• Increase font size
  • Default font size
  • Decrease font size

Forced Exposure New Releases for 4/6/2015

E-mail Print PDF

New music is due from Daniele Baldelli, Yannick Dauby, and HVOB, while old music is due from Eliane Radigue, Arabesque, and Claudio Gizzi.


we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 219 Medford Street / Malden, MA 02148 / USA

for more information about shipping or ordering
please refer to our FAQ:

direct any questions to This e-mail address is being protected from spambots. You need JavaScript enabled to view it


IF 023LP

GIST, THE: Embrace the Herd LP (IF 023LP) 19.00
2013 release. "Though lesser-known than Young Marble Giants' output, the sole LP from Stuart Moxham's The Gist is an essential entry in the great canon of English post-punk. As the principle composer in Young Marble Giants, Moxham honed minimal songwriting to maximal effect with the help of early electronic experimentation. He formed The Gist shortly before Young Marble Giants' dissolution to realize experiments in sound outside his primary group's mold and feature friends from such bands as Essential Logic and Swell Maps. The Gist yielded several singles and Embrace the Herd, originally released in 1982 on Rough Trade and featuring fellow Giants Alison Statton and Phillip Moxham along with Epic Soundtracks. Recorded at home by Moxham, Embrace the Herd is a venerable instance of post-punk liberation to indulge every stylistic whim. With a four-track reel-to-reel, tape echo machine and menagerie of instruments, he veers from the beautifully understated and evocative 'Love at First Sight' (with a timeless, quasi-R&B chorus) and the gleaming pop progression on 'This Is Love' to instrumentals like 'Far Concern' and 'Fretting Away,' the latter evoking Young Marble Giants' sparse but evocative work on Colossal Youth. Moxham sometimes dons a prominently mixed baritone, coos soulfully elsewhere and defers to Statton's inimitable voice on 'Clean Bridges.'"

IF 026LP

SWANS: Burning World LP (IF 026LP) 24.00
2014 release. "The Burning World is an excellent curio in Swans' already eclectic discography. 1987's Children of God confirmed that Swans could indulge delicacy alongside immersive swathes of sound. In 1989, band leader Michael Gira co-produced The Burning World alongside multi-instrumentalist Bill Laswell and continued to refine his songwriting without compromising power. Jarboe's inimitable vocal presence enhances the overall tunefulness while Gira's own weary-but-resilient declamations ascend to towering intensity at precisely the right moments. All throughout, Gira rages against God for the sake of love, lifting the veil off darkness to reveal exaltation. '(She's a) Universal Emptiness' finds Gira's signature croon perfectly belied by Jarboe's harmony, but the sauntering balladry is spiked with assaultive snare drum and a rogue chord on the verge of feeling saccharine. 'Jane Mary, Cry One Tear' sends Gira's voice to seemingly impossible depths. The slight quiver and momentary roll of the tongue that marks his style is on full display, as if the merest detail of his evocative delivery is toiled over in advance. It begins with the minimal guide of an acoustic guitar and builds to ardent fury, all the while honoring the intricate minutiae in his voice. The Burning World resolves Swans mournful rock sensibility with some of the most pure hooks Gira ever sang over, but his indelible assets as a singular songwriter are wholly intact and unmistakable."


3000GRAD 021EP

MONOLINK & ACID PAULI: The End E.P. 12" (3000GRAD 021EP) 14.50
Monolink and Acid Pauli, experts at crafting deep, hypnotic dance music in the highly narrative style of traditional song, set free a guitar chord and let it oscillate around the powerful surge of an electronic bassline, while the bittersweet vocal drops down a cascade of echoes, bursts into sparkling sample fractals, and dissolves into the rhythmic flow of "The End." The deeply cinematic "New Morning" is another effortless interplay between emotional singer-songwriter music and driving club sound. Mollono.Bass's remix infuses "The End" with his unmistakable groove; The Micronaut presents a colorful re-interpretation of "New Morning" based on broken beat structures.



TRAP10: Westside EP 12" (ARTLESS 2187EP) 14.00
Munich techno duo Trap10 deliver three very convincing tracks for their debut EP, showcasing the cornerstones of their sound. From straight peak-time action on the A-side to head-nodding and feet-stomping funk-infused techno with soul on the flip, dress to sweat.



JULY: The Second of July CD (ACLN 1019CD) 15.00
"Stunning demos by one of the most important psychedelic bands to ever exist: by this time, anyone with an interest in psychedelia that stretches beyond The Beatles or maybe Strawberry Alarm Clock (at a pinch) knows who July is. Well, at least they know that a band called July put out a super rare album that is considered by many to be one of the pinnacles of the psychedelic era. There's no way to overstate the excellence of the album, with its eerie sound, Indian-influenced chord sequences, studio trickery (tape loops/phasing), and heavily reverb-laden vocals. But that's not the story we're here to tell. Even before that quintessential psychedelic album was made, band leader Tom Newman was experimenting with home recording equipment. In 1967, he installed basic recording facilities in the bedroom of his flat in an old Victorian house in Ealing. There, he and guitarist Peter Cook tried out ideas, coming up with many of the standout songs from the July album. The demos they recorded display the kind of confidence that Newman feels was lacking in the album proper (yes, the ultra-famous psychedelic classic album!) that they recorded in 1968. Let's go back to the near-beginning of it all, to a flat in a Victorian house in Ealing, and listen in on demos recorded with DIY alacrity by a studio whiz, tracks which will change the face of psychedelia, eventually, after decades of obscurity. Available on CD again after more than a decade, in a Digipack with a 12-page booklet detailing the history of July and their recordings."



FARAONE, MARCO: Restrictions 12" (BAO 052EP) 14.00
Rising Italian talent Marco Faraone showcases different takes of his approach to techno. "Restrictions" opens the 12" with a dark, fast-paced groove and hypnotic vocal, a real treat for the authentic techno players. With "Day 20" Marco enters the dub techno forest, with classic dub elements that set the tone to a deeper mood. "Early Morning" gets an overdue vinyl pressing after being featured exclusively on Shlomi Aber's 2013 compilation Live from Sankeys Ibiza (BAO 002CD). "Voices from the Sea" closes with a more festive approach, a big-room anthem that maintains the EP's dark vibe.


BCP 6023LP

Exact repro of the "abstract cover" version of Art Blakey's Jazz Messengers' 1957 album, featuring Bill Hardman (trumpet), Johnny Griffin (tenor), Junior Mance (piano), Spanky de Brest (bass), and Sam Dockery (piano).



WEAVER/TENDER PREY, JANE: Don't Take My Soul/Undisputed Heavyweight Champion of My Heart 7" (EGGS 020EP) 14.00
Jane Weaver follows her acclaimed 2014 album The Silver Globe (EGGS 019CD/LP) with a split single of free, visionary, exciting independent pop music. Album highlight "Don't Take My Soul" (co-produced by Andy Votel) combines domestic synthpop with falsetto melodics and 10cc-sounding prog pop arrangements, something like Kate Bush karaoke fused with a J-pop Erykah Badu. The track ends with a guitar solo from Badly Drawn Boy that sounds like a cryogenic experiment from his pre-Bewilderbeast days. Label-mate Tender Prey (Laura Bryon) brings her inimitable drummy saccharine-tinged pow-wow punk to the fray with the effortless "Undisputed Heavyweight Champion of My Heart."


BB 197EP

AUTOMAT & MAX LODERBAUER: Verstärker/Hall/Kompressor/Echo 12" (BB 197EP) 14.00
Muffled hammering grows rhythmical. An uncarpeted snare joins in, clicks and clacks, babbling, racing. Automat and Max Loderbauer open proceedings on Bureau B's Selekt label quite masterfully with an auspicious four-track EP: Verstärker/Hall/Kompressor/Echo. Automat, busy recording their second album, came across Max Loderbauer in the neighboring studio. They got along swimmingly and started working together straight away. "Everything played live, no overdubs," as Automat's bass player Georg Zeitblom confirms -- first take, no shake. The studio was stripped down to basics. No computers: a tape machine, guitar amplifier, analog EQs, rehearsal space. "Re-rewind, the crowd say Bo Selekter!"


CR 2009HLP

HOPE ENSEMBLE, ELMO: Hope from Rikers Island LP (CR 2009HLP) 14.00
2015 repress. Originally released in 1980. 180 gram exact repro reissue. Jazz pianist Elmo Hope is joined by Lawrence Jackson (trumpet), Freddie Douglas (alto saxophone), John Gilmore (tenor saxophone), Ronnie Boykins (bass), Philly Joe Jones (drums), Earl Coleman (vocal) and Marcelle Daniels (vocal).



IN FLAGRANTI: Spiritus Rector Vol. 2 12" (CRE 046EP) 12.50
The second installment of In Flagranti's Spiritus Rector edit series. Four tracks of disco/funk/cosmic/afro dance grooves.



LAST JAPAN: Harca + Remixes 12" (COYWHT 002EP) 14.00
"Having written and released 'Harca' in the first half of 2014... it has probably been one of the only tracks of mine that I've consistently played in every set since... The remixes complement the original perfectly as two great interpretations of the track" --Last Japan. "It's a really colorful track so I wanted to retain that feeling while adding my own twist... I wanted to take a melodic approach and tried to expand on some of the melodies in the original, rather than stripping it back too much" --Tom E Vercetti. Also includes a remix by Forever Forever.


RED 2000LP

There are two categories of artist: the ones who follow trends and integrate them, and the ones who create trends; Franco Micalizzi is one of the latter. Composer, arranger, and conductor, Micalizzi has contributed more than anyone else in Italy to the birth and formation of what has come to be known as pulp music. This LP is a summary of the musical soundtrack cult of the '70s reimagined with great new arrangements written by the maestro for his group, The Big Bubbling Band. Includes pieces from the films La banda del gobbo; Italia a mano armata; Napoli violenta; Il cinico, l'infame, il violento; and many more, concluding with a trinity drawn from Lo chiamavano Trinita', later repurposed by Quentin Tarantino in Django Unchained (2012). The strongest abilities of Franco Micalizzi? An amazing band, spacey grooves, a bit of jazz atmosphere, timeless brass-crescendo, the charm of 70's funk and... the untamable talent of the maestro!


GIZZI, CLAUDIO: Andy Warhol's Flesh for Frankenstein 2LP (RED 212LP) 36.00
Dagored presents the first complete vinyl edition of Claudio Gizzi's sophisticated soundtrack for the ultra-cult film Flesh for Frankenstein. The legendary 1973 work was directed by Paul Morrissey and produced by Andy Warhol and stars a young Udo Kier. With its sad tone, the score perfectly matches the cold and cruel realism of this bizarre horror film. Double vinyl pressed on mixed double colors and presented in gatefold sleeve with deluxe embossed cover. Limited numbered edition of 1000 copies. Released alongside Gizzi's Andy Warhol's Blood for Dracula (RED 213LP).


GIZZI, CLAUDIO: Andy Warhol's Blood for Dracula LP (RED 213LP) 25.50
Pressed on red vinyl. Limited edition of 1000 hand-numbered copies. Released in 1973 and 1974 respectively, Blood for Dracula and Flesh for Frankenstein (soundtrack available as RED 212LP) were interesting if not a little off-beat horror movies both of which were filmed in Italy. The legendary Paul Morrissey directed with the assistance in more ways than one of Italian filmmaker Antonio Margheriti, with the productions overseen by Andy Warhol. The Italian composer Claudio Gizzi, with harmonious themes, created a dark and romantically laced score that works very well within the well-known gothic tale of Dracula here directed in a not so conventional way by the genius of Morrissey and Warhol. A powerful, subtle, and modern sound that supports and embellishes these stories without being intrusive or overbearing like many horror movies of the era. Finally available on high-quality vinyl with deluxe packaging.


MORRICONE, ENNIO: Escalation LP (RED 214LP) 25.50
Pressed on transparent yellow vinyl. Limited edition of 500 copies. In 1968 the maestro Morricone was at the height of his career, scoring Sergio Leone's classic Once Upon a Time in the West. For the soundtrack of Roberto Faenza's 1968 cult debut movie Escalation, set in swinging London, Morricone teamed up with fellow composer Bruno Nicolai and the vocalizations of Alessandro Alessandroni's Cantori Moderni, making this one of his least minimal soundtracks. Containing the legendary tune "Dies Irae Psichedelico," this is one of the most essential Morricone soundtracks of all time.



