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

Forced Exposure New Releases for 4/13/2015

E-mail Print PDF

New music is due from Aidan Baker, Darkness Falls, and Frank Bretschneider, while old music is due from Phill Niblock, Arthur, and the Lilac Time.


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


AT 005CD

TRICKFINGER: Trickfinger CD (AT 005CD) 17.00
The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template. Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music. Frusciante writes, "I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the ten years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer- and sample-based music, emulating as best as I could what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony... Programmers, particularly ones fluent on machines from the early '80s and/or tracker programs from the '90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz, or classical. The hands' relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct... In 2007 I started to learn how to program all the instruments we associate with acid house music and some other hardware. For about seven months I didn't record anything. Then I started recording, playing ten or so synced machines through a small mixer into a CD burner. This was all experimental acid house, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was... so excited by the method of using numbers much in the same way I'd used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody, and sound. In summary, acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one-man band." Double LP includes download code.

AT 005LP

TRICKFINGER: Trickfinger 2LP (AT 005LP) 25.00
Double LP version with download code.



BEHRMAN, DAVID: Wave Train CD (NMN 020CD) 19.50
2015 remastered CD in digipak with 12-page booklet including liner notes written by the composer as well as diagrams and scores relating to the published works. Wave Train, originally released by Alga Marghen in 1998, collects experimental works by David Behrman recorded between 1959 and 1968, featuring the Sonic Arts Union. The CD starts with "Canons," a short piece created in Darmstadt over three weeks in the summer of 1959 with David Tudor on piano and Christoph Caskel on percussion. "Ricercar" is a prepared piano piece made in 1961 and has the flexible form of the kind favored by European composers in the early 1960s, and also reflects the work of Cowell and Cage. "Wave Train" (1966), a powerful feedback piece performed live with Gordon Mumma, marks the radical moment when Behrman threw away established techniques. "Players With Circuits" (1966) is an exploration of raw materials; a combination of live electronics and amplified acoustic sound. "Sounds for a Film By Bob Watts," for outdoor environment recording and homemade synthesizer, was recorded at Stony Point, the artists' cooperative which John Cage, David Tudor, Sari Dienes, and other friends had established. The last piece, "Runthrough," was made for performance by members of the Sonic Arts Union: Alvin Lucier, Gordon Mumma, Robert Ashley, and, of course, Behrman himself; two of them working the dials and switches of homemade synthesizers, and two others distributing sound in space with homemade photocell mixers; Time Records released a different version of this piece in 1969.


ASHLEY, ROBERT: The Wolfman CD (NMN 048CD) 19.50
Alga Marghen presents a 2015 remastered CD edition of its 2003 CD The Wolfman, a collection of pieces that introduce the listener to the most extreme experimental side of American composer Robert Ashley. Presented in digipak with 12-page booklet including liner notes written by the composer and the complete score of "The Wolfman," first issued in Source magazine. The program starts with "The Fox" (1957), Ashley's first electronic work, which displays his nascent electronic music theater style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single live pass. "The Wolfman" was composed in early 1964 and first performed at Charlotte Moorman's 1964 second Annual Avant Garde Festival of New York. The piece immediately won a considerable reputation as a threat to the listener's health. For the occasion, instigated by Morton Feldman, Ashley composed a piece of tape music, "The Wolfman Tape," to be played along with the vocal performance of "The Wolfman." The tape composition, played out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), filled in the ongoing performance sound and transformed the performance into an elaborate version of drone under the influence of electronics. For the performance of "The Wolfman" recorded here, produced at the University of California, Davis, Ashley used a 1960 tape composition titled "The 4th of July." That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. "The Wolfman Tape" (1964) is, as described above, a tape composition made for a short performance of "The Wolfman." It uses tape-speed manipulation and mixes of many layers of found sounds, both from AM radio and from recordings made using different kinds of microphones. "The Bottleman" was composed in 1960 as music for an experimental film by George Manupelli. The 40-minute version presented here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit hum (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other found sounds played back at various tape speeds.


PALESTINE, CHARLEMAGNE: Four Manifestations On Six Elements (Golden 5) CD (NMN 080CD) 19.50
2015 remastered version of Alga Marghen's 2010 reissue of the Sonnabend Gallery's 1974 limited edition double LP. Presented in digipak sleeve with full-color 12-page booklet including two essays, originals score, and visual materials relating to the composition. Alga Marghen presents the fifth installment of its Golden Research Charlemagne Palestine archive series: Four Manifestations On Six Elements, one of Palestine's most well-known works. In 1973 the Sonnabend Gallery in New York commissioned Palestine to make Four Manifestations On Six Elements. "Two Perfect Fifths, a Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre -- sound color -- through exploration of the inert chemical activity in the overtone series of tone fundamentals. This genre of Palestine's work is akin to a kind of sound alchemy, blending elements over and over again in search of the Golden Sound: the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, in the Rhythm 3 Against 2, for Piano" (1973), Palestine uses the resonant Bösendorfer piano to create a more lively and complex variation of tones, intervals, overtones, and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different, as Palestine reinterprets these simple elements and listens within them for variations of amplitude, mixture, and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano is not used, thus focusing on its rhythmic aspect. Gradually, by adding the sustain pedal, the external rhythmic pattern begins to internalize, becoming an inert part of the whole timbral fabric -- a piece expressing the struggle for dominance between rhythm and timbre. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel, and Monet. "Three Perfect Fifths, a Major Second Apart, Reinforced Twice" (1973) is the complexification and continuation of track one. A pure and sonorous phenomenon.


