Stephen Duffy's lyrics, with descriptions of suburban tristesse placed seamlessly alongside biting commentary on the issues of the times and courageous reports of the singer's moments of excess and aventures amoureuses.



Borrowed Identity and Tenderpark have been exchanging letters of enthusiasm for each other for quite some time, and the result is the Caps and Chords EP. Borrowed Identity teams up with his longtime musical partner Mechanical Soul Brother. As the title of the EP suggests, the two studio wizards come up with three very elegant deep house tracks that indulge in tender chords complemented by sweet soul vocals and funk samples, with Borrowed's powerful trademark beats -- it all reflects the two men's mastery and perfectly fits Tenderpark's musical route. Mastered and cut by Helmut Erler at Dubplates & Mastering.



MAESTRO: Mountains of Madness CD (TSR 028CD) 15.50
Maestro is a Franco-Scottish duo that debuted in 2010 with the release of A War Zone EP on Tigersushi. Frederic Soulard is behind the machines -- he's the sound wizard previously known as Joakim's live sound engineer and as a producer for Poni Hoax, Jeanne Balibar, Limousine, Viking, Viva and the Diva, and others. Mark Kerr is the voice. Born and raised in Glasgow, Kerr has been a drummer all his life, touring with Les Rita Mitsouko since the '90s before joining Joakim's band and other cutting edge Parisian electro acts like Bot'Ox. With Maestro he drops the drumsticks and reveals what an amazing singer and songwriter he is, fuelling the project with his post-punk and industrial influences (from the likes of Throbbing Gristle). After debuting in 2010, the pair won some high-profile admirers with 2012's Timbuck, which included a remix by The Horrors. 2014's freaky, obsessive Mechant (TSR 067EP) (literally "Mean"), and Thriller Killer (TSR 069EP), with an amazing remix by Matias Aguayo, set the stage for Mountains of Madness, their debut full-length release.


TO 099CD

stator (?ste?t?)n1. (Electrical Engineering) the stationary part of a rotary machine or device, esp of a motor or generator2. (Aeronautics) a system of nonrotating radially arranged parts within a rotating assembly, esp the fixed blades of an axial flow compressor in a gas turbine[C20: from Latin: one who stands (by), from sta?re to stand]Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his "ambient techno" and "arctic ambient" styles and his use of loops and peculiar samples from sci-fi sources. His 1997 album Substrata is generally seen as one of the all-time classic ambient albums. Deathprod is a pseudonym used by Norwegian artist Helge Sten. Sten began creating music under this name in 1991, and in 2004 a self-titled retrospective box set collecting most of his recorded work was released. Sten uses homemade electronics, old tape echo machines, ring modulators, filters, theremins, samplers, and other devices to craft his sound. Jenssen and Sten previously collaborated on Nordheim Transformed (RCD 2005CD), a 1998 collection of reworked Arne Nordheim compositions. Stator is a split release, with three tracks by Jenssen and four by Sten. Mastered by Sten at Audio Virus Lab, Oslo. Commissioned by Tape to Zero. LP includes full-color insert card by Jon Wozencroft.



The first tunes by Steve Bug as Traffic Signs were classic jack tracks that devastated dancefloors, and "Cookie Jar" is a more than worthy successor. Berlin legend Jake the Rapper adds a spoken vocal fit for an age of internet sextapes and celebrity photo hacking. Steve Bug makes fine adjustments for the club, bouncing around the kick drums and doubling the synth riff with strings, while Joyce Muniz's dark, strobing treatment adds a dirty bassline for sexy, sweat-drenched dancefloors. Stripping away the vocal on the dub, Muniz's production talents are all the more scintillating, irresistibly kinetic from beginning to end.