URULU & STEVE HUERTA: 25 Cent Color EP 12" (DIRT 087EP) 14.00
Cali boys Urulu & Steve Huerta follow their 2013 debut, Things I Didn't Mean EP (DIRT 068EP), with another release full of blissful deep house cuts. Both relocated to Berlin in 2014 and have been extremely busy since with their respective solo outputs on labels like Let's Play House, Needwant, Shabby Doll, and Urulu's Amadeus Records. This EP's A-side features two club bangers while the B-side explores the deeper side of things with more laid-back vibes and dubbed-out jazzy elements, including the irresistible "D.E.G.L.", which best describes the Urulu & Huerta sound.



MUTAMASSIK: Symbols Follow LP (CREP 014LP) 26.50
FILE UNDER: AfrabiroQ.+Martial MelanQ.+Qubti FunQ.+... Mutamassik aka Giulia Loli: producer, musician, improviser, artist, synesthete. The follow-up to 2012's Rekkez (ini.itu). "...uneasy... uncompromising... unapologetic" --Sam Davies, The Wire. "Deftly maneuvering the space between tradition and innovation, acoustic and digital, familiar and unexpected" --Okay Africa. "The headiness of the treated strings and clattering percussion sets her mixes apart from anyone culling beats" --Owen Strock, CMJ. "From the jungles of Brooklyn to a cave in the mountains of Italy via Cairo; Mutamassik keeps relocating headquarters for immigrant punkjaw revolution" --Anna Gavanas. MELANQOL BAROQUE parq dunq ARABIFIED SWAMP MUSIC darq punq QUBTI BEATS in addition to transcendental sonic experiments. From liner notes: "There born the excitement, from the loins of broken gear and deft midwife. Music for disinfection, in order to heal. To build a dream on. Because before we or they or us learned to ignite and harness fire existed. It only let us. Aggressive Atheists are being used to show how inevitable structured reverence is by inadvertently establishing their own religion by way of dogma, righteous conviction, intellectual punishment, headed by scientists as the new priests, technology as the ritual tool of salvation. With or without their knowing it Religious Zealots are being used to martyr their own religions on altars of utter faithlessness by carrying out just icing, consequentially projecting an image of a weak, untrustworthy god. With or without their knowing it." "Plosive polyrhythmic instinct deep cut with ancient future inscriptions fashioned by hand -- unfashionably -- beveled metal revealing wood grain anima(l). Proof of origin. Lines of red paint on volcanic rock. Syncopathic shimmering soundtrack + magnetic tension. Symph slam somber chroma + hymns. Melancholic and sanguine and faith. Purposeful Anachronism for new dance. New spirituals." --Mutamassik


DAUBY, YANNICK: Penghu Experimental Sound Studio Vol. 1 LP (CREP 015LP) 23.50
Yannick Dauby is a sound artist based in Taiwan since 2007. He relentlessly explores the soundscapes of his adopted island through field recording, audio documentaries, and community projects. He has created soundtracks and sound environments for contemporary dance, public art, and films, and has been involved in various ecological and local traditional activities. Dauby stayed in Penghu, an archipelago located in the Taiwan Strait, during several months in the first half of 2013. His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching, and composing musique concrète in a temporary studio, an old building from which he could hear the seashore and announcements of the itinerant sellers as well as the rituals from a temple nearby. Immersed in this environment, Yannick composed the two sides of this record, using the sounds of the underwater fauna, the omnipresent waves, soundscapes of harbors, music played during funerals, shortwave radio broadcasts, in-site or indoor improvisations using old artefacts, and various sessions using analog electronic instruments.



THYLADOMID: Interstellar Destiny 2LP (DIYNAMIC 012LP) 21.00
Double LP version. Thyladomid is a DJ and producer based in Germany with English roots. In 2010, his single "The Voice" held the pole position on Beatport's Deep House charts for six consecutive weeks and eventually got him a "Beatport Music Award" in the category "Top Deep House Track of the Year." Since then he has released frequently on Diynamic and its imprint 2DIY4 and released highly-acclaimed collaborations with Adriatique. His debut album Interstellar Destiny, rather than deliver his usual club sound, is a deeply personal work mirroring his thoughtful and fragile nature. "Many things inspired me," he says, "but first and foremost it was movie scores. So when I was working on a track, I was actually imagining a movie scene that I would be doing the score for. The title Interstellar Destiny means something in the way of 'universal meaning' or 'human purpose.' Every track describes a process or a situation of our lives here on planet Earth, a beautiful or not so beautiful facet of our existence. The album is very melancholic and describes my musical nature in regard to my perception of my surroundings. I hope I can illustrate that to the listeners." He sure can, because the album is absorbing right from the outset, thanks to the somber bass and serene strings of opener "Intergalactic Spring." From there, the moodiness continues to build through "Generation Y," with its whispered, intimate vocals and slo-mo beats. The colorful, charming "Brotherhood" then gets a little more sun-kissed and laid-back; "Inner Space" shows how well Thyladomid does deep house; and elsewhere cuts like "Daddy Rainbow" marry rich, rounded bass with sensitive synths and vulnerable chords. A special mention goes to two tracks that instantly stick: the heartfelt "Mavericks," with its sultry singing and catchy melody to sweep listeners away, and the feel-good anthem "The Real Thing," which many will remember as one of 2014's Ibiza favorites. It was released as an album teaser EP in 2014 (DIYNAMIC 071EP), with remixes by Stimming and Adriatique, and is still as passionate as it was then. Interstellar Destiny is a remarkable example of outstanding forward-thinking electronic (dance) music, something that will catch attention on the dancefloor, but especially a great (loud) home-listening piece of music. The album proves Thyladomid's huge talent and impressively demonstrates that he is much more than just a regular producer of club tracks. Features Mâhfoud on four tracks.


ACV 2052LP

COOKE, SAM: Songs By Sam Cooke LP (ACV 2052LP) 22.00
Doxy presents a reissue of Sam Cooke's 1957 debut studio album Songs By Sam Cooke. "The release of this album marks the culmination of a series of achievements which have astounded the world of music.... A new song has captured the admiration of young and old alike and has earned a station in the annals of all-time favorites. A new voice has entranced millions with its convincing sincerity and excitingly refreshing style. The song is 'You Send Me.' The voice is Sam Cooke... In this album Sam Cooke further demonstrates his versatility with his stimulating renditions of a varied selection of ballads from 'Fats' Waller's classic jazz standard 'Ain't Misbehavin'' to the traditional favorite 'The Bells of St. Mary's.'" --original liner notes


VA: La Musique dans le Film d'Alain Resnais (L'Année dernière à Marienbad, Hiroshima Mon Amour, Muriel) LP (DOC 116LP) 20.00
This unedited collection of soundtracks to the films of Alain Resnais explores the legendary French director's relationships with some of the greatest composers of the era: Georges Delerue (whom Le Figaro dubbed "the Mozart of cinema"), Giovanni Fusco (known for his work with Michelangelo Antonioni), Francis Seyrig, and the great Hans Werner Henze. First pressing limited to 500 copies.


HERRMANN, BERNARD: Psycho (The Original Film Score) LP (DOC 118LP) 20.00
The score to one of Alfred Hitchcock's masterpieces, Psycho (1960), by one of the greatest composers to ever grace the silver screen, Bernard Herrmann (Citizen Kane (1941), Taxi Driver (1976), Cape Fear (1962), etc.). Herrmann began writing scores for Alfred Hitchcock in 1955, but the apex of this collaboration came undoubtedly with 1960's Psycho. Herrmann's amazing ability to set the mood has made the soundtrack to Psycho perhaps the most memorable in the history of cinema -- who can recall the shower scene without hearing the sound of shrieking violins? Do not miss your chance to own this classic on vinyl! First pressing limited to 500 copies.


DELERUE, GEORGES: Jules et Jim/Tirez sur le pianiste LP (DOC 119LP) 22.00
The fruitful and long working relationship between the legendary director François Truffaut and composer Georges Delerue covered 23 years and 11 films, beginning with Tirez sur le pianiste (Shoot the Piano Player) (1960). In this compilation, two of the most famous scores of "the Mozart of the Nouvelle Vague" are reunited in a precious LP. From the melancholic tunes of Jules et Jim (1962) to the vibrant piano of Tirez sur le pianiste, you can find here all the colors of Truffaut's cinema. First press limited to 500 copies.



Papir, from Copenhagen, Denmark, have gradually developed their unique vision of instrumental psychedelic rock over the course of four albums. The two albums collected here, Papir III (EPR 012LP, 2013) and Papir IIII (EPR 015LP, 2014), perfectly encompass everything the band represents -- from explosive, guitar-solo driven peaks through motoric krautrock grooves to peaceful and atmospheric soundscapes. Recorded in two different sessions, one in Copenhagen and another out in the Danish countryside with Causa Sui's Jonas Munk, who also mixed and mastered both albums, producing them with an organic but powerful sound and maintaining the full dynamic range.


EF 067LP

BALDELLI, DANIELE: Cosmic Drag 2LP (EF 067LP) 27.50
Double LP version. Legendary DJ, remixer, and producer Daniele Baldelli presents Cosmic Drag, a work that is something more than just a heartfelt twisted dance album. During his long residency at Cosmic, the nightclub by Lake Garda in Italy, Baldelli mixed funky disco, electronic, synthpop, reggae, fusion, rock, funk, Brazilian, African folk, Indian melodies, batucada, and jazz, and became famous for his eclectic meltdowns in which he might drop Ravel's Boléro overlapping with a Djola track or an experimental piece by Steve Reich mixed together with a Malinke chant from New Guinea. His worldly, hypnotic sets brought together the sounds of Kraftwerk, Fela Kuti, the Sky Records catalog, Killing Joke, Incredible Bongo Band, ZAZA, Chris & Cosey, Antena, Azymuth, Yellow Magic Orchestra, and Yellowman, all often played at improper speeds and mixed with effects and drum machines. This practice gave birth to the cosmic sound, a highly influential musical movement that set itself apart from the Italo-disco scene. Since then Baldelli's record bag has stayed eclectic and he still plays scintillating sets all over the world. One can feel Baldelli's vast musical roots in the electro vibes and the techno-driven grooves. Sometimes the funk hits hard, while in the next moment the listener is blown away by futuristic soundscapes. All of these arrangements have in common a cosmic dust that melds a playful sense with high-flying synth-lines and outer-space tones. A truly weird, mesmerizing album that stays appealing while experimenting profoundly. Baldelli describes the album's inspiration: "Most of my ideas emerge while travelling by train, driving my car to a club where I will perform, and foremost when I devote myself to listen to my large vinyl collection." It's a statement that explains why his tracks often build a bridge between careless, funky '70s vibes, offish '80s coolness, and the freedom of '90s rave culture, while landing fresh and unafraid in the present and carrying the listener away into spheres where the self is forgotten among irresistible rhythms and melodies.


BALDELLI, DANIELE: Cosmic Drag 2LP +7" (EF 067LTD-LP) 30.50
Limited double LP plus bonus 7" version.



VA: Enzino's 06 12" (ENZINO 006EP) 14.00
Enzino is back with the sixth release. Four tracks between house and neo-disco, made for a groovy dancefloor. Limited vinyl-only release. No repress. Tracks by Enzino's & Dj Rocca, Enzino, MUDDEGG, and Boogiemann & Stan.


FD 7508CD

BUTLER & INFINITY, BILLY: Hung Up On You CD (FD 7508CD) 13.00
"Sweet, funky, and soaring Chicago soul from Billy Butler (brother of Jerry Butler, protégé of Curtis Mayfield) and Infinity. The group featured Butler alongside Errol Banks, Phyllis Knotts, and Larry Wade. This first-ever CD edition of the group's sole LP, 1973's Hung Up On You features three bonus tracks including their hit debut 'Get On The Case.'"