PALESTINE, CHARLEMAGNE: CharleBelllzzz at Saint Thomas (Golden 666) CD (NMN 090CD) 19.50
Presented in tri-fold digipak sleeve. Alga Marghen presents the "sixSIXsix"th installment of its Golden Research Charlemagne Palestine archive series: CharleBelllzzz at Saint Thomas. These previously unreleased recordings of Palestine's "Bells Studies" are both some of his earliest recordings and some of his darkest and most accomplished works. In 1963, while attending The High School of Music & Art in New York, the 15-year-old Palestine was asked if he'd be interested in playing a 26-bell carillon at the St. Thomas Episcopal Church. He decided that he loved the voluptuous Taylor bells, and played them every day from 1963 to 1970, when he left New York to study and teach at CalArts. During his time high above 53rd Street and 5th Avenue, accessible only by a spiral staircase, Palestine became known as the Quasimodo of midtown NYC, and his dissonant and "klanggdedangggebannggg" style of playing attracted a diverse group of fans, from Moondog to John Cage to Tony Conrad, among others. Palestine was able to continue playing his clanging-bell soap operas for seven years, dinggdonggingggg every late afternoon and Sunday mornings. "Bells Carillon" and "St Thomas Bells," both recorded at unidentified dates between 1966 and 1968, are maximal-bells-pure-resonating frontal attacks, building up in a structure that anticipates the later Strumming campaigns (SR 297CD). Unique and clashing dissonances created like an instinctive, spontaneous outburst. Palestine played the bells right next to his body. The sounds became physical, visceral; each crack of the clapper was like a small earthquake.



AHRENDS, AARON: Newborn Remixes 7" (AND 019EP) 9.00
Remixes of "Newborn" from Aaron Ahrends's acclaimed 2014 debut 12", Brief Embrace (AND 018EP). Ada (Pampa) began her remix while caring for larvae, watching their metamorphosis, and releasing them as butterflies. The track comes highly recommended from summer barbecues. Forgotten Birds (Karaoke Kalk) stopped touring as a band in 2014. Their first and possibly last remix was created spontaneously in a jam session -- enough reason to be grateful for their awesome gift. Both tracks made in Hamburg.


AM 703LP

AMBIQ: ambiq 2LP (AM 703LP) 25.00
LP version. 180-gram vinyl. 2014 release. German pianist Max Loderbauer, in continuing his work with the Buchla 200e synthesizer system, joins two Swiss musicians and veterans of ECM Records, clarinetist Claudio Puntin on clarinets, mini mallets, and electronics; and percussionist Samuel Rohrer on drums, Kaoss Pad, and electronics to form ambiq, a group dedicated to the exploration of remote musical universes. Their debut self-titled album, released on Rohrer's label arjunamusic records, aims to open doors of perception to the electronic scene by means of enhanced possibilities of instrumental interaction. Rohrer, as an improvisatory sound pilot, is able to elegantly navigate beats and anti-beats. He expands the world of rhythmic functions with his artistic, cross-style overall concept to include striking emotional components. His percussion style flows with an implicit quality into his electronic arrangements, returns enriched with seductive energy, and presents itself as the crucible for the contributions of his fellow passengers. Claudio Puntin's unmistakably smooth sound as he plays on all members of the clarinet family, with the support of mallets and electronics, is familiar from numerous CDs and performances, as well as from film, audio-drama, and theater productions. His live concept of floating electronic spaces and layers of overtones and loops, which he customizes for his clarinet sounds, opens up divine dimensions while creating the harmonic, melodic, and tonal orbit for the satellites of his fellow musicians. With its unique blend of modular synthesizer, drums, electronic rhythms, clarinet, and electronics, ambiq develops mysterious electro-acoustic soundscapes, somewhere between the outer reaches of techno, electronica, and jazz.


AU 5054CD

RASPUTIN'S STASH: Rasputin's Stash CD (AU 5054CD) 17.00
Best known for having been sampled by Beck and The Chemical Brothers, this Chicago psychedelic soul octet call to mind Funkadelic and Sly & the Family Stone on their superb debut LP, which was originally issued in September 1971. Digitally remastered; includes detailed liner notes and images.

AU 5055CD

YOUNG, CATHY: A Spoonful Of... CD (AU 5055CD) 17.00
The debut album by this Toronto teenager appeared in the spring of 1969, and makes its long overdue return to CD here. Apart from a stunning psychedelic rendition of the title-track, it's a lost singer-songwriter gem, calling to mind the work of Joni Mitchell, Laura Nyro, and Melanie, with backing from noted musicians who also played with Bob Dylan, Tim Hardin, Steely Dan, and others. Digitally remastered; includes detailed liner notes and images.



R.O.B.O.: Todo se derrumba LP (BEAT 051LP) 19.50
Following their 2012 debut 7" on Spanish label Solo Para Punks, on which they showed their basic and simple punk rock, R.O.B.O. returns with their first full-length. There's no evolution on their tracks; short and straight to the point, with memorable riffs and catchy vocal melodies. Todo se derrumba features 14 songs without any pause, played with the passion essential for this music. Includes members of Muletrain, Las Señoras, Aerobitch, Sudor, and so on. Released by Beat Generation and Blondes Must Die in a limited edition of 500 copies on glorious 180-gram vinyl with a special handmade cover.