DJ DEEP & ROMAN PONCET: Hydraulic Pressure 12" (TRESOR 275EP) 12.50
The debut collaboration between Deeply Rooted House founder DJ Deep and emerging artist Roman Poncet, presented as two 12" EPs (this release and Extraction (TRESOR 274EP)). DJ Deep, uncovered by Laurent Garnier in the early '90s, has always rested on the cusp of modernity, whether in house or techno, and continues to seek out likeminded artists, including Poncet, to propel his vision. Roman Poncet surfaced in 2013 on Len Faki's Figure. His catalog has since expanded to include releases on Deeply Rooted as well as Taapion Records. The blend of these two profoundly compatible producers is simply incendiary.



KLEIN, NICK: Failed Devotee 12" (PRECEPT 004EP) 14.50
Nick Klein delivers a roaring and deafening debut EP for Unknown Precept: the live recording of Failed Devotee from his lair in Brooklyn. Five whirring pieces of slowed and throwed techno and heavy analog rhythms. Its powerful approach, marked by sooted synthesizers, watered down melodies, and grinding grooves, shows Klein at his finest, whether it brings soiled theatrics or rusty progressions.



TRASH KIT: Confidence CD (UTR 061CD) 17.00
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.).


VG 008LP

CHATWIN, BEN: The Sleeper Awakes LP (VG 008LP) 20.00
LP version. Composer and producer Ben Chatwin presents The Sleeper Awakes, his first album to appear under his own name. The Sleeper Awakes follows Chatwin's acclaimed 2013 release as Talvihorros, Eaten Alive, and moves away from the more textured, heavily layered soundscapes of his Talvihorros work into something more succinct and melodically driven. Inspired by the writing of H. G. Wells, the album was made by sourcing a 100-year-old dulcitone and using it extensively alongside modern electronics and synthesis. Written and recorded at Chatwin's home studio in Scotland. For fans of Steve Reich, Philip Glass, Terry Riley, and Arvo Pärt.

VG 021CD

ELLIS ISLAND SOUND: Divisions CD (VG 021CD) 14.50
Hot on the heels of their critically revered 2014 krautrock-meets-Afrobeat longplayer Regions (VG 007CD/LP), Ellis Island Sound's Pete Astor and David Sheppard return with a seven-track mini-album. Inspired by the main flow of Regions, Divisions is another fertile marriage between motorik Mitteleuropa pulse and subtropical guitar- and percussion-textures. This time, however, the emphasis is less on throbbing, NEU!-beat-propelled blow-outs and more on intricate, highly melodic arrangements for guitars, keyboards, and tuned percussion, with a spacious sound palette propelled by polyrhythmic marimbas and xylophones and layered with infectious lead lines and choral vocals -- the latter sourced by Astor and Sheppard from dusty archive recordings and manipulated into subtle, stirring descants on several tracks. Reference points might be the Penguin Cafe Orchestra's "Cutting Branches for a Temporary Shelter," Cluster's Sowiesoso, Steve Reich's Counterpoint compositions, or the juju pop of King Sunny Adé, with EIS taking such implicit influences and molding them into shapes that are distinctive and very much to their own design, a modus operandi that the gentlemanly duo have deployed for the duration of their unhurried but enduring career since 1996.

VG 021LP

ELLIS ISLAND SOUND: Divisions LP (VG 021LP) 20.00
LP version; includes poster and download code.

VG 023EP

TEAGUE, RYAN: Last Known Position 12" (VG 023EP) 14.00
Ryan Teague is a Bristol-based composer, producer, and multi-instrumentalist. His music combines acoustic instrumentation and arrangements with electronic and processed material, often incorporating minimalist, ambient, and electroacoustic styles. Last Known Position is the first single from Block Boundaries (VG 015CD/LP, 2014), Teague's fifth album. It demonstrates a sonic and thematic shift toward a more focused and energized sound. Teague beautifully extends the album version of "Last Known Position" for the EP, taking it into new, unchartered territory to enthralling effect. Remixes come from techno aficionado The Field, Warp's Plaid, and Errors. For fans of Phillip Glass, Max Richter, and Walls.