FD 7509CD

MARK IV: Mark IV CD (FD 7509CD) 13.00
"Formed in New York City, Mark IV burst onto Billboard's Soul Singles charts in October 1972 with 'Honey, I Still Love You.' Their self-titled album (released in 1973) was written and produced by the great Roy 'C' Hammond. Their LP is a terrific blend of the group's classic street-corner quartet sound with Roy C's distinctive southern flavors - a timeless treasure!"



THIN LIZZY: Shades of a Blue Orphanage LP (FDR 610LP) 24.00
"Thin Lizzy's second album is a nod to the past: Shades of Blue and Orphanage were former outfits of two of the band's members, their names combined to create an oddly evocative image -- especially when combined with a sepia-tinted image cover of three small, shoeless children intended to represent vocalist Phil Lynott, guitarist Eric Bell, and drummer Brian Downey. Looking back is a common theme of the LP. The soft, sensitive 'Sarah' was written for Phil Lynott's grandmother who raised him in lieu of his absent mother. It's an album that challenges your perceptions about a group you think you have nailed down through future singles 'Jailbreak,' 'The Boys Are Back in Town,' and 'Whisky in the Jar.' Here, 'I Don't Want to Forget How to Jive' sees the band try their hand at rockabilly, and 'Chatting Today' evokes the emotive performances of Richie Havens. As a whole, Shades of a Blue Orphanage presents a version of the band that places its foundations beyond the hard rock for which the group is famous. The preposterously titled 'The Rise and Dear Demise of the Funky Nomadic Tribes,' which opens the LP, epitomizes this, including tribal beats, funky guitars, and Lynott singing in full soul-power mode. It's begging to be sampled, like the group's contemporary -- but incognito -- work as Funky Junction, under which name they released Funky Junction Play A Tribute To Deep Purple the same year. Those who prefer Thin Lizzy in more recognizable form will find things to love, too: 'Buffalo Gal' is as restrained as a song with an insistent, descending riff could ever be, and 'Call the Police' is a bluesy swagger that shows off Lynott's talent for describing life on the gritty streets of the Republic of Ireland's much-romanticized capital city. The record culminates in the world-weary title track with a chorus that cuts straight to the bone: 'It's true blue, Irish blue.' Released in 1972, just three years after the band formed in Dublin, it's fair to say that Shades of a Blue Orphanage represents a group on the move, still finding their feet, and possibly bending to the will of a record label who didn't quite know what to do with a multiracial, multi-faith rock band from a sectarian country. Sales of their debut album, Thin Lizzy, had been poor, and Shades of a Blue Orphanage wasn't the one to turn their fortunes around. Still, it's fascinating listening for even those with a passing interest in their history." Pressed on 180-gram vinyl.


THIN LIZZY: Vagabonds of the Western World LP (FDR 611LP) 24.00
"Seismic shifts happened between the previous year's Shades of a Blue Orphanage and 1973's Vagabonds of the Western World. Frontman Phil Lynott was still documenting working class life in the group's native Dublin, and the band still featured guitarist Eric Bell and drummer Brian Downey, even if Bell was soon to leave; the shift was in the feel of the album. Between Jim Fitzpatrick's lurid album cover which depicted the band in space, the new, hot-rod-like Thin Lizzy logo, and Lynott's newly throaty howl, it's possibly the first Thin Lizzy album on which they truly could be described as a hard rock band. Vagabonds presented a swaggering confidence, a band buoyed by the success of semi-accidental smash hit 'Whisky in the Jar,' and carved out a moody, dark sound by borrowing bits from the blues, folk, psych, and Celtic music. Check out 'Slow Blues' for proof, and decide whether Lynott or the guitars win the wail-off that begins the track. 'Whisky in the Jar' had been a bone of contention for the band who felt it didn't represent them. Pushed out due to their presence on package tours with rockers Slade and Suzi Quatro, it seemed to seal their fate, and their Vagabonds single, 'The Rocker,' set out their stall for good. The weirdness and idiosyncrasies of Phil Lynott's early songwriting hadn't been ironed out completely: 'The Hero and the Madman' saw them try their hand at acid-fried cowboy rock -- if such a thing ever existed. After the album, and after Bell's departure due to ill health and disillusionment with the music industry, Thin Lizzy were reinvented once again. Lynott recruited two guitarists and the band left Decca to record Nightlife for Phonogram. Their big hits and glory years -- beginning with 1976's Jailbreak -- were still ahead of them, but, with Vagabonds as a centerpiece, Thin Lizzy's early years left behind a cabinet of curiosities." Pressed on 180-gram vinyl.



"The totality of Edwin Stevens's vast appeal as a musician isn't usually something you can get to grips with by listening to one record alone. As the alpha member of the Manchester underground music nerd set he's played regularly in at least five completely stylistically unconnected formations at any one time and probably more like 50 in total. Disappointment is exactly the kind of record I always dreamed about putting out by an Ed-led project and only knowingly incongruously titled in the sense that it might be a response to the arrogance fundamental to Manchester's depressingly irrepressible musical heritage. It's a unification of everything he's been brilliant at within various contexts. I love to see him ecstatically ripping it up ostrich freestyle in Desmadrados Soldados de Ventura, Zweiters, and Yerba Mansa. But that doesn't mean I don't want him to sing me beautiful sincere Irma songs of apology and regret or slaughter his guitar like it's an opponent in a Wrestlemania contest, like he does in Klaus Kinski. All those normally disparate elements coalesce on this wondrously weird, hypnotic, earnest, outer limits rock record, which is why I was so bloody keen to put it out when he first played it to me in his kitchen last autumn. Not that he'd have struggled to get anyone else to do it. Listen to the thing -- it's ruddy sublime, which makes his one word sign-off on the sleeve notes all the more annoying: 'Sorry,' he says. Pfft!" --Nick Mitchell, founder, Golden Lab Records, December 24, 2014


GR 106LP

VOORN, JORIS: Nobody Knows (Vinyl Versions) 3LP (GR 106LP) 31.00
Joris Voorn's chart-topping Nobody Knows (GR 106CD, 2014) receives a fresh club treatment from the Dutchman, who now looks to bring his stunning album to world's dancefloors. The triple vinyl release opens with the thrillingly visceral and captivating "The Wild," followed by a new version of the original beatless opener "The Monk" and the beautiful number "A House," featuring vocals by Kid A. Voorn also treats the listener to a new version of the hugely popular "Homeland," featuring Matthew Dear, alongside the originals of "MoMo" and "Sweets for Piano." The wonderfully uplifting "Fall" precedes the bouncing melodic synth of "Mugged" and the original album version of "So Long," with its haunting vocal from Kid A. A final brace of goosebump-inducing tracks, "Left" and "Dust" (feat. Bram Stadhouders), closes this incredible triple LP.



BRAME & HAMO: The Parish Rumors EP 12" (HEIST 009EP) 14.00
180-gram vinyl. The Irish town of Sligo might not mean a whole lot to you, but after this release, you'll know that it has brought forth two of the funkiest Irish guys you've ever seen. This EP follows their chart-topping 2015 #001 EP on their Splendor & Squalour label, and it's filled with jazzy chords, lovely loose percussion, and soul samples. "Parish Rumors" will fill your peak-time needs; "Ghetto for You" and "Hotshot" have a nice low-slung vibe and come with enough low-end and swing to get even the stiffest of hips swinging.



DARKNESS FALLS: Dance and Cry LP (HFN 043LP) 23.00
LP version. Copenhagen-based duo Darkness Falls follow up their acclaimed 2011 debut LP Alive in Us (HFN 009CD/LP), their 2011 self-titled EP (HFN 006EP) (which included "Hey!" the most played song on Danish radio in 2011), and a string of exquisite live performances with Dance and Cry, an album of atmospheric pop noir. Defying convention, Josephine Philip and Ina Lindgreen effortlessly blend a host of rock and pop influences, the textures and structures of electronic dance music, and the haunting atmospheres of art-house cinema soundtracks to produce an album of deep longing and icy cool -- all drawn together by impeccable vocals that embody a decidedly glamorous melancholy. It's an album that will tick all the boxes for a diverse range of listeners; as they themselves put it: "In our music, there is something for the mind, something for the heart and something for the feet too." The dramatic opener sets the tone, a torch-song that seductively entices the listener to "come out and join me for night games" over layers of sustained synths. A slow house kick drum adds momentum, as one carefully curated sound after another enriches the musical palette until it builds to a heart-stirring climax. The haunting "The Answer" -- a tale of love, desire and loss -- maintains the quality, as a Cure-like guitar motif circles over a beautifully textured beat of found sounds. Lush and yearning, it's instantly unforgettable. From this point on, it's clear that picking favorites will be a thankless task: this is an album of consistent brilliance. A dizzying whirlpool, Dance and Cry draws on a dazzling array of influences. The Jesus and Mary Chain, Cocteau Twins, Kate Bush, Nite Jewel, bedroom pop, widescreen expanses, basement rock, church choir ethereality -- each listener will bring personal touchstones and inspirations to mind. "Darkness falls" was traditionally a phrase used in old plays, shorthand for indicating the ending of a scene; the moment when the drama is given over to the audience, to hold, to contemplate, to languorously enjoy. Dance and Cry couldn't be more fitting in these terms: an album of great richness in which you'll want to immerse yourself. Produced by Darkness Falls, Adrian Aurelius (The Raveonettes), and Lasse Martinussen (Rosemary), except for "Hazy," which was produced with Anders Rhedin (Dinner, Choir of Young Believers). Artwork by multi-award-winning Danish photographer and artist Peter Funch. Includes download code.



PISTOL DISCO: Bad Wisdom/Egypt 7" (HNR 001EP) 11.00
The duo behind the transpop krautish sound of Pistol Disco consists of Alexander Palmestål and Mikael Enqvist. After four albums, including the critically acclaimed Evergreen (2009), they recorded only two more songs: "Bad Wisdom" and "Egypt." These two darlings psych your sanity away while you dance to the hypnotic discobeat.


TROSS: 16:11 LP (HNR 001LP) 25.00
On Swedish band Tross's debut album, 16:11, you hear influences from the city and the woods, the sea and space -- inner and outer. Tross deintellectualizes jazz while taking club music back to its roots. The kraut machine motors on some tracks, while others are more clearly driven by dreamy melodies than a monotonous beat.


URAN: Uran LP (HNR 002LP) 25.00
A space-electro-punk nuclear meltdown for all the fucked up children of this world. This is what you get when you mix Swedish band Uran with Gothenburg. So let's shut up and dance while continuing to be chaotically focused on that keep on keepin' on, smashin', grabbin' 'n' kickin' out the jams, et cetera. And never learn to forget that no one loves Uran!


PSYCHEDELIC SCHAFFERSON JETPLANE, THE: Membrillo's Ride/Rugby 7" (HNR 007EP) 11.00
Two tracks from The Psychedelic Schafferson Jetplane, the only available material outside their 2010 self-titled, analog-recorded debut LP, which sold out instantly. The A-side takes off with a linear psych-blues vibe until the riffs pleasantly start to cut and frantically stimulate our eardrums; "Membrillo's Ride" is the sound of ZZ Top on the run, on choppers, after a drunken shoplifting bender on the wrong side of town. Anyone who studies the cover of their LP can't miss that the band loves Spacemen 3. The B-side shares a name with the English trio's hometown, Rugby.


DUNGEON ACID: Northern Acid/All-Nighter 7" (HNR 008EP) 11.00
Jean-Louis Huhta aka Dungeon Acid is a member of The Skull Defekts and has played in Anti-Cimex, Cortex, and Lucky People Center. As Dungeon Acid you'll hear him behind analog synthesizers, drum machines, and effects. The result are raw and a bit left-field-grimy, but always with an undeniable groove rooted in punk, techno, electro, and acid. "Northern Acid" creeps upon us, an almost frighteningly perfect soundtrack for November in the Nordic climate; grey skies, sideways rain, dark days, and black nights. Then "All-Nighter" reminds us of the importance of dancing away the night in dark spaces together with like-minded freaks.