BS 008LP

KUREK, PIOTR: Edena LP (BS 008LP) 25.00
2015 repress. Released on tape by the Polish label Sangoplasmo, Edena is the amazing record by Poland's Piotr Kurek. As a composer and multi-instrumentalist with a penchant for vintage sound equipment, as well as the practical sense to know where their limitations are, his musical compositions -- part melodic narrative, part sound collage -- distill a sense of nostalgia into a romance for the present. Using a Moebius comic he had never seen (Le Monde d'Edena) and an instrument he would never have (a Mellotron) as a conceptual starting point, the Warsaw-based, Polish artist presents Edena. A hypnotic, circular motion pervades all of Edena; a cyclic life-force that gives the impression of forward motion, while really folding back on itself, reflected by the infinity symbol of the cassette cover. The record is full of warm analog synth sounds and strange voices, like Roberto Cacciapaglia's "6 Note in Logica," and shares connections with the minimalistic music and '60s experimentalism of Steve Reich, Philip Glass and the hyper-energetic electronic nirvana of Terry Riley's 1967 masterpiece A Rainbow in Curved Air.



EXPLORING JEZEBEL: On a Business Trip to London CD (BLACKEST 008CD) 16.50
On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries. Track 11 only available on CD version.



DORJI, TASHI: Blue Twelve LP (XRAY 001LP) 32.00
Frosted clear 180-gram vinyl in screenprinted PVC wallet with download code. Blue Tapes inaugurates its X-Ray Records vinyl series with a reissue of one of its most loved tapes, Blue Twelve by Tashi Dorji. This was Tashi's first set of electric guitar recordings and was originally released in March 2014. Since then he has released a widely acclaimed LP for Ben Chasny's Hermit Hut label and toured with luminaries and admirers like Sir Richard Bishop. This is a very special LP package on frosted clear vinyl with screenprinting that forms a photo negative of the original tape artwork when held up to the light. It doesn't sound like a guitar. But I know you like guitars, so don't let that put you off. It sounds less like an instrument, in fact, than many voices -- swooping and surrounding the listener. Whispering lovely nonsense-poetry in one ear while their shadows quietly circle and shout abominations in the other ear. You know Forbidden Planet? Yeah, sort of like that. Not music so much as a real-time dialog of different distinct voices, each with its own character. Except it is a guitar. One guitar. All recorded live, improvised, with no edits or overdubs. What's more, this is Tashi Dorji's first ever electric guitar release. His previous cassettes and download albums have stoked up feverish praise from fans. Ben Chasny was so impressed with Tashi's gorgeous acoustic improvisations that he formed a label -- Hermit Hut -- specifically to put out Tashi's music.


POUR LE PLAISIR: Tin Machine EP 12" (XRAY 002EP) 26.50
The closest Blue Tapes has come to a movie soundtrack. "Tin Machine" is all perpetual energy and fluid tracking shots, beats coalescing into a beautifully poised disco strut while an acid-funk synth bassline carves cocaine shapes in the air. "The Movie" is all hissing sewer grills, human silhouettes blown up by menacing car headlights, nervy walks down alleyways where our protagonist senses darting figures in peripheral vision. "Girly Hole" is the moment when the 1970s filmstock turns into a computer game and the characters go raving in a shared lucid dream -- futuristic and nostalgic and pulverizing to the soul.



WONDERFULS: Only Shadows Now LP (BRD 013LP) 26.50
Robert Vagg (Meat Thump, Kitchen's Floor) delivers ten confessionals that drift around tragedies, hopelessness, failed systems, nonconformity, and physical/psychological experiences. Set to the minimalist sparse compositions of Dan McGirr and Natasha Buchanan, whose guitar and synthesizer lines entwine around the bleak lyrics and help paint Robert's world of despair and loneliness. Only more downer, time hasn't healed the wounds, they've only become deeper. The Durutti Column meets Lou Reed's Berlin on this Australian band's second LP, far from their shambolic debut single on Negative Guest List.


BTR 002

A Quarterly Journal of Post-Rock Cultural Pluralism. In this issue: Todd Abramson, Steve Albini, Alan Bishop, Bree, Rej T. Broth, Joe Carducci, Benoit Chaput, Sharon Cheslow, Byron Coley, Karen Constance, Nigel Cross, Chris D, Georganne Deen, Lili Dwight, Erika Elizabeth, Ray Farrell, Andrea Feldman, Eddie Flowers, Tom Givan, Tom Greenwood, Mats Gustafsson, Lisa Marie Jarlborn, Ira Kaplan, Maria Kozic, Matt Krefting, Tom Lax, Ted Lee, Heather Leigh, Donna Lethal, Owen Maercks, Marc Masters, Hisham Mayet, Phil McMullen, Richard Meltzer, Thurston Moore, Dylan Nyoukis, Gary Panter, Brigid Pearson, Charles Plymell, Tony Rettman, Joanne Robertson, Bruce Russell, Suzy Rust, Savage Pencil, John Sinclair, Chris Stigliano, Brian Turner, Tesco Vee, Naomi Yang. 80 pages, black & white 8.5" x 11".