TRAGO, TOM: Hidden Heart of Gold 12" (RH VD21-EP) 12.50
Tom Trago has supplemented a nonstop schedule of DJ gigs, remixes, and studio collaborations by using Voyage Direct to promote the music of Dutch producers old and new, including Aardvarck, Boris Werner, Maxi Mill, San Proper, Elias Mazian, and Magnesii. Here he delivers his first solo single since 2013, "Hidden Heart of Gold," with virtual waves of ambient chords, eyes-closed melodies reminiscent of classic stargazing techno, and disembodied vocal samples over a tough but unfussy machine drum rhythm and addictive bassline. The "Ambient Mix" is a winding, beatless excursion brimming with hazy, late-night beauty. Gentle, immersive, grandiose.



AMOS & CREW: True Tears LP (WEX 011LP) 25.00
A quintessentially sinister masterpiece reissued for the first time in an edition limited to 365 copies. A mysterious 1982 cassette masterpiece by Amos & Crew from the It's War Boys catalogue remastered from the original tapes by Amos himself. Sailored, Dutchwifed, and highly-refinedly laid-out by Studio Shitless. Art by Err o'. Large four-page full-color insert with an essay by Ed Baxter and a text translated by Derek Bentley from the original Japanese (1982). "Recorded in Tokyo, Japan on Mr Shiotas old four track cassette in Mr Kitamuras kitchen in sporadic three day binge," according to the original insert. Recorded by Amos while on tour with The Work in Japan. Not on the Nurse With Wound list! Existing exactly mid-way between the dropping of the atomic bomb and the time a moment ago when you opened this insensibly incendiary package, the throwaway aesthetic of True Tears now glows like a malevolent object in an ever-expanding universe. It's an emetic emissary from the senseless empire of the incredible shrinking man, an attack of a fifty-foot pylon into which The Three Stooges recklessly bang nails in the hope of a hereafter. It's above all an invocation of a truly plastic world. Nails are forced into each other's heads. Heels clatter on new vinyl steps, the apartment rents out at only slightly more than average, and this is a good neighborhood. We watch the traffic as if alert to the nuances of a symphony, the choreography at midnight might as well be some modernist masterpiece, and the descent of the planes in the darkness, tubes of incandescent cells, strikes terror into all the denizens of the deep. So when I say plastic, Douglas, I mean consider the landmarks that emerge from the fog in the landscape of the last two centuries. Ruin. Cot. Window. Corpse. Airplane. Aerial Photograph. Fossil. Groove. Pine grove. Hoover. Hoe. And so on. And then consider too the tools that allow for the forensic examination of all that matters in the last 100 years or so, the age of relativity that has thrown up parallel universes, murder mysteries, musique concrète, detail, childhood, The Other, and a dismissal even by savants of consensus reality.


XI 127CD

SCHUMACHER, MICHAEL J.: Room Pieces 2CD (XI 127CD) 14.00
2003 release. Two CDs for the price of one. Much has been written to guide listeners through the course of a preconceived form. Although Michael J. Schumacher's music is distinctly his own it has been inspired by David Tudor and Morton Feldman as well as La Monte Young. Like their music it is about hearing sounds in themselves, about allowing the ear to register sonorities and then the hearing imagination may go to work, navigating amongst temporal realities and imaginary spaces, negotiating between a sense of control and perceived randomness, stasis and movement, finitude and limitlessness, Schumacher thrives on those creative tensions. At its most personal and expansive his singular music has the capacity to convey "intimate immensity." Room Piece provides a unique solution and musical experience in reference to "the room." Generated by a specific method and possessing a decidedly emotional character, Room Piece is not merely "ambient music" but creates a bridge between the "eventfulness" heard in Cage-ian and serial music, and the new American drone music that has arisen intuitively to create the sound of a vibrant universe with rich interior activity.