KRATER: Labyrint/Felix Culpa 7" (HNR 009EP) 11.00
Craters can form when two celestial bodies impact each other, or as a result of volcanic activity, or from other underground explosions. Friction, tension, and direct physical confrontation are common denominators behind these often stunningly beautiful phenomena. Krater consists of three dope musicians with their roots in Uran and Neneh Cherry & The Thing. Their fluffy psych-pop sounds like a bastard child conceived during a warmhearted orgy with Jacques Dutronc, Air, and The Byrds minutes before a meteorite hits the Earth. In a very good and mellow way. To put it simply: babymaking psych music.


JR 003EP

BLACKHALL & BOOKLESS: Straightener EP 12" (JR 003EP) 14.00
For its third release, Jaunt> Records returns to the guiding hand of its founders, Blackhall & Bookless. "Straightener" is a techno bomb with lashings of low-end bass frequencies, sauntering about with an uncompromising swagger that'll tear up the dancefloor. "Differences" is a nifty creation that makes smart use of some clever drum work, a series of melodic charms, and a whiff of airy pads. Berlin's very own Mike Dehnert delivers two remixes of "Differences"; the first is full of bite, with simmering snares and a snaking baseline. The second is a taut and heavy affair, but also full of vigor.



KAWAI, KENJI: Ghost In The Shell LP (GHOST 001LP) 23.00
"Famously known for his numerous compositions for movies soundtrack, Japanese anime, video games or television programs, the tokyoïte composer Kenji Kawai signs with the soundtrack of the cult manga Ghost in the Shell by Masamune Shirow, one of his greatest hits. Originally published on paper in October 1991 by the Japanese journal weekly devoted to manga, Young Magazine, it was in November 1995 that Ghost In The Shell was suitable for the first time on screen by Mamoru Oshii. And it's Kenji Kawai who was chosen to recreate the futuristic cyber-punk atmosphere that emanates from this manga, into music. Assisted by the percussionist Yuhki Sugawara, Kenji Kawai reached the summit of his art by delivering captivating music, halfway between ambient electronics, traditional Japanese music and Buddhist ritual singings. The synthetic and ethereal soundscapes, almost disturbing, blend perfectly with gongs, bells or female choirs filled with echoes. The listener is plunged into a dreamlike fable sound with a striking and evocative poetry that is reminiscent of the soundtrack of a certain Akira. Reissued for the first time on vinyl, this rare edition is limited to 500 copies and comes with an A3 poster format."


KH 9036LP

BYRDS, THE: Avalon Ballroom, San Francisco November 2nd 1968 2LP (KH 9036LP) 31.00
Keyhole presents the double vinyl edition of this remarkable set, also available on CD (KH 9036CD). This performance was taped for radio broadcast in 1968, very soon after The Byrds' new line-up of Roger McGuinn, Clarence White, Gene Parsons, and John York had coalesced. Despite the recent tumultuous departures of Chris Hillman and Gram Parsons, the band turns in a superb series of performances featuring a fascinating selection of songs (several of which they rarely played), with especially noteworthy guitar work from the great Clarence White. It's presented here with remastered sound, complete with background notes and rare photographs, making it a vital document for all connoisseurs of '60s rock. Pressed on 180-gram vinyl.



AGORIA: Bapteme 12" (KOM 325EP) 12.50
French mastermind Agoria follows his stellar remix of Michael Mayer's "Good Times" on Mantasy Remixe 2 (KOM 272EP, 2013) with his mesmerizing floor epic "Baptême." Bouncy, minimalist percussion is joined by an extensive, dub-styled sub-bass and floating shards of atmospheric synths, quickly escalating into a high-definition mover fitted with gorgeous swabs of piano and a keen sense for emotional space. Luke Jenner (The Rapture, DJ Tennis) adds more wiggle-room to the proceedings with enticing new vocals in his "Lucky Blue Eyes Version," which Agoria retouches to sharpen its blurry edges and put the vocals to work in a primetime environment.



THIN LIZZY: Thin Lizzy LP (LITA 086LP) 24.00
2015 repress. "When scrolling down a list of debut LPs by rock's heaviest hitters, Thin Lizzy is as unheralded as they come. Long before the group's trademark 'twin-guitar' sound was born and anthems like 'The Boys Are Back In Town' became instant hall-of-fame material, the street tough Irish group was a dynamic power trio consisting of guitarist Eric Bell, singing bass player Philip Lynott, and sticksman Brian Downey. Forming only a year before their monumental signing to world-famous Decca Records, Thin Lizzy fused folk, hard rock, lyrical poetry, and a dose of Celtic lore in a heady brew that despite its potency, sold poorly at the time of release. Often ignored apart from hardcore Lizzy devotees around the globe, Light In The Attic is incredibly proud to produce a much-needed vinyl-only re-release of Thin Lizzy." On 180 gram vinyl, housed in a gatefold tip-on sleeve; includes 18"x24" poster.



SANTA Y SU GENTE: Urgente LP (LION 131LP) 22.00
"Deep groove Latin Afro-jazz fusion. First time vinyl reissue of 1974 funk/jazz collector super rarity. In the 1970s in Chile, recording anything was complicated. The state-owned IRT label was administered by the military. Domestic releases gave way to an invasion of foreign music. At most, a Chilean group like Santa y Su Gente (Santa and His People) could hope for one appearance on television, or a very low-key event -- this was the reality of the music world after the coup. Few groups had the good fortune to overcome the prevailing censorship: this was the case with Santa y Su Gente. Santiago Salas was a percussionist steeped in jazz. It was he who assembled a band with musicians of the caliber of Lautaro Rosas and Mario Lecaros. The latter was a powerful musician, who would appear in other jazz fusion projects in those difficult years, and then leave Chile altogether to do an impressive job abroad with his group Comet. The one and only album by Santa y Su Gente, Urgente, was released by RCA/IRT/Alba in 1974. This album is very rare, and therefore not well known apart from the collections of a few DJs. But it contains all you can ask for -- a scintillating brew of Latin Afro-jazz fusion, with something powerful to say and beats galore. Highly recommended! Comes with a bi-lingual insert which explores the story of Santa y Su Gente in the context of the rich Chilean rock music scene."


TRAFFIC SOUND: A Bailar GoGo CD (LION 7661CD) 17.00
"Willy Barclay and Willy Thorne were friends right from the start. At the age of nine, they began to play music together using acoustic guitars borrowed from their brothers. In 1964, they formed their first rock band. After that, they formed Los Mads, although they left that group a couple of years later. One day in January 1967, Thorne was walking with Barclay near Nicolás de Ribera street in Lima. They encountered two friends, Manuel Sanguinetti and Freddy Rizo-Patrón, who said they were looking to form a band with Jean Pierre Magnet and a drummer friend. Thorne said that he, Barclay, and Luis Nevares were already playing together, but that he would gladly gather everyone together and combine forces. Manuel and Freddy nodded -- and thus, Traffic Sound, one of the most important psychedelic bands from South America, came into existence. In September 1968, they signed on to make some records for the MAG label. The first three Traffic Sound singles were recorded on MAG's Ampex four-track. During rehearsals and long hours of recording in the studio, they composed songs, some of which would form the basis of their debut album, Virgin. Following the success of the song 'Meshkalina' -- released as a single in February 1970 -- the MAG label grouped together the band's three sold-out early singles, remixing 'I'm So Glad.' For the cover of the resulting compilation mini-album, called A Bailar GoGo, the label created makeshift art with some extra sleeves they had from another compilation album. This six song 'album' was released in mid-1970, after the release of the Virgin album, and before the release of the album Traffic Sound. This deluxe mini-LP sleeve, limited-edition CD reissue of the mini-album A Bailar GoGo is taken from the master tapes, as originally released. As bonus tracks, we've added seven remixes from the original four-channel tapes: instrumentals, acoustic versions, and remix/edits; these remixes were approved by Willy Thorne. Comes with a 20-page booklet with unseen pictures and detailed history of the beginning of the band in Spanish and English; also has a silk-screen printed replica of an original Traffic Sound concert poster. Hand-numbered limited edition of 300 copies."



BAILEY, MARCO: Nyctophilia EP 12" (MBRLTD 006EP) 12.50
Nyctophilia is love of darkness. Most people find pure relaxation and comfort in the darkness, as they feel freer than ever. Free of acting, doing, saying, feeling, being. Dark applies to ultimate freedom and what can better support freedom than techno? Marco Bailey knows that and he strikes back on his MBR Limited imprint with his new production "Nyctophilia," backed by a remix by the one and only Emmanuel. It's beautiful deep in the night, especially when we have good music by our side. Because, without the darkness, how could we see the light?



PEINE PERDUE: Disparitions LP (MEDICAL 047LP) 19.00
"Medical Records returns to France (by way of Berlin) to present the first full length vinyl LP by contemporary artist Peine Perdue. Peine Perdue was born in 2010 from the meeting of Berlin-based artist and musician Stephane Argillet and Coco Gallo. Peine Perdue finds its inspiration in a certain geometry, poetry, and clearness in music and art such displayed by the cold abstractions of XVIIIth century harpsichordists (Couperin, Pancrace Royer, etc.) to the graceful minimalism of Erik Satie, the sugar uncluttered pop of the '60s yéyé and finally to the arithmetic synthpop of the early 80's. Among the artists and personalities that emulate their creativity are, among others, Delphine Seyrig, ESG, Elli & Jacno, Anna Akhmatova, William Onyeabor, Luisa Casati, André Cadere, Rainer Fassbinder, or Robert Bresson. Construction, vertigo, and symmetry with sensitivity but without sentimentality. Integrating the above references into a delicate mix with very personal and cinematic sensibility led by the obsessive sensuality of Coco's voice."


KITTY: Kitty LP (MEDICAL 048LP) 19.00
"Selection of works from Austin, Texas's undiscovered and never before released electronic/ambient artist Kitty from the early 1990s. This band should have had a proper release in the '90s, so for a lot of people, this is a long overdue accomplishment. Formed in 1994 by guitarists Dain Luscombe and Brandon Loe, the band eventually became a trio with the inclusion of drummer Clint Thorman. Over a handful of four-track cassettes, CDRs, and one unreleased EP, Kitty developed a sound unique even in the burgeoning psychedelic and electronic music scene that occurred along the I-35 corridor from Austin, Texas, north to Denton as well as a rabid cult following. From their earliest performances as a three-piece, it was apparent that Kitty's music put them in a peerage of electronic and experimental acts coming out of the UK like Seefeel and Insides rather than another Texan 13th Floor Elevators style psych band. Fans of acts such as the aforementioned Seefeel, Insides, as well as other pioneering works by Flying Saucer Attack and A.R. Kane will adore this collection. Mastered by Martin Bowes at the Cage Studios, UK. Presented on high-quality 180-gram heavyweight blue vinyl."


MT 009EP

PFIRTER: Message 1 12" (MT 009EP) 14.00
Following the well-received 2014 various artists series From the Lab to the Club (MT 007EP/MT 008EP), MindTrip welcomes the return of label boss Pfirter. "Otras Dimensiones" layers dark and ambient textures to build tension and set the mood. "Message 1," with a dark bassline giving rise to high-frequency color, is a building cauldron of devilry, unrelenting in its pursuit of evil. The dancefloor sounds of the eerie "Technalog" are perfect for the dankest and grimiest of settings. "Casus Belli" blends rich analog sounds in deep, fascinating layers and textures, hypnotizing the listener as it ebbs and flows.


MIR 100722LP

ARABESQUE: Marigot Bay LP (MIR 100722LP) 31.00
Pressed on 180-gram vinyl. Arabesque's 1980 self-titled third LP (aka Marigot Bay aka Arabesque III) was an unusual musical step for the group. Disco was four or five years old and had become a little unfashionable to the general public. In retrospect, Marigot Bay is an album on which Euro disco was born -- the dance rhythms and the singers' natural charms were reinforced with elements that were unusual for the pure American disco style, specifically the rock 'n' roll guitar and vocal stylings. The results are glorious: "Jingle Jangle Joe" sounds very much like a remake of Cher's 1966 hit "Bang Bang (My Baby Shot Me Down)" and "Take Me Don't Break Me" is a true rock 'n' roll tune with a disco beat. And one more thing: Marigot Bay was the very first album in the history of disco to have quite serious lyrics, rather than just "dance, dance, dance..." The ballad "The Only Night Was a Lonely Night" stands head and shoulders over all the other songs on the album, and was one of the most popular Arabesque tracks in USSR. This reissue is a truly deluxe one: all songs are remastered from the analog tapes, sleeve design restored on silver foil card paper, and there's an eight-page booklet with song lyrics and rare band photos. Includes exclusive bonus track "Rock'n'Roll Fan."