BB 194CD

LORENZ, RUDIGER: Southland CD (BB 194CD) 18.00
Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died -- unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Dorau's live ensemble), can be heard speaking a few lines into a vocoder on "Strange Feelings," and later, as a graphic design student, Tim prepared artwork for his father's releases. CD presented in digipak.



BEADLE, JEFF: Where Did We Get Lost CD (BFLY 012CD) 15.50
Canadian folk singer-songwriter Jeff Beadle's performance at the Haldern Pop Festival 2014 and the following German tour brought him wide media attention and packed venues. Where Did We Get Lost is Beadle's second album; its nine songs of raw and intense beauty showcase the same direct and honest songwriting that made his 2014 debut, The Huntings End, so enchanting. Beadle writes his songs while battling Toronto traffic and working alone every day. In the time since 2011 he has cleaned and serviced the swimming pools of the downtown elite; his songwriting is a release for the recollections of fears, tragedies, and heartbreaks of his past invoked by his daily solitude. The songs would begin as rough sketches on his cell phone, using voice memos and notes. Covered in grease and chlorine, Beadle would rush home to unpack the ideas, hashing out the fundamentals into melodies and complete lyrics. There is always rushed excitement to his creation. His house is the local hub for all his friends, where he prepares late-night dinners for everyone as Chef Jeff and enacts wine-infused testing grounds for young songs, eliciting feedback that he then uses to fine-tune his songs at many local Toronto venues. He plays constantly, at home, a capella in the car, at bars, in backyards, all for the love of playing. Beadle has toured Canada multiple times, and has developed a love for the road and the unique towns and people he meets on his travels. His songs tell not only his own story, but those of others; he is driven by an intense empathy for people's situations and losses. The road is his library, where he gathers stories and experiences and translates them to music.



LOKO, MIRKO: Comet Plan CD (CADENZA 016CD) 17.00
Swiss DJ and producer Mirko Loko presents the follow-up to Seventynine, his 2009 debut, catapulting us into the techno and electronica galaxy with Comet Plan. "Un voyage entre toute mes influences," Mirko Loko shares, breaking into his mother tongue to describe the essence of his sophomore long-player, which he conceived in Berlin and later birthed in his hometown of Lausanne after a two-year gestation period. Literally translated as "to travel between my influences," it's a fitting summation of an artist whose work has respectfully mined early inspiration from Detroit and Chicago, drawing on artists who laid the foundations of the emotion-filled productions he has become known for. Loko also sees his connection with Luciano's Cadenza Music -- a relationship that's been in existence since day one, and that has seen the likes of Ricardo Villalobos, Thomas Melchoir, Pedro, and Rahdoo come together to form one of the most innovative crews in dance music -- as leaving an indelible imprint on his musical DNA. It's Loko's strong sense of musical identity that is at the core of Comet Plan, a work that's equally informed by the artist's spiritual connection with the Motor City as his halcyon Cadenza roots. And one thing's for sure: he knows how to captivate. Take "Venus," whose trickles of melody and syncopated drum rhythms increase in intensity with each bar toward an eerie crescendo. Then there's "U Special," which builds the kind of subtle party vibes you could imagine Luciano dropping to create one of those moments on a heaving, blissed-out dancefloor. On the CD version, "Kolor," the album's early single (also remixed by Carl Craig as part of an excellent EP package), is sprinkled with a dusting of xylophones, chimes, and other bells as the melody is driven forward for a heady trip across the electronic galaxy. "Timeline" sees Mirko enlist visionary pianist and electronic composer Francesco Tristano for an absorbing piano house jam session with a difference before handing the collaborative baton to dOP vocalist Jaw and taking us down a murky, slightly menacing house path with "Danger." For the CD finale, the melody-soaked futurism of "Coelum Piuzis" pours wave after wave out of the speakers -- se termine le voyage. CD includes five exclusive tracks: "Lea," "Flash," "Kolor (Original Mix)," "Radio Vini," and "Coelum Piuzis."


LOKO, MIRKO: Comet Plan 2LP (CADENZA 102LP) 25.00
Double LP version.


RED 2000CD

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!


MORRICONE, ENNIO: Veruschka 2LP (RED 201LP) 31.00
Dagored presents a reissue of Ennio Morricone's famous soundtrack for the 1971 Franco Rubartelli film Veruschka - poesia di una donna. The film follows the legendary Veruschka von Lehndorff, the world's first supermodel and a real '60s/'70s icon, who appeared in several cult movies including Blowup (1966), Salomé (1972), and Couleur chair (1978). It's a shockingly surreal journey through the rural countryside of Italy on a downward spiral of self-discovery through whacked-out head trips; heavily dark and sad with some of the most stunning psychedelic eye candy you can find from the freak-out era of filmmaking, perfectly tuned with one of Ennio Morricone's best scores. A true one-of-a-kind of experience! Limited edition of 500 copies.


In 1971, for his score for Enzo Castellari's Gli occhi freddi della paura, Ennio Morricone called on the services of Gruppo di Improvvisazione Nuova Consonanza, the legendary improvisational avant-garde combo of which he was a founding member. Not only a classy soundtrack but also a classic of the experimental and free jazz genres. Limited edition of 500 copies.