XI 128CD

LICHT, ALAN: A New York Minute 2CD (XI 128CD) 14.00
2003 release. Two CDs for the price of one. Alan Licht wears many hats. Over the years, he's been a curator of music as well as a tireless performer. And he's as well-known an author as he is a musician. It's one thing to have eclectic tastes; it's another to make a practice of them. While Licht's earlier records have seamlessly melded his improvisational guitar playing with extended plundered sounds, A New York Minute takes things a few steps further. Instead of fusing the many sides of Licht into one monolithic mega-mix, this disc separates them into discrete compositions. There's a lot more at stake here: the guitar pieces are showcased as guitar pieces and the plundered works are just that. The conceptual tendencies in Licht no longer hide behind his talent as a guitarist; likewise, the guitar pieces are no longer propped on hooky concepts that take our attention away from his fretwork. The good news is that both work: Licht is as strong a conceptual artist as he is a composer.

XI 129CD

BEHRMAN, DAVID: My Dear Siegfried 2CD (XI 129CD) 14.00
2005 release. Two CDs for the price of one. David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as musical compositions. Sam Behrman and Siegfried Sassoon met in 1920, when Behrman, then a young writer working at The New York Times, was sent to interview Sassoon at the start of the English poet's postwar American lecture tour. In that tour Sassoon was billed as "England's Soldier-Poet." He had a reputation both as a war hero and an anti-war poet and peace activist. Many years later, each author wrote about this youthful meeting, which inaugurated a long-lasting friendship and a correspondence, mostly conducted via trans-Atlantic letters between England and America, which continued into the 1950s. My Dear Siegfried provides a performance environment in which musicians interact with texts by the two authors and with music software designed to respond to the performers' actions. The texts and the software elements are arranged as a linear thread along which the piece progresses. In QSRL (1998) a sensor listens to what the performer is doing and a computer music system provides responses to information the sensor takes in. Viewfinder (2002) is a sound installation using software based on homemade synthesizer music of the early 1970s. In A New Team Takes Over (1969), homemade synthesizer modules were used in this piece to distort recordings made off the air of press conferences by members of the new Nixon administration following the American election of 1968. Touch Tones (1979), from the early days of music done with the help of newly-available, small, inexpensive "microcomputers," made use of a kind of primitive artificial intelligence scheme. Pools of Phase Locked Loops (1972) was one of four pieces made in response to commissions to the artists of the Sonic Arts Union (Robert Ashley, Alvin Lucier, Gordon Mumma, and Behrman). The recording is from a live performance at Radio Bremen in May 1972.

XI 130CD

BURT, WARREN: The Animation of Lists and the Archytan Transpositions 2CD (XI 130CD) 14.00
2006 release. Two CDs for the price of one. There are any number of ways to hear Warren Burt's music for tuning forks; as many ways as there are listeners, probably. The most immediate one is simply to revel in its beauty and enjoy the music as sound. Or, to be more accurate, as clouds of sound; sonic colors that momentarily hover here and there, as they move slowly across the musical horizon. Of course, Warren Burt's music may also be heard as the mature work of a major experimental composer, one secure in his craft, and still filled with a sense of sonic adventure. An explorer in sound. A composer willing to experiment with multiple versions of the same piece, not to mention one who allows chance to determine the precise placement of the composite pitches of his three individually composed lines. Each aggregate of the combinations of tones -- because the tuning is acoustically pure and non-tempered -- sounds clearer and more colorful, with unique personalities, and, sometimes, more of an edge. In this tuning, the chance-determined pairings of the composed lines always ring true, with even the dissonances vibrating cleanly, free of acoustic distraction, and with no sonic clutter to muddy up the sound. And within this microtonal world, sounds combine without losing their individuality, as the music slowly reveals its pitch and rhythm in slow, unhurried, chance-determined clouds of sound. In Warren Burt's hands, these tuning forks become some strange new instrument, complete with its own exotic tuning system, singing its songs somewhere on the verge of memory.