MIR 100723LP

ARABESQUE: Midnight Dancer LP (MIR 100723LP) 31.00
Pressed on 180-gram vinyl. Frankfurt disco trio's Arabesque's 1980 fourth album Arabesque IV aka Midnight Dancer is commonly known as "that song album" in all former USSR states. It's paradoxical, but "Midnight Dancer" wasn't released as a single in West Germany or Japan, and wasn't even on the Soviet Arabesque greatest hits LP. Still, it became not only central song Arabesque song in the '80s, but is still one of the most recognizable Euro disco symbols. The album's selection is a little bit more straightforward than their third album, Marigot Bay (MIR 100722LP) -- most tracks are very danceable with a tempo around the classic 120 BPM. This reissue is a truly deluxe one: all songs are remastered from the analog tapes, sleeve design restored on silver foil card paper, and there's an eight-page booklet with song lyrics and rare band photos.

MIR 100750LP

BABY'S GANG: Challenger LP (MIR 100750LP) 31.00
Pressed on 180-gram vinyl. Challenger, originally released in 1985, is the first and only album from disco project Baby's Gang, and one of the most talked about items among collectors of Italo disco. Their first hit tune, "Happy Song," appeared in 1983 and was so beloved by Boney M. producer Frank Farian that he arranged for Boney M. to cover the track and release it as a single in 1984. When Challenger arrived a couple of years after "Happy Song," the full album was a whole platter of hits. Baby's Gang's final single was the 1988 hit "Disco Maniac," after which the creative activity of the project ended. This remastered reissue includes two additional tracks that were not on the original album: the original version of "Happy Song" and a maxi version of "Disco Maniac."

MIR 100751LP

LASZLO, KEN: Ken Laszlo LP (MIR 100751LP) 31.00
Pressed on 180-gram vinyl. Gianni Coraini, better known under the pseudonym Ken Laszlo, released only one album in the '80s, but that has not prevented him from becoming one of the more beloved artists of the Italo-disco scene. Ken Laszlo can be compared with such bright stars of the '80s disco scene as Savage or Fancy. His first single, "Hey Hey Guy," became a hit upon its release in 1984. His songs "Tonight," "Glasses Man," "Don't Cry," and "1-2-3-4-5-6-7-8" also became big hits in discos across Europe and beyond. This album, originally released in 1987, includes all those tracks and more.

MIR 100752LP

KOTO: The Original Masterpiece LP (MIR 100752LP) 31.00
Pressed on 180-gram vinyl. Koto, one of the main Italo-disco legends from the '80s, released several very successful singles on their own label Memory Records (which also put out records by Baby's Gang, Ken Laszlo, and other popular Italo-disco performers). In 1989, however, they sold the rights to the entire Memory Records catalog, including the rights to Koto's music and name, to the German company Pop-Import Bernhard Mikulski (now ZYX Music). Because of this, all of the early hits on their 1989 debut album Masterpieces were presented in the form of remixes and remakes, while the original versions remained scattered on inaccessible singles and compilations. Mirumir, with the kind permission of ZYX Music GmbH, fills in this blank spot in Koto's discography with The Original Masterpiece, which brings together the very original versions of hits that first brought glory to Koto.

MIR 100753LP

LASERDANCE: Future Generation LP (MIR 100753LP) 31.00
Pressed on 180-gram vinyl; presented in gatefold sleeve. Future Generation is the first and most successful album of the Dutch Italo-disco/spacesynth project from producer Erik van Vliet and Michiel van der Kuy. Laserdance incorporates soulful cosmogony, space, and Jean Michel Jarre, putting it on a hi-NRG rail à la Patrick Cowley and other pioneers of synthesizer dance music. The album was first released in Holland in 1987, where it was warmly received and sold nearly 150,000 copies. Future Generation, often called the "bible of spacesynth," significantly increased interest in music in this genre.



JOUEM: Episodes 4/8 12" (MOJUBA JOUEM4) 14.00
Halftime in the epic Episodes series by Jouem on Mojuba. The big picture is starting to get more and more recognizable. The fourth part again takes Jouem's unmistakable sound to new heights. This EP is by far his most dancefloor-oriented outing, with fat basslines, heavy but open and dynamic drums, and an atmosphere of pure bliss! Let the music talk to you!


NW 80759CD

CARRICK, RICHARD: Cycles of Evolution CD (NW 80759CD) 15.00
"A special feature of Richard Carrick's (b. 1971) music has always been his fascination with creating spatial depth and dimension through subtly balanced orchestration and dynamics. Constantly in development, these qualities are salient in a new crop of pieces from 2012 through 2014, filtered through an increasing attraction to the power of rich, robust stasis, rhythmic ambiguity, and the plasticity of motivic ideas. Of the six works on this disc, the first five comprise a new cycle of compositions -- Cycles of Evolution. This set of works was conceived in the vein of Carrick's earlier Flow Cycle, but never intended to be a sequel, or even a continuation of those ideas. Where Flow Cycle uses a limited color palette and is cast in solo and chamber form, climaxing in a trio, Cycles of Evolution employs the lush, expansive rainbow of colors offered by large ensembles with conductor. Outside of Cycles of Evolution sits the final work on this disc, a four-movement set of Adagios for String Orchestra. Organized almost as a compendium of varieties of Adagios (even showing different types within single movements), Carrick distills the essence of an adagio to 'a single movement, emotional response to an event.' The event in question here is the death of the composer's father, which is treated in turn with music that evokes distress, anger, release, and comfort. Certain composers display surface gestures that define them without a doubt within the first few moments of hearing a piece. Not so with Richard Carrick. The uniquely defining aspects of Carrick's music lie deep in the structure. It's the way we perceive melody and form, the systematic and ruthless exploration of intervals, and the way that passing time effects our understanding of a gesture even as we are hearing it, that moves us in ways that are as difficult to define as the melodic role in any instant. It's music that requires our attention, but the rewards far outstrip the efforts."

NW 80765CD

MONK FELDMAN, BARBARA: Soft Horizons CD (NW 80765CD) 15.00
"The compositions contained on this disc, like many of Barbara Monk Feldman's (b. 1953) works, have a strong connection to specific locations, and take their inspiration from landscapes the composer has known and experienced -- not as literal depictions in sound, but as abstracted impressions of the colors, textures, and atmospheres evoked by these special places. The Chaco Wilderness (2005) and String Quartet No. 1 (Desert-scape) (2004) both take their inspiration from the high deserts of northern New Mexico, where she lived from 2000 to 2012. Specifically these compositions reference the area around Chaco Canyon in the northwest part of the state, the site of abandoned ancient Native American settlements perched at the bottom of the rugged cliffs of this harsh but beautiful landscape. In program notes for the quartet, the composer has compared these cliffs to a 'gravitational sculpture,' addressing the close ties her music has both to nature and the visual arts. Like Georgia O'Keeffe's work, the music takes its inspiration from nature, but from this initial impulse reaches out towards abstraction. As in O'Keeffe where natural subjects are highly stylized, in Monk Feldman's work the melodic figures, while beautiful and expressive, are the starting point for more intensive exploration of instrumental color, texture, and registral shapes and contours. The score to Soft Horizons (2012), for piano, is inscribed with the location of Gaspésie, Quebec. As with the desert, the paradoxes of scale are palpable in the maritime landscape of this location, where the St. Lawrence River widens out to meet the Atlantic, the river gradually becoming the ocean in one direction, while the varying light -- either reflecting off the water's surface, or mixing with the rising fog -- creates another illusion, blurring the distinction between the surface of the water and the distant horizon, and between the water, air, and land. Soft Horizons dissolves any fixed point of reference into a misty floating world of sound. It explores the full range of the instrument, and in doing so creates its own audible illusion, gently playing with the inherent limits of human perception."



PASCALIDIS, SAVAS: Nightshades 12" (NONSERIES 016EP) 12.50
Early support from Psyk. Savas Pascalidis returns to Non Series with two dark, powerful cuts, straight for the floor.



NOO: Optimo Music Disco Plate Three 12" (OMD 003EP) 12.50
Noo (Daze Dasen (Plastique de Rêve) and Sami Liuski (Bangkok Impact, Putsch '79)) follow their self-titled debut (OMD 001EP) -- a summer 2014 smash hit -- with the third in the Optimo Music Disco Plate series. Imaginative sampling and analog machines; phenomenally produced modern disco epics that fully work their magic in a club setting. "Must Be the Music": absolutely guaranteed not to appeal to moody techno fucks. Epic disco-ness abounds. Features breakdance potential breakdown at around six minutes. Huge with Pete Waterman. "Heaven's Gate": a soundtrack for evacuating the planet. Road tested on our last star trip to Sirius.



BEPPU: Persuasion LP (OTR 008LP) 22.00
Blue vinyl. Limited to 300 copies. Beppu aka Andrew Hargreaves (The Boats) ratchets up the industrial levels with the second part of an album trilogy that started with Coercion in 2014. On Persuasion he allows the machines to lead the compositional process, letting himself be taken into the red by unrelenting, Vainio-style noise pulses and four-to-the-floor kicks with rail-gun 16ths side-chained to near-oblivion with a bone-head momentum. Sonically, one can trace the record's roots back thru the narky grooves of Spanish industrialists Esplendor Geometrico, while the album name and track titles pay tribute to James A.C. Brown's 1963 book on brainwashing, Techniques of Persuasion, with names and notions like "Institutional Neurosis" or "Subliminal Perception" firmly backed up by spirit-crushing drums and vicious synthetic atmospheres. It stomps on the fine line between anger and catharsis, freeform atonality and melodic sleight of hand. RIYL Shapednoise, AnD, Throbbing Gristle, Esplendor Geometrico, Pan Sonic. Mastered and cut by Matt Colton at Alchemy.


PNY 3304LP

LA BATTERIA: La Batteria LP (PNY 3304LP) 20.00
LP version. Brought together by their common love for soundtracks and Italian library music of the late '60s and early '70s, the four members of La Batteria are veteran Italian musicians with experiences ranging through progressive post-rock (Fonderia), indie pop (Otto Ohm, Angela Baraldi), experimental jazz (I.H.C.), hip-hop (La Comitiva, Colle der Fomento), and world music (L'Orchestra Di Piazza Vittorio). The band performs original compositions influenced by songwriting from the heyday of Italian movie glamorama: music for images made between 1968 and 1980, by such masterful experimental composers as Ennio Morricone, Stelvio Cipriani, Alessandro Alessandroni, Bruno Nicolai, and bands such as Goblin and I Marc 4. The band plays all vintage instruments, but their debut self-titled album is not merely a revival; it's a projection of the past into the present. So, between the lines of their cinematic prog-funk, one can detect traces of afro-beat, hip-hop, and kosmische music, all filtered through a typical Italian feeling. La Batteria was conceived in Rome, the same area and environment where those soundtracks and library records were made. The album was mastered at the historic Telecinesound, owned by Maurizio Majorana (former bassist for I Marc 4), and was originally intended as a library album for Romano di Bari's Flipper Music (parent label of such cult labels as Deneb and Octopus Records). La Batteria's balanced sound maintains a continuity not only with the '70s Italian sound-world, but also with an entire movement that brought Italy to the attention of listeners around the world. It was a time of experimentation in the fields of music, theater, cinema, and visual art -- a whole cultural revolution now renewed. The visual elements of La Batteria -- Luca Barcellona (aka Lord Bean)'s cinematic logo and Emiliano Cataldo (aka Stand)'s cover art -- also establish a magical short circuit between past and present. Played by Emanuele Bultrini: mandolin and electric, acoustic, and classical guitars; David Nerattini: drums and percussion; Paolo Pecorelli: electric bass; and Stefano Vicarelli: Hammond C3, Clavinet, Fender Rhodes, harpsichord, celesta, piano, Mellotron, Minimoog, Prophet-5, and Dot Com System-66 modular synthesizer. "Formula" features the Patchani Brothers.



WNDFRM: Formal Variant E.P. 12" (PRG 039EP) 14.00
A masterpiece of electronic music. Two long, slow, deep, hypnotic, killer tracks based on complex rhythm structures; the beginning of a wonderful mind journey. Prologue is extremely proud to present WNDFRM aka Tim Westcott, a new face on the label. Tim is a perfect fit for Prologue and he has the talent to deliver perfected mental sounds. Everything is a hypnotic flow, but there is always a constant anchor for your mind to keep you from getting lost -- though you may get lost anyway.



GLUTEUS MAXIMUS & SISY EY: Kid/Ain't Got Nobody 12" (BROADCAST 010EP) 12.50
"Kid" and a sizzlin' hot remix of Sísý Ey's "Ain't Got Nobody" on vinyl. Check it!


R-N 118EP

GOMILA PARK: Gomila Park 12" (R-N 118EP) 14.00
The penultimate installment of Raster-Noton's Unun series features the debut EP from Swedish duo Gomila Park (Martin Rössel and Carl Michael von Hausswolff). "Leibniz" is characterized by a heavy rock attitude with lots of distortion and screaming guitar riffs. The B-side, with "Ramon Lull" and "Calculus," is the more experimental. The EP is a mature work that was held in trust for at least two years. Similar to Mika Vainio's Vandal EP, Gomila Park echoes the tradition of rock (music) and is thus the counterpart of a younger, historically unburdened generation of producers like Ueno Masaaki or Kyoka.



RY-CO JAZZ: Rumba 'Round Africa CD (RETRO 010CD) 12.50
Originally released in 1996. Ry-Co Jazz did just about as much as any band to popularize Congolese rumba internationally in the 1960s. Formed in 1959 by the pioneering guitarist, composer, and music businessman Henri Bowané, the band held its first rehearsal on a steamer heading up the Congo River and spent the next 18 years on the road (or on the river) beyond their home country. Bowané soon split off to start other bands and Ry-Co Jazz picked up new members of various nationalities along the way. The core of the band, though, was always three Congolese men: singers Freddy N'Kounkou and Casino Mbilia and guitarist Jerry Malekani. The Congolese saxophonist Jean-Serge Essous, a founding member of both OK Jazz and Les Bantous de la Capitale, joined Ry-Co Jazz in 1964, by which time the band was touring Europe. In 1967 it made the first of several long visits to the Caribbean. Everywhere it went it not only disseminated Congolese rumba but also absorbed sounds such as West African highlife, French rock 'n' roll, and Caribbean calypso and beguine. This compilation (the first of two from RetroAfric preceding Bon Voyage!! (RETRO 022CD)) covers 1961 to 1969.


WARREN, GUY: The Divine Drummer Odumankuma CD (RETRO 016CD) 12.50
Originally released in 2001. Drummer Guy Warren was one of the first African musicians in the 20th century to make his career in the United States. Born in Ghana in 1923, he was a founder of The Tempos, which became the pre-eminent highlife dance band, but in the early '50s he emigrated to the U.S. He jammed with Charlie Parker, John Coltrane, and Thelonious Monk, played New York gigs with Lester Young and Errol Garner, and was for a while the drummer in Sarah Vaughan's trio. In 1956 he recorded Africa Speaks America Answers, which combined traditional West African percussion with a standard jazz trap set for an album that emphasized the African rhythms and tones inherent in jazz and contemporary "third stream" music. The LP sold a million copies worldwide, and Art Blakey's Jazz Messengers and Randy Weston both covered Warren compositions from the album. Max Roach cited Guy Warren as an important influence on him. Warren made several more albums for Decca, Columbia, and EMI before returning to Ghana in the late '60s. He made the 1969-70 recordings collected in this CD in Accra and London.


LES MANGALEPA: Endurance CD (RETRO 021CD) 12.50
Originally released in 2006. Since the early 20th century, the center of modern Congolese music has been the twin cities of Kinshasa and Brazzaville, but there have long been other hot spots, even outside the two Congolese nations. In the 1970s and '80s Nairobi, Kenya, was home to Orchestre Virunga, Super Mazembe, all the Wanyika bands, and Les Mangalepa. They were all led by Congolese emigrés, though most included at least a few local musicians. Mangalepa never actually performed in Brazzaville or Kinshasa, but it had that unmistakable sound: high-energy rhythms, multiple voices, generous with the guitars and horns. From the mid-'70s to the mid-'80s (the period covered by this album), Mangalepa was hugely popular not only in Nairobi but throughout East Africa from Uganda to Malawi and even in eastern Congo.


RY-CO JAZZ: Bon Voyage!! CD (RETRO 022CD) 12.50
Originally released in 2008. Ry-Co Jazz was a band of musical ambassadors that spent nearly all of its 18 years on tour or in residence outside its native Congo. Led by singers Freddy N'Kounkou and Casino Mbilia and guitarist Jerry Malekani, Ry-Co Jazz introduced contemporary Congolese music to audiences in West Africa, Europe, the Caribbean, and South America, influencing countless local musicians and generating new musical hybrids. Ry-Co Jazz was especially popular in the French Antilles, and it's clear from the records the band made in Martinique and Guadeloupe in the 1970s how many of the islands' sounds the band absorbed and how much the Congolese musicians contributed to the zouk style that flowered a few years later. This second Ry-Co compilation from RetroAfric covers 1963 to 1977, and follows Rumba 'Round Africa (RETRO 010CD).


TALA, ANDRE MARIE: Bend Skin Beats CD (RETRO 023CD) 12.50
Originally released in 2009. Bend skin beats? Music for riding motorbikes through the crowded, anarchic streets of the city. Music for dancing the way you ride that motorbike, slinging your leg over the seat, adjusting your weight -- shoulders forward, butt back -- and holding on for dear life. Bend skin beats were the sound of Douala, Yaoundé, and other Cameroonian cities in the 1990s. André Marie Tala was the blind singer, guitarist, and songwriter who started the craze with his hit, "Bend Skin," but by then he'd been a hit-maker for 20 years. In 1972 he made his first recordings in Paris with Manu Dibango and gave Dibango the idea for his global hit "Soul Makossa." The following year Tala struck gold with "Hot Koki," which James Brown ripped off for his 1975 hit "Hustle!!! (Dead On It)." Between makossa and bend skin beats were his popular tchmassi style and experiments with neo-traditional Bamileké dances, but, unusually for someone famous for his dance music, Tala is also much admired in Cameroon for his intelligent lyrics. This CD includes tracks from 1972 to 1998.


RUM 2011093LP

CORTEZ, DAVE 'BABY': Rinky-Dink LP (RUM 2011093LP) 20.00
Detroit native David Cortez Clowney, known by the stage name Dave "Baby" Cortez, scored his second top-ten hit in 1962 with the all-time classic R&B instrumental "Rinky-Dink." Released the same year on Chicago's legendary Chess Records, the album of the same name is a tasty mix of the organ instrumentals that Cortez had become known for. Cortez had probably the greatest run of instrumental pop hits in the late '50s and early '60s, and Rinky-Dink is his greatest album. Back in print on LP for the first time since its original release thanks to the R&B archaeologists at Rumble.

RUM 2011094LP

COLLINS, TOMMY: This Is Tommy Collins LP (RUM 2011094LP) 20.00
Though he may not be as big a name as Buck Owens or Merle Haggard, Tommy Collins was as instrumental as either of those two legends in formulating what is known as the Bakersfield sound. In fact, the Oklahoma native was the first of the Bakersfield artists to reach prominence in the music industry with his second single in 1954, during which time a young Buck Owens was playing guitar in Tommy's band. This Is Tommy Collins, originally released in 1959, is his third and finest LP, a fine example of Bakersfield's hard honky-tonk sound, the perfect antidote to the pap that was coming out of Nashville at the time. Hard-driving country music from Bakersfield's finest brought back to life on vinyl by Rumble.



BELP: BELP feat. Becky Reynolds Band 10" (RWO 002LP) 17.00
45 RPM 10" pressed on blue vinyl. The frontman in the synthesizer with his iconic tie and his eight huge gloved hands; a headless octopus in a suit. His head is in the clouds, playing serenades under vectorized moonlight like melancholic cries for his long-gone lover -- "When is Becky coming back?" The journey in Becky Reynolds Band's universe is a unique one. Who is this band? Is it a trio? Is it a love triangle? It starts with frontman Mister Headless's assumed aesthetics of automatic tracks from kids' Casios. After a glimpse into his genius mind, Pissy Milly comes in and the rollercoaster rides begins. A musical fight begins between Milly and M. Headless. Is she jealous of Becky? Saxploitation is a confrontation. It's an intense push and pull and it locks and it falls apart again and locks back together. Where is Becky anyway? The singing diva is in the dressing room again. What if our musicians worked together? Milly's sound with Headless's longing in "Venetian Mirror" -- wow. It's intense and full and round and glowing. Too much for our poor lovesick man. He pushes Milly away. She comes back with revenge, though. It's a seduction plan through sound. She's gonna reach the clouds, too. She explores different skies, sounds, and timelines, searching and searching and searching. Will she find him? It may not be "The Easiest Way," but it's gonna be worth it. BELP feat. Becky Reynolds Band is candy for the mind. You can make it whatever you want. Music created and produced by Sebastian Schnitzenbaumer with contributions by Dennis Gross, Peter Tuscher, Sascha Luer, and Christa Brunne. Artwork by Sebastian Kempff.


OUT 5017LP

BAXTER, LES: African Jazz LP (OUT 5017LP) 23.00
Composer, conductor, arranger, and musician Les Baxter is fondly remembered as one of the forefathers of the 1950s exotica sound, alongside other luminaries such as Arthur Lyman, Martin Denny, and Juan Garcia Esquivel. 1959's African Jazz is one of his most renowned and sought-after titles, at times moody and dark, at others light and whimsical, sometimes within the same song. Quintessential mood music from the master himself. Pressed on 180-gram vinyl.


SOL 1212CD

"Silvester's brilliant solo debut! An amazing blend of soul, disco, Afro-Caribbean influences, and sex -- arrangements by the great Patrick Adams -- a modern soul/boogie classic that still sounds as fresh on the dancefloor as it did in 1976. First time on CD."

SOL 1214CD

MELVIN & THE BLUE NOTES, HAROLD: The Blue Album CD (SOL 1214CD) 13.00
"Harold Melvin and the Blue Notes' 1980 LP with the ever-popular club hit 'Prayin'' and the Quiet Storm cut 'I Should Be Your Lover.' A Philadelphia tough modern soul classic."


SP 10126LP

VA: Groovallegiance: 10 Super Rare Original Funky Tracks from the Late Sixties to the Early Seventies LP (SP 10126LP) 20.00
Since 1993, Soul Patrol have established themselves as an indisputable reference when it comes to funky soul music. Soul Patrol made its name with compilations of obscure tracks originally released on 7", paying tribute to some artists who couldn't make the living they deserved with their music. Here, Soul Patrol strikes stronger than strong with Groovallegiance. Like its previous compilations, there are some gems to discover, some surprises, and some ear-openers, such as Spitting Image's "JB's Latin" or the ultra-efficient "Foxy" by Sam Jacobs, as well as "And I Love You" by The Darling Dears & Funky Heavy Prod.... Music from a time when soul music reflected political violence and misery, with dignity and freedom of the utmost importance. This record is a true gem, for the most curious listeners. Also includes tracks by T. J. and the Group, The Originals Orchestra, Monica, New Directions, The Concepts, Funk Machine, and Cool Creations of St. Maarten. Edition of 500.



MY FLOWER: Flowers EP 12" (STR 010EP) 12.50
"Flowers" showcases a penchant for celestial melodies and heavenly atmospheres as duo My Flower lays down oodles of the things above deep house drums. It's moody and enchanting and is even more so when remixed by Winter Son (feat. Gavin Miller), who comes from cold Manchester nights and plays live with a TR-808 drum machine and set of percussion pads, blending the visceral energy of Depeche Mode and The Cure with the brooding atmospherics of classic Detroit techno. "It's a Farewell" again goes heavy on the arps and melodies and is a beautifully colorful and emotional track as a result.



HVOB: Azrael/Ghost 12" (SVT 148EP) 12.50
HVOB's sixth EP offers an acoustic and conceptual taste of their 2015 album Trialog (SVT 150CD/LP), with album tracks "Azrael" and "Ghost" and two remixes. San Franciscio's Pillow Talk (Wolf + Lamb, Life and Death) apply their sound to the pulsating and percussive arc of suspense that is album-opener "Azrael," while The Field (Kompakt) dives into the ethereal fragility of "Ghost."


HVOB: Trialog 2LP (SVT 150LP) 25.00
Double LP version with download code. With their successful 2013 self-titled debut album (SVT 098CD) and five EPs (including SVT 097EP, SVT 102EP, SVT 118EP, and SVT 142EP) HVOB (Anna Müller and Paul Wallner) have crafted a unique sound: intelligent and driving, challenging and melodic. They have established themselves within the international music scene with these releases and with their performances, which they invariably play live, with a drummer. They played in 20 countries in 2014, and appeared at Cape Town Electronic Music Festival, the Berlin Festival, and South By Southwest. Their second album, Trialog, is, above all, an interdisciplinary art project; a discourse between the disciplines of sound, video, and installation, centered on ten ubiquitous physical processes which are documented and interpreted interactively in live performance on three artistic levels: the lyrics and sounds of HVOB, the visuals of VJs lichterloh, and orchestrated processes of visual artist Clemens Wolf. As an album, Trialog depicts the transformation of ten physical processes in ten tracks, tearing, mixing, bursting, melting, oxidizing, breaking, imploding, etching, bending, burning, track to video, video to artwork, artwork to track. HVOB's sound distinctively shapes the album, yet the duo now interpret their acoustic palette in darker, more accentuated, techno-leaning shades. Each of the ten tracks pursues its own individual dramaturgy: the opener "Azrael" tears apart its built-up percussive tension, "Clap Eyes" inches along frailly, "The Anxiety to Please" deepens and condenses until it implodes. References, inspirations, and associations between materials, processes, and artistic disciplines create an artistic depth, which renders the album a highly complex and complete work of art.



KOVACS, KORNEL: Nincs EP 12" (BARN 027EP) 14.00
Kornél Kovács, one third of influential Stockholm label Studio Barnhus alongside Petter Nordkvist and Axel Boman, delivers his debut EP following his 2014 12" single Szikra (BARN 022EP), which appeared on many a year-end list. Opening with the hyper-edited vocals and rolling percussion of "Nordic Rave 4," shrouded in frosty atmospherics and rudebwoy soundbites, the Nincs EP continues with the smooth yet off-kilter IDM track "Utopia, Ohio," before the grandiose pads and descending bassline of the imposing and dizzying "Tooth." "So So Solid" is a beatless loopfest akin to The Field or Gas. Created with studio wizard Matt Karmil.


VNL 12222LP

COLTRANE, JOHN: My Favorite Things LP (VNL 12222LP) 12.00
2012 release on 180 gram vinyl. "Anyone looking for proof that John Coltrane's exalted status is so deserved need only to glance at the amount of time this album took to record. In just three days (Oct 24 - 26, 1960), Coltrane managed to almost effortlessly produce this milestone of modern jazz, and the impeccable Jones/Tyner/Davis line up that supports Coltrane solos ('But Not For Me') give the entire session the feeling that we are experiencing pure genius."


SR 351CD

QUELLET, ISRAEL: Sounds from There CD (SR 351CD) 15.50
Swiss electro-acoustic artist Israel Quellet's fourth opus on Sub Rosa: a complex and mysterious work for symphonic bass drum, symphonic tympani, organ, Tibetan horn, homemade horn, triangle, tubular bells, shocks inside the church, anvil metal tank, and church bells. A challenging listen, but so rewarding.

SR 377LP

STORDEUR, ANDRE: Analog and Digital Electronic Music 1978-80 2LP (SR 377LP) 23.50
Another installment in Sub Rosa's Early Electronic series: selected works, including previously unreleased material, recorded between 1978 and 1980 by a key composer of Belgian electronic music. André Stordeur was born 1941. His musical career started in 1973 with a tape composition for the soundtrack to Gordon Matta-Clark's film Office Baroque. Later in the 1970s, he participated in avant-garde music ensemble Studio voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris de Laet. Since 1980, Stordeur has composed exclusively on Serge synthesizers -- either a Serge series 79 or a Serge prototype 1980, which Serge Tcherepnin built for Stordeur. In 1981, Stordeur composed the soundtrack to Belgian director Christian Mesnil's documentary Du Zaïre au Congo. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control, a guide to everything modular. Analog and Digital Electronic Music 1978-2000 includes Stordeur's only album, 18 Days, originally released in 1979 by Igloo, and the 1980 composition "Oh Well." Housed in a gatefold sleeve.


SV 040LP

WINER, LESLIE: Witch LP (SV 040LP) 20.00
2014 release. "Produced in the twilight of the '80s in London and originally released on white-label LP with a homemade rubber stamp impression, Witch is the mysterious and powerful debut from poet, artist and musician Leslie Winer. It's an infectious patchwork of dub beats, tasteful samples and Winer's sultry blend of spoken word with cool, folksy lullabies that later became popularized by acts such as Massive Attack and Tricky. Even though Witch predates those artists' breakthroughs by a year or more, Winer quickly rejected NME's christening her as the 'grandmother of trip-hop.' Winer's spoken delivery evokes the frank realism of beat poetry; her lyrics grapple with socially constructed notions of beauty, womanhood and domestic roles. These stark challenges to power structures are articulate and staggeringly direct, pushing the boundaries of pop music's form. This message, matched with Winer's uncanny approach and melodic ear, fitted with an electro-acoustic palette built on tension and restraint, culminates in the extraordinary work that--as John Peel said--is 'the very definition of a hidden gem.'"

SV 056LP

BRANCA, GLENN: The Ascension LP (SV 056LP) 20.00
2014 release. "Glenn Branca's first full-length album The Ascension is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell's Kitchen to record five incendiary compositions. Originally released in the summer of 1981, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock 'n' roll. On 'The Spectacular Commodity,' chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) 'never stops climbing skyward.' With artist Robert Longo's stark front cover that depicts Branca battling an unidentified man, The Ascension is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint's Tweez."



MAESTRO: Mountains of Madness LP (TSR 028LP) 25.50
LP version. 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.



HOPEWELL, KEITH K.: Myth/Myths and Structures 12" (VAVA 008EP) 12.00
The first single from the 2015 album Chaoid Systems (VAVA 009CD) by genre-splicing artist Keith K. Hopewell (Part 2). James McNally describes the album as "the adolescent dream of electro re-imagined according to a more desolate vision of the future by a man who, crucially, never forgot that 'Planet Rock' was street avant-gard-ism before it was an 'electro classic,'" and singles out the A-side of this 12": "Nowhere is this clearer than on 'Myth' where 'Planet Rock''s key rhythmic trope -- the distinctive syncopations of Kraftwerk's 'Numbers' -- is ground into a bleak and furiously oscillating acid fever."



IONATA & DADO MORONI, MAX: Two for Stevie CD (VVJ 096CD) 20.00
Max Ionata and Dado Moroni follow up their 2013 Ellington tribute, Two for Duke, with a project dedicated to another musical icon: the legendary and incomparable Stevie Wonder (who, by no coincidence, wrote "Sir Duke" for Ellington and musicians who influenced his work). Considered one of the most prominent artists in the history of black music, Stevie Wonder built the foundation for the evolution of soul and R&B, thanks to his personal style and his fusion of pop, funk, reggae, and jazz. With jazz as their starting point, Ionata and Moroni embark on an exploration of Stevie's music, playing his most loved international hits in an innovative and distinctive style. The album retraces the stages of Stevie Wonder's formidable artistic career, from the enormous success of Songs in the Key of Life (1976) to the enchanting melodic effusiveness of Hotter Than July (1980). The crescendo of sensations and intriguing interplay between Moroni's piano and double bass and Ionata's sax deliver emotionally engaging interpretations of these everlastingly popular and memorable melodies and rhythms.


DEIDDA, ALFONSO: Lucky Man CD (VVJ 097CD) 20.00
Saxophonist, composer, arranger, and multi-instrumentalist Alfonso Deidda presents Lucky Man, his debut album as a leader. Spontaneous and unpredictable, yet focused and highly melodic, the repertoire is composed of well-conceived, original jazz songs with underlying contemporary grooves ranging from Latin through European jazz to free and funk. The interplay between musicians is intimate and technically brilliant, resulting in engaging sound textures that are creatively out of the ordinary and vibrant with emotional tension. The band, a group of masterful performers, seamlessly blends with the solo parts, and includes internationally renowned Anglo-Italian pianist Julian O. Mazzariello, extraordinarily original drummer Alessandro Paternesi, and Dario Deidda, acclaimed as one of the best contemporary musicians and virtuoso of the electric bass and double bass. Last but not least is the exceptional presence of an outstanding soloist and celebrated trumpet player on the national and international music scene: Fabrizio Bosso. Virtuosity, technical skill, and an extraordinary talent for genuine emotional excitement combine to produce a unique and enthralling sound.


BONACCORSO, ROSARIO: Viaggiando CD (VVJ 098CD) 20.00
The innate strength and vigor of Rosario Bonaccorso's melodic writing, together with his striking formal structure, make him widely regarded a highly influential and innovative double bass player. Viaggiando consists of 14 original compositions that propel listeners headlong on an incredible journey, subtly shifting from one continent to another, while drifting through emotions linked by the common thread of the voyage, an inspirational trigger that has always played a key role in the musical adventures of the double bassist. A deep introspection pervades Bonaccorso's music, a soul-searching autobiography that reveals his passions and inspirations: distant journeys into unknown lands, nature, the sea itself, love, and contrasting emotions -- these are the true heart of the album. There are also a few tracks on which the musician sings for the first time: "Storto," "My Faith," "Mon Frere"... Bonaccorso's voice is perfectly and expressively symbiotic with his instrument. He has chosen his travelling companions with acute sensitivity and awareness, to achieve an end result that is true to his inspiration; effective and beguiling. At his side, Fabrizio Bosso sustains the creative flow, as he intuitively chisels evocative melodic fragments with his trumpet and saxophone, while Argentinian saxophonist Javier Girotto (soprano sax, baritone sax, quena, and moseño) and Brazilian guitarist Roberto Taufic blend seamlessly into the fabric, further flavoring this journey with the cultural sensitivity of their respective homelands. A voyage that spans the Mediterranean, American jazz, Brazil, Argentina... essential and pure ingredients that, under the guidance of Rosario Bonaccorso, give birth to a kaleidoscope of emotions that only music can convey.


WG 023EP

HAGELSTEIN, RUEDE: Soul Dynamic 12" (WG 023EP) 14.00
"Soul Dynamic," from 2015's Apophenia (WGA 001CD/LP), the highly anticipated debut album for both Ruede Hagelstein and Watergate Records, is a melodic club hit ripe with canorous shimmers and a warm, rolling sub bass bolstered by crisp percussion grooves and a vocal persistently muttering "soul dynamic." The legendary Kenny Larkin, coming off his massive remix of La Fleur on her Nightflow EP (WG 013EP, 2013), lays out a long, tracky version of the original, building tension with ghostly Rhodes riffs and eerie strings. Fur Coat provide a dark, strobe-light-infused adaptation packed with huge bass stabs and spectral tones.


WP 061

WAX POETICS: #61 MAG (WP 061) 11.99
"On the covers: front: James Brown; back: Curtis Mayfield. Contents: Fred Wesley of the J.B.'s tells the story of the godfather of soul; Curtis Mayfield and the Impressions deliver the message; Young Fathers, Tuxedo, Electric Wire Hustle, TV On The Radio, Joi, Rick Stevens and Tower of Power, Bishop Nehru, Ghostface Killah, Soulection's Joe Kay."



ALL YOUR SISTERS: Modern Failures LP (WYS 008LP) 23.50
Pressed on 140-gram vinyl; includes download code. All Your Sisters's take on the post-punk paradigm is decidedly non-retro. The basic building blocks are there -- heavy drum machine rhythms, pumping melodic bass lines, swaths of atmospheric guitars, and cold synth melodies -- but where many bands are content to wallow in the shadows of their influences, All Your Sisters sounds like the future. Originally released on cassette by Swedish label Beläten in 2014. All songs written and performed by All Your Sisters (Jordan Morrison and Mario Armando Ruiz) and recorded at Mission Records, San Francisco, CA, Oct-Nov 2013, by Sebastien Richard. Mixed and mastered in January 2014 by All Your Sisters and Richard. "*" and "**" contain samples from the movie The Demon Lover (1977). Additional noises on "Whites" and "Good Clean Men" performed by Sebastien Richard. Cover photo by Mar Brisa Aceves. Design and layout by Michael Thiel.


KENNEY/KANG/PARK: At Temple Gate LP (WYS 009LP) 23.50
Pressed on 180-gram vinyl; includes printed inner sleeve and download code. At Temple Gate immerses you in a kind of shamanism of which the echo has long since been lost. It is an interstitial album which marries a modal ancestrality with the power of electronic soundscapes, revealing a duality, an incantation at the threshold of death. The Sound is what immediately strikes the listener, even before the Logos, the word, the music itself; At Temple Gate is a kind of sonic ritual. It is not the dead, these deities, who are terrifying, but the living and their ever more ardent desires to communicate with those whose bodies have spread throughout the cosmos into a billion particles of stardust; where we come from and where we end up, ashes to dust. At Temple Gate is evocative of all of this: the bait of Time, Cruelty, the bite of Sound. Jessika Kenney: voice, electronics; Eyvind Kang: viola, electronics; Hyeonhee Park: percussion, electronics; with Timm Mason: modular synth. Numbered edition of 300 copies.



Vinyl-only heavy hitter from Italian sound designer Edanticonf. A very personal statement from an artist known for his deep, dreamy, and -- dare we say -- trancey take on electronic music. He made his mark in the music scene through pivotal releases on Silent Season and M_REC LTD. His profile perfectly fits Wolfskuil Limited's dedication to left-of-center releases aimed at leftfield dancefloors. "1989.1" is a perfect set-builder or after-hours anthem with its lush string arrangements and offbeat groove. Its counterpart, "1989.2," is more meaty, especially in the sub domain, and could offer a brilliant peak-time moment for more experienced floors.


XI 115CD

LAINHART, RICHARD: Ten Thousand Shades of Blue 2CD (XI 115CD) 14.00
2001 release. Bronze Cloud Disk (1975) for multitracked, processed bowed tam-tam; Two Mirrors Face One Another (1976) for multitracked, processed bowed Japanese temple bells; Cities of Light (1980) for multitracked, processed voice; Ten Thousand Shades of Blue (1985) for realtime interactive computer music system; Staring at the Moon (1987) for realtime interactive computer music system with bowed and struck vibraphone; Walking Slowly Backwards (1989) for vibraphone. "Lainhart's music rings true to the spirit of possibility that once defined electronic music. It brings with it a sense of past, present and future that transcends time, technology and cultural assumptions. It's a music that is beholden to no one, yet informed by a diverse sphere of appreciations, rich in both intellectual and emotional interest, at once distant and interior, actual and implied" --Ron Goldberg. "Lainhart's sounds change slowly in their overall shapes. But the changes are slow to keep us aware of the processes of transition that the sounds contain. As Lainhart says it, 'The natural processes that I tend to like and observe are slow processes, that bear up under active listening... and that active listening at a level of greater detail, so my sounds are sufficiently complex so that they can be listened to in depth." --Joel Chadabe

XI 119CD

RADIGUE, ELIANE: Triologie de la Mort 3CD (XI 119CD) 27.50
1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.

XI 121CD

2002 reissue. "YPGPN (Young Person's Guide to Phill Niblock) is the long-awaited re-release of a two-CD set that was a joint production by the UK-based Blast First label and The Wire magazine in 1995. It includes the following works: Held Tones (1982-94) Barbara Held, flute; Didjeridoos and Don'ts (1992) Ulrich Krieger, didjeridu; Ten Auras (1994) Ulrich Krieger, tenor saxophone; Ten Auras Live (1994) Ulrich Krieger, tenor saxophone; A Trombone Piece (1978-94) James Fulkerson, trombone; A Third Trombone (1979-94) Jon English, trombone; Unmentionable Piece for Trombone and Sousaphone (1982-94) George Lewis, trombone and sousaphone. Phill Niblock and his music have been with us now for quite some time. In 1972 he guided an audience that had come to the New York venue the Kitchen for a concert of his compositions, to his loft... Now, some thirty years later, Niblock's work continues to draw new audiences. What is extraordinary about this is that the principles of his music have not changed much over the years; that with the long timespan covered by each piece and the sparseness of the musical material and its elaboration, one could be forgiven to think that it is at odds with contemporary hasty tastes. In fact, just because of that, it has the power to draw attention to itself. The apparently immobile string of tones that is basic to his compositions has a singular mesmerizing quality." --Rene van Peer

XI 122CD

PANHUYSEN, PAUL: Partitas for Long Strings CD (XI 122CD) 11.50
1998 release. Voted one of the top 50 records of 1999 by the writers and critics of The Wire, Partitas for Long Strings is the first album in 12 years to document Paul Panhuysen's work with long string installations. Included with the CD is a 32-page booklet which details the history of Paul Panhuysen's work with installations through pictures and text. "Since 1982 Panhuysen has created over 200 such installations, playing the strings with his fingers, connecting them to pianos, letting them vibrate in the wind, always changing, always finding new sounds, and doing so with a particularly good sense of how the strings should look, and how they should relate to the architecture around them" --Tom Johnson. "Two aspects were of central interest to him: different tunings and density of sound. He made an installation in the large space of Het Apollohuis, stretching four strings lengthwise and attaching them to the wooden wall on the far end, which served as a resonator. He did not use automatons or electric amplification. He played the strings by brushing them, walking back and forth at an even pace. His aim was to make his playing as continuous and even as possible. For each partita he recorded his playing four times, superimposing these recordings over each other and listening to the earlier recordings over headphones whilst playing. The total sound of each partita is produced by sixteen strings. The three partitas differ in the systems according to which the strings are tuned. These tunings can be regarded as the score for each piece. In 'Partita I' all strings are tuned to the same pitch. In 'Partita II' and 'III' each string is tuned differently, and after each take they were tuned to new pitches... The result is a considerable difference in overall texture between the three pieces." --René van Peer

XI 123CD

JOHNSON, TOM: The Chord Catalogue CD (XI 123CD) 11.50
1999 release. Tom Johnson composed The Chord Catalogue in 1986 and has performed it numerous times around the world since then. This is the first recording. The score consists of a set of verbal instructions and is included in the CD booklet. "Extreme and, one would think, extremely simple. A lesser man would have arranged those 8178 chords in some symphonically meaningful, or else quasi-random order. But Johnson proceeded methodically up the chromatic scale from two notes at a time, three, four, and so on to 13. By the time we reach ten note chords, the information overload was such that the differences were hardly perceptible, a situation reminiscent of serial music. Far from being heavy handed minimalism, The Chord Catalogue was a pointed lesson in music history and the relativity of perception" --Kyle Gann, The Village Voice. "I have often tried to explain that my music is a reaction against the romantic and expressionistic musical past, and that I am seeking something more objective, something that doesn't express my emotions, something that doesn't try to manipulate the emotions of the listener either, something outside myself. I like to think of The Chord Catalogue as a sort of natural phenomenon -- something which has always been present in the ordinary musical scale, and which I simply observed, rather than invented. It is not so much a composition as simply a list." --Tom Johnson

XI 124CD

BAND, ELLEN: 90% Post Consumer Sound CD (XI 124CD) 11.50
2000 release. From the liner notes by Tim Perkis: "Ellen Band's work... lies in the path it takes, leading one from listening to recordings of natural sounds to, before one knows it, being immersed in a dense and complex field of sound which, though built completely from natural elements, is something quite transcendent and otherworldly. Band's music seduces us into perceiving the sensuous properties of familiar sounds by building dense and complex sound environments out of these elements. By sheer sensory density we are brought face-to-face with the physical, vibrational reality of sounds, bringing us to a state of attention to what we perhaps have lazily ignored through over-familiarity. The ever-active yet somehow static nature of some of these pieces, as they reach very rich sonic densities, start opening like rich noise sources, providing a field for auditory illusion and hallucination. It's as if our perceptual apparatus, brought to a high state of awareness by the odd combination of familiarity and extreme density, begins providing its own guesses about the meaning of it all -- aural hallucinations." From the liner notes by Brenda Hutchinson: "At the end of each of Ellen Band's pieces, we return to the 'real world' as it was heard in the beginning. The sounds are now full of memories with the residue of where they have been. It's hard to hear a simple, familiar sound again without imagining what its 'other life' is like."

XI 125CD

CORNER, PHILIP: 40 Years and One: Philip Corner Plays the Piano CD (XI 125CD) 11.50
2001 release. "This man and his work represent the real 'speculum musicae' of the past 40 years. The example of his music embodies a lifelong commitment to an integral radicalism.... this is a venerable tradition that Philip has written so eloquently about, and continued in his music. A tradition that stems from 'Charlie' Ives through John Cage and Lou Harrison. All of these composers would ultimately admonish us to do one thing: to open our ears -- and LISTEN!" --Peter Garland. "Perhaps the single most striking quality of Corner's piano music, beyond the pleasure of the music, is the crystal clarity of the concepts. Corner moves purposefully from deep musical thought via these concepts to highly pianistic compositions with a broad range of affect, much as Bach moves from his deep music via contrapuntal forms to the unfolding of his keyboard works. There is love for the piano, and in recording the works, and, in relationship to it, the choice mastering techniques for each work. There he was joyful" --Charlie Morrow. "When Philip plays the piano he always makes me imagine that music is a single great continuum, and that we always live in all of it. We may hear it a portion at a time, but we always live in all of it. I am moved by the ease with which he leads me from here to here to here, each different, always NOW, always familiar, always remembered, yet unexpected, like watching the change, return and passing of the seasons. In addition to making music, he shows me the reasons for making music" --Henry Martin. "Always there is the presence of touch as play upon, within, around the piano; his playing, the keyboard and frame of instrument singing, of fingers, palms, arms and body, whole... by touch releasing, through gesture sounding, and always mind/sense being one... the piano thereby is transformed, qualities of percussion and human voice all possible, extended and endlessly fulfilled with nuances of articulation and resonance." --Malcolm Goldstein

XI 126CD

MONTGOMERY, GEN KEN: Pondfloorsample 2CD (XI 126CD) 14.00
2002 release. Two CDs for the price of one. These two discs represent some of Gen Ken Montgomery's sound art and compositional work from 1981-2001. Pondfloorsample is a collection of sonic explorations utilizing common devices meant to hold something other than sound. As with much of his sound work, the sonic material contains many sounds of everyday life. Having composed extensively for multi-channels, Pondfloorsample was specifically designed as a stereo audio piece enabling Montgomery to reach a larger audience. His work always begins with listening to the world. He works within processes, defining a set of conditions by which a piece will unfold itself. Sometimes he takes the familiar -- sounds of icebreakers, radiators, laminators, egg slicers, bath drains, etc. -- amplifying their familiarity, all the time asking us to hear the world a little differently. Other times he constructs a vapor of mesmerizing sound that is entirely disassociated with things that you know or instruments that can be visualized. These are sounds that you can see. He has a Cageian appreciation of ambient noise.

new releases are also viewable at

to subscribe to this list, send a blank email to This e-mail address is being protected from spambots. You need JavaScript enabled to view it



Donate towards our web hosting bill!
		at the iTunes store