FIDENCO, NICO: Black Emanuelle LP (RED 204LP) 23.00
The legendary Nico Fidenco's score for the 1975 Italian-Spanish softcore sexploitation film Black Emanuelle is by turns sultry and serious, fun and funky. The sound is sophisticated, groovy, and melodically memorable, mixing Latin rhythms -- in a continuous sexual tension with the exotic images of the beautiful lead Laura Gemser -- and electronic textures that show the influence of early techno masters such as Giorgio Moroder and Kraftwerk. Jacket features deluxe double UV coating. Released alongside Fidenco's score for the 1976 sequel, Black Emanuelle: Orient Reportage (RED 205LP).



TODD, EMERSON: Love Somebody 12" (DCR 017EP) 14.00
The 17th installment from Danse Club kicks off a much darker and harder side of the label -- with dark sleeves and muted colors, there is a clear difference in direction on Emerson Todd's Love Somebody. Danse Club has called upon Sascha Dive, Nathan Barato, and itself (Brodanse) for remix duties in order to take Todd's original piece in three dancefloor-led yet contrasting directions. Each remixer delivers get exactly what one would expect from such names, and the result is a package of stand-out Danse Club tools that will find its way into a number of record bags.



LILES, ANDREW: Cover Girls CD (DPROM 111CD) 15.50
Cover Girls, begun by sound artist and multi-instrumentalist David Liles in 2011, is a women-only recording and has the following wonderful, unique, charming, and beautiful women contributing their voices: Elisabeth Oswell, Katie Oswell, Gena Netherwood, Baby Dee, Jess Roberts, Cosey Fanni Tutti, Melon Liles, Lavinia Blackwall, Alex Jako, Miranda Kinkelaar, and Bobbie Watson. Spanning a wide array of genres, the album includes cover versions of songs originally by David Essex, Scraping Foetus Off the Wheel, The Buggles, UFO, Einstürzende Neubauten, and many more. It is packaged in a beautiful gloss laminated digipak.



LINDERMAN, JIM: The Birth of Rock and Roll Book (DTD 040BK) 43.00
"Collector and Americana yay-sayer Jim Linderman is an archivist of the obscure. His collections tell vast stories in sotto voce, allowing curios and objects shadowed by mainstream culture and ideology to converse and be heard. What we hear is an enormous American sub-culture speaking in forbidden, marginalized languages: stuff discovered boxed in the attic out of embarrassment or zealotry, smutty ash trays crowing next to religious pamphlets, each claiming a part of the complex, sometimes contradictory, always conflicted American imagination, a chaos of memories that will one day vanish. In The Birth of Rock and Roll, Linderman's arranged a storyboard of sorts that dramatizes the spirit, if not the chronology of rock and roll. Poetically, the photos evoke without naming, and have little to do with conventional iconography of the birth of rock and roll -- i.e., young white men in Memphis, poodle skirts, Alan Freed, Bill Haley's Brylcreem, etc. Instead they document, and celebrate, the pure but indefinable essence of rocking. Ordinary, nameless men, women, and children, some white, some black, are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there is an urge to make acoustic or electric music -- whether to help at a rent party, busk in front of a crowd, or testify in the name of Jesus -- there's an uncredited photographer there to snap an image" --Joe Bonomo. "I wanted them all to be anonymous, but several were identified, and the Carter Family was included because it is such a lovely snapshot [and it has never been published before now]. I like to think rock and roll emerged from a large collective of unknown folk 'down there' rather than from some stars 'up there'" --Jim Linderman. Includes an introduction by Jim Linderman and an interview with Jim Linderman by Joe Bonomo. Jim Linderman is a writer, art historian, collector, and publisher. He maintains a network of websites on art, photography, and culture. Joe Bonomo is an essayist and music writer. His books include Sweat: The Story of The Fleshtones, America's Garage Band; Jerry Lee Lewis: Lost and Found; and Conversations With Greil Marcus. Book designer: Martin Venezky. 160 pages; 12 x 9.75 inches; 134 images reproduced in full color.



PAPIR: Live At Roadburn CD (EPR 023CD) 16.50
After four studio albums, Papir unleash their first live album. It's surprising it took so long, since the band's shows have long been revered among fans. Recorded at the 2014 Roadburn Festival in Tilburg, Netherlands, where Papir were asked to perform three times. It's the complete recording of the first and finest of these shows that Papir have chosen for this release, and it's all here: Christoffer Brøchmann's jaw-dropping drum chops, easing from delicate jazzy drumrolls one second into deranged math-psych explosions the next; Nicklas Sørensen's vast array of guitar styles, blending post-rock drones with majestic wah-drenched soloing; and Christian Becher keeping it all together with his bouncing and booming bass lines, as well as utilizing his groovemaker to make blistering ethereal soundscapes. From the first note, Papir show just how far they've travelled over the span of a few years, catapulting a motoric track off their 2010 self-produced DIY self-titled debut into new soaring heights. The show also reworks "Monday" and "Sunday #2" from Stundum (EPR 007CD/LP), their first El Paraiso release, and drops a highlight from 2014's IIII (EPR 015LP) into the equation. As if this wasn't enough, they premiere two tracks with the same stamina, making sure that Live At Roadburn is not just a roadmap of where they've been, but very much an up-to-date snapshot of one of Europe's hardest working instrumental outfits. The album was mixed and mastered by Causa Sui's Jonas Munk from a 24bit multitrack recording.


EF 014CD

BALDELLI, DANIELE: Cosmic Drag CD (EF 014CD) 20.00
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. The CD version of Cosmic Drag contains all four tracks from Baldelli's 2014 Cosmic Drag EP (EF 063EP), plus eight more stimulating, hypnotic, trend-setting tunes. Each track spreads deepness with diversified melodies, chords, and rhythms. 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.



FRAHM, NILS: Solo CD (ERATP 065CD) 15.50
Berlin-based composer and pianist Nils Frahm celebrates the first annual Piano Day (March 29, 2015, the 88th day of the year) with the release of Solo. The group behind Piano Day, made up of Frahm and his closest friends, plans to support various exciting, piano-related projects; the first of these is the building of the world's tallest piano, the Klavins 450. As the life-long dream of David Klavins, it will exceed the current record-holder, the Klavins M370. Located in Tübingen, Germany, the M370 weighs 1.8 tons, stands 12.14 feet tall, and boasts strings up to about 10 feet in length. It was on this piano, in one sitting, that Frahm recorded the eight improvised piano motifs that form Solo. Once recorded, Frahm began to think of ways to release the album as a gift to his fans, and came up with Piano Day. Solo was made available as a free download on Piano Day 2015, as a way of easing Frahm's fans into sharing their money for the Klavins 450 project. All direct donations and a portion of all record sales will go to the Klavins 450 project until the target has been hit. In his liner notes for the album, Frahm writes, "David got to work in 1985 and finished his instrument two years later. Back then I was five years old, with no idea of how much I would fall in love with it. When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn't know what music, what songs I was about to record in the next three days... The eight pieces featured on this album were selected out of hours of improvising, happy hours... The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as if almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn, and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David's instrument. Words simply don't do it justice, so listen for yourself. With lots of love, Nils Frahm."


FRAHM, NILS: Solo LP (ERATP 065LP) 23.00
LP version; includes download code.


PRICE, MICHAEL: Entanglement CD (ERATP 067CD) 15.50
"No click tracks, no headphones, and no film. Just the spontaneity of performance and the sound of musicians hearing, connecting, and responding." Michael Price's first work as a composer was for contemporary dance choreographers, after which he worked as Michael Kamen's assistant on the score for Event Horizon (1997). Price has since been a part of many film score projects. He describes his 2013 string quartet EP A Stillness (ERATP 047EP) as "a cathartic and inspiring experience... I saw that here were people with clear sight and great ears creating a musical family, which seemed far removed from the compromises of the commercial mainstream. And yet bringing beautiful, intelligent, forward looking music to a similarly thoughtful audience." Price follows that release with Entanglement, his debut full-length album and the fulfilment of his long-held desire to explore new musical territories. It features Price on piano, with cello, soprano voice, string orchestra, modular synth, tape effects, and electronics. The cello and soprano vocal parts were written specifically and directly for cellist Peter Gregson and vocalist Ashley Knight, whose expressive voice features on tracks "Maitri" and "The Uncertainly Principle." The lyrics for both songs are Japanese poetry sung in English, dealing with age, loss, and the inevitable fading of beauty. Other elements include street sounds from Budapest captured and processed on Price's mobile phone, as well as chamber music recorded direct to tape with vintage microphones in single takes. "The Attachment" was partly recorded onto a 1940s magnetic disc recorder. Price describes the album's conceptual foundation: "Entanglement is a very personal expression of my obsessions: music, love, physics, and the inter-connectedness of things. There is structure and freedom, chaos and control, and the beauty of ancient instruments set against impassive machines... I wanted to make an album that sounded like a dark, Berlin record store discovery from the '30s. Something that had timeless emotive power, and pre-digital rawness. Something that I hope would make a deeper connection in superficially networked times. I think there is a duty for artists to be honest, and vulnerable. Because then there is a possibility of real connection. Entanglement is both honest and vulnerable and to go through the two-year process of writing, refining, and recording an album has been more intense and more beautiful than I could have possibly imagined" --Michael Price. Recorded and mixed at Vox-Ton, Berlin.



John D. Thomas's band of the 1980s, Serious Business (heard on Serious Business (ESPDISK 5006CD)), focused on his fusion and "free funk" compositions played with an electric sound. Extremely Serious Business marked a turning point, a return to a more acoustic setting while remaining true to the pioneering spirit of "improvisation along the edges." Extremely Serious Business showcases Thomas's unique compositional skills and style while carrying on the long lineage of cutting-edge soloing "outside the changes." Headwall combines freedom in composition and conceptualization with a kickass groove to set a new standard in jazz guitar. This previously unreleased album features mostly a traditional acoustic jazz-guitar sound, but also includes two tracks with guitar synthesizer out front. All tracks were recorded with "live" musicians with the exception "Song for My Father," done in duo with drummer Tom Garner, with overdubbing. Mr. Thomas says, "Equally noteworthy is the incredible mix present throughout. Unlike previous recordings where the guitar sometimes appears either too far back or the sound too tinny and less full, this album exceeds previous mix attempts in achieving both balance and clarity." John D. Thomas: guitar, guitar synthesizer, keyboards, electric bass; Greg Burke: piano, synthesizer; Paul Beaudry: contrabass; Tom Garner: drums; Avi Rothbard: guitar on "Yesterdays."


THOMAS, JOHN D.: Serious Business CD (ESPDISK 5006CD) 12.00
At age 19, guitarist John D. Thomas was enlisted as a sideman by both Jimmy McGriff and Joe Henderson for recordings and concerts. In the following years he worked with some of the greatest names in jazz, including the AACM Big Band, Stanton Davis, Carter Jefferson, Andrew Cyrille, Kenny Drew, John Lewis, Harold Ousley, and Chet Baker. After his 1977 move to Europe, he toured the Middle East, Africa, and the Far East, performing extensively with Charles Tolliver (1980-90), Joe Henderson, Art Taylor, Dizzy Gillespie, Malachi Thompson, Sonny Stitt, Tony Scott, and many others. He joined the Art Taylor Quartet in 1978 and performed with it until 1984. Birth of the Cool trombonist Mike Zwerin enlisted John for two tours in Africa in 1980 and '81. Mr. Thomas has also toured and performed at festivals, concerts, and clubs throughout Europe and Africa with his own bands: John Thomas and Lifeforce, Serious Business, John Thomas Quartet, and Extremely Serious Business. In 1980 he received the endorsement of the National Endowments "Arts America" program, on whose active list he remained for ten years. In 1986 his group Extremely Serious Business traveled to sub-Saharan Africa under the auspices of this U.S. State Department program. Since his return to the United States in 1991, he has appeared with his own quartet, trio, and an updated version of Extremely Serious Business that performs his own compositions. This is the first time that this 1985 album has been released on CD. It is a significant album in Mr. Thomas's discography as the first use on record of a prototype pickup system invented by Professor Dr. Ernst Nourney of the Fachhochschule, Nord-Rhein West-Falen in Düsseldorf, Germany. Dr. Nourney's innovative device features a "hexcentric pickup" -- one pickup for each individual string -- converting pitch to voltage, and an exciter pickup used to create a magnetic field to induce vibration of each string independently. This means the player could not only hold any note without further electronic manipulation, but even play the instrument with one hand if desired. John D. Thomas: all guitars; Gerd Breuer: drums; Claude Gouiffé: bass (tracks 1-3); Bert Thompson: bass (tracks 4-5); Markus Becker: keyboards; Christoph Erbstösser: DX7 (tracks 4-5).



BACHMAN, DANIEL: Grey-Black-Green LP (FTR 156LP) 18.50
2015 repress on white vinyl. First vinylization of the 2011 CD-R release, with which Daniel Bachman shucked the performing name he'd been using (Sacred Harp) and laid his naked ass on the line. Bachman already sounds like a wizened player here (an image that was solidified when his mug was plastered on the box for Tompkins Square's "Obscure Giants of Acoustic Guitar" trading cards), but he was actually still a babe of the Fredericksburg woods at the time this came out. Regardless, his technique is massive, and his approach to the material -- based on a color-wheel tuning system developed by the late Robbie Basho -- is intense. Recorded onto a boom-box, with a hi-fi quotient of nil, the material here reminds one of what Bill Orcutt might sound like if he decided to play in longer format time-chunks. There's a wonderful kind of containment to the music -- suggesting deep investigation and improvisation with hermetic knowledge rather than anything constrictive -- which gives this album a sense of spirituality one rarely finds outside the New Age bin. Bachman is a master player, and the evidence of this is apparent even at this relatively early stage of his trajectory. Through constant touring and wood-sheddding, Daniel's music has evolved in multiple directions over the intervening years, but Grey-Black-Green remains one of the true and unique high watermarks of his recordings. How great to have it on vinyl at long last. Includes a download code.


CRESPO, ANDY: Two Cigarettes Kissing 12" (FTR 186EP) 18.50
"Andy Crespo has been the go-to bass player for sub-underground locals since time immemorial. Whether recording with mysterious free jazz units such as Gross, or the original Barn Owl (the trio with Matt Weston and Chris Cooper), or playing with one of the countless live bands he's been in, Crespo is a commandingly smoky, mysterious, and powerful presence. Feeding Tube is tickled pink to present Crespo's first solo vinyl -- two side-long excursions of bass-generated sounds that'll roam your interior fields like a cloud of bees searching for nico-nectar. Considering Crespo's personal collecting policies, it's crazy that he conjured up such a berserk set of splattered electronics/strings/feedback, but the proof is in the pudding. And this pudding blazes. Maybe the best way to think of it is to imagine a large man's dream of what Billy Mure's Supersonic Guitars LPs might sound like if they were given a truly post-modern twist. That is some deep space, baby. As startling in its way as Barre Phillips's Unaccompanied Barre (aka Journal Violone aka Basse Barre) must have been back in '69. So give the artist a cigarette. Maybe he'll share his coffee" --Byron Coley, 2015. Cover art by Ted Lee. Plays at 45 RPM. Includes download code. Limited edition of 200.


CANTIUS, R.A.: Playing in the Dirt 12" (FTR 201EP) 18.50
"This LP exists through an act of sheerest serendipity. Scott Seward of John Doe Jr. Records up in Greenfield, MA, was talking to one of his regulars, an Amherst-based photographer named Bob Cantius. In the course of their conversations, Scott learned that Bob had -- in a former life -- done some experimental sound recording, portions of which featured his own homemade string instrument: the Brunt-Milter. Eventually, Bob was able to turn up tapes of two finished pieces. Both were begun with the Brunt-Milter in 1964, then finished off with added sound sources and mixing in 1968. When they were started, Cantius had just finished his arts degree at Montclair State University, and was working in a dirt-floored studio in Paterson. He then spent three years getting a Masters at NYU Film School, and that's when he added the new work to his instrumental beginnings. The music is a great collage of strange strings, street recordings (some made by Bob while he was doing sound for film shoots), and various effects, techniques, and radio manipulations. It's a rather remarkable find, and documents a style of experimental thinking and creativity that was common at the time, but usually ended up in the dumpsters of history. Includes text related to the little-known Happenings scene at Montclair State and other secret histories" --Byron Coley, 2015. Includes booklet by Scott Seward and Byron Coley; limited edition of 200.


MAGNIFICENT PUSSIES, THE: Mouth to Mouth Cassette (FTR 208CS) 7.00
"There were we -- and by 'we' I mean 'us' -- starving, hysterical, naked, prowling the Hebrew streets at dawn, way the fuck out where Brooklyn meets Queens, searching for an angry snack. We did not find it, but we were hungry because we had just finished our first performance as The MPs at Dennis Tyfus's free funk festival in the 'hood. I was reading from the book of my writing Dennis had issued a year previously. Ted Lee was playing a cymbal he had borrowed from Dennis six months earlier, falsely promising to return it filled with fresh urine. Gary Panter was playing a guitar he had stolen from Dennis's tropically decorated tour van only about an hour before we started. Panter -- more starving, hysterical, and naked than me and Ted put together -- had been saying he was going to play his teeth like a xylophone, but he saw the guitar sitting unnoticed, and knew a good chance when he saw it. We've done more gigs since then -- mostly weddings and private circus parties -- but this one will always be special to us. Because it is out baby. And because he was the one who foisted off such a shitty group name on us, we forced Dennis to promise he'd do the cover art for the release. He tried to get out of it, but Gary flew over to Utterdam (or wherever the fuck it is he lives) and promised to take a shit every day in front of Dennis's apartment door until he complied. It only took three weeks! Hope you like it!" --Byron Coley, 2015. Limited edition of 200, letter-pressed. Designed by Sir Dennis Tyfus.


KTB: KTB Cassette (FTR 209CS) 6.00
"KTB are Shawnie from Bugs & Rats and Arian from Guerilla Toss playing an aggressive, stripped-down game of noise rock Shenanigans® while lazy young people fall down all around them, scrunching up their faces and mewling. There is something very non-Bostonian about the duo's sound. This doesn't mean it sounds Belgian or anything (although I suppose there are Belgian precedents in terms of guitar/thump/voice blending), more that its muscularity is diffused in a way that's rare in our Commonwealth's capitol city. It still screeches and stubs its way along in a manner befitting the lovechild of the two aforementioned bands, but the anger of its delivery feels circular -- self-sustaining even. There will be no stomping tonight. Only the loud muffle of heavily drugged horses and their weary uncloaven hooves" --Byron Coley, 2015. For fans of Guerilla Toss, Bugs & Rats, Skimask. Limited edition of 150.


FD 7507CD

MANDRE: Mandré CD (FD 7507CD) 13.00
"Pioneering Robot Rock from Andre Lewis, aka Mandré. Drawing upon funk, soul, jazz and disco, incorporating lithe programmed rhythms and lavish synthesizers, the Masked Marauder's music was aimed directly at the galaxy's outer limit. His 1977 debut LP (presented here for the first time on CD) spawned the synth-heavy hit 'Solar Flight (Opus 1)' and influenced the birth of techno and electronica."


GET 56031LP

DOMINATRIX: The Dominatrix Sleeps Tonight LP (GET 56031LP) 24.00
"'The Dominatrix Sleeps Tonight' has a long and storied history among connoisseurs of '80s New York dance music. Combining catchy, deadpan synth-pop and classic '80s electro hallmarks with the provocative edge of leather-and-lace sex culture, it remains a worldwide dancefloor staple to this day. Despite its popularity, little has been known about the song's background. The brainchild of producer Stuart Argabright (née Arbright, a member of the groups Ike Yard and Death Comet Crew); alongside DJ and remixer Ivan Ivan; Kenneth Lockie (from Cowboys International, and early Death Comet Crew); and vocalist Claudia Summers; the song's dominating female subject was based on a person whom Arbright had dated. The song -- and a banned-by-MTV video that today could be mistaken for a Victoria's Secret commercial -- became a club smash at famed Danceteria and other urban meccas. But, despite some leather-clad live dates in 1984, the group itself was short-lived. This special Get On Down vinyl edition is sure to be coveted by fans and collectors. This configuration has never been available before: beyond four original mixes of the song (12", Chants, Dominant, and Beat Me) that fans know and love -- this full-length LP includes the newly unearthed song 'Play It Safe' and the rarely heard, hypnotic 'City That Never Sleeps,' in addition to the rare 1984 'Scratch Mix' of the original title song, with cuts by the legendary DJ Red Alert."



BAKER, AIDAN: Half Lives 2CD (GZH 061CD) 18.00
Aidan Baker is a prolific multi-instrumentalist, classically trained in flute, but best known for his work as a guitarist, which falls within the ambient and experimental genres but draws on influences from shoegaze, post-rock, contemporary classical, and jazz. Since his debut in 2000, Baker has released numerous recorded works -- solo, with his duo Nadja, and with various other group projects on such labels as Alien8 Recordings, Important Records, and Drone Records, and has collaborated in studio and live with such artists as Tim Hecker, Carla Bozulich, Jessica Bailiff