XI 131CD

ROGALSKY, MATT: Memory Like Water 2CD (XI 131CD) 14.00
2006 release. Two CDs for the price of one. "The six (or seven) pieces on these CDs document live performance works which span 1996 to 2006. Most of the solo pieces are structured improvisations, in that they have a broad form which is repeated from performance to performance while the detail is always quite different. Conceived as two halves of a single piece, Resonate (noise) and Resonate (tones) seamlessly crossfade from one to the other. Both are sustained-sound pieces, the first exploring noise textures, the second exploring dense, quasi-orchestral harmonic territory. The three works titled Kash are all related in that they employ the same original software instrument (of that name) initially developed in 2001 and still in use at the time of this release. This software enables me to interact with live performers (or other sound sources) in fluid and lively improvisational situations, accumulating and processing fragments of low-level sounds (the "spaces between the notes"). Kash (vln) is a collaborative improvisation between myself and violinist Jane Henry. Sprawl (western magnetics) is a document of a live solo performance. Transform is a manipulation of a live radio signal, tuned to any music station; the frequency content of the source radio program is brought out by a series of tunable delays which create strong harmonic resonances."

XI 132CD

WATSON, DAVID: Fingering an Idea 2CD (XI 132CD) 14.00
2007 release. Two CDs for the price of one. "Fingering an Idea (a phrase pulled from a Chris Mann piece) resulted from a Phill Niblock invitation to make a double CD for bagpipe and guitar. A bagpipe CD is a particular challenge. A high beam spatial explorer, it is the kind of unstable phenomena that is hard to enjoyably reproduce on your stereo player. The first pipe recording session was an ensemble piece, the score including walks around the concert hall. The second, a solo multi-track session. The third with Rob Ramirez, recorded material was played back in the concert hall through an eight-channel MSP patch. A carnival of colliding pans, exits and entrances, re-recorded for stereo. For 'Sinister,' an old cassette recorded at Amica Bunker was the original germ. A sequence of re-tuning and de-stringing, starting with six strings pitched across a whole-tone and ending with an improvisation on one string. This old piece was dusted off and reworked through an image of bell-ringing, another outdoors vernacular." --David Watson


SCHUMACHER, MICHAEL J.: Five Sound Installations DVD-ROM (XI 133DVD) 36.00
2007 release. Five Sound Installations is a DVD-ROM (for Mac and PC) that contains five sound compositions generated in "real time" by a computer algorithm. The works are: "Room Piece Twenty-Four"; "Noema"; "Steiner Suite"; "Unintending"; "Scene." Sound Art, algorithmic composition, chance operations, multi-channel sound systems, immersive installations, computer music; these terms all intersect at a point defined by Michael J. Schumacher's Five Sound Installations. Schumacher is a composer, curator (he runs Diapason, NY's only "sound art" gallery), and performer. His output at the time of this release includes five solo CDs, but these were by necessity adaptations of works designed for more or less "permanent" listening situations, in which auditors could explore various modes of listening within sound environments. These works were composed with installation settings in mind -- they had no "beginning-middle-end" (even out of order) in the traditional sense. For the CD releases, the pieces needed to be manipulated in various ways to accommodate the medium. A better way needed to be found. Schumacher has always been interested in creating algorithmic works that extend the boundaries of the genre, investing them with hundreds of constituent parts that form sonic mobiles in space and time. Now he presents the ambitious (and technically savvy) listener with a means to experience Schumacher's installations in the home, through up to eight separate speaker channels and for as long as the computer keeps running. No question, this is not an iPod experience! For some, just understanding the reason for such a project will be difficult. But the composer and XI believe that the time is apt for challenging a complacent public and industry. This release, more than anything else, is a challenge to break boundaries in both content and distribution, a call for a new way of thinking about sound in the home, which is more than ever the predominant place for listening. NOTE: These compositions must be installed on a computer to be heard. Instructions are enclosed. Minimum system requirements: one gig processor speed, five gig free disc space; Mac OS 10.3 or Windows XP.

XI 134CD

FIRST, DAVID: Privacy Issues (Droneworks 1996-2009) 3CD (XI 134CD) 27.50
2010 release. Long overdue overview of composer David First's drone works. Featuring Chris McIntyre and Peter Zummo, trombones; "Blue" Gene Tyranny, keyboards; and The Black Jackets Ensemble. "This was something unexpected and truly different: pulsing electronic textures that derived their rhythm from the beating patterns of closely-tune pitches -- as if Alvin Lucier and Philip Glass had gone on a blind date to CBGBs... David put the beat in beating patterns" --from the liner notes by composer Nic Collins (on his initial exposure to First's music in 1987). This special and specially priced set (three CDs for the price of two) contains nine works composed between 1996 and 2009. "1996 was the beginning of a new period for me," says First. "I had spent the prior five or six years creating a lot of music for other players and larger ensembles -- culminating in 1995 with a couple of mountings of my opera, The Manhattan Book of the Dead. I was a little burned out on this and decided to return to a more personal, intimate format -- one that ended up including an even more extensive exploration of tunings, alternative compositional softwares and how my playing techniques interacted with these things. I think I just wanted to go deeper and have more control over the results. During the ensuing years I've had a few pendulum swings -- forays into beat-oriented pop music with lyrics and vocals and, of course, the re-animation of my rock band from the late 70s -- The Notekillers. But I've continued, through all of the changes, to maintain my grounding in my love of the drone and associated acoustical phenomena -- a love affair that began in my teenage psychedelic years and will, no doubt, be a most significant aspect of my music path for as long as I am at it. The tracks here represent almost every major work created from 1996 to the present and I'm grateful that they will be heard by a wider swath of people than those who lived in NYC or happened to be at one of my touring performances during these years."

XI 135CD

MORROW, CHARLIE: Toot! 3CD (XI 135CD) 27.50
2011 release. Charlie Morrow (b. 1942) is a sound artist, composer, sound poet, event maker. Charlie Morrow is a conceptualist whose music- and sound-work explores many styles and forms, from events for media and public spaces to commercial soundtracks, new media productions, museum installations and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Charlie Morrow, for an artist who has been making music for over 50 years, has been vastly underrepresented on recordings. This three-CD retrospective set attempts to rectify that situation to some degree. The 15 works on these discs span the years from 1957-2007 and include: Morrow's first major work, Very Slow Gabrieli, a super slow motion performance of G. Gabrieli's Sonata Pian e Forte for double brass ensemble; Book of Hours of Catherine of Cleves, a beautiful polychromatic, almost tactile collage where chattering sparrows and mellifluous songbirds join the measured undulations of devotional voices. Brass rings out over cradles of bells, doves coo, gulls mew and the wash of the tide ushers in the late medieval intricacies of dulcimer, recorder and viol. You can experience the sound made by herds of instruments through the two instances of Wave Music included in this set. As well as environmental works, chanting pieces, audio collages, and so much more.



TRIPMASTAZ: Ain't Made 4 U 12" (YKZ 002EP) 12.50
Following its inaugural release from Quenum & Cesare vs Disorder (YKZ 001EP, 2015), Barcelona-based Yakazi Records continues its mission to move people. Tripmastaz aka Andrew Guyvoronsky is one of a few underground producers from Russia making serious tidal waves in the international dance community, with tracks featured on Fabric (FABRIC 123CD) and DJ-Kicks compilations. "Ain't Made 4 U" is a swirling house-funk journey; "Live from the Basement" takes a more minimal approach to percussive techno. Two remixes of "Ain't Made 4 U" follow: Christian Burkhardt & Andre Buljat return to the heady, peak-time dancefloor; Hitch delivers a rolling, hypnotic take.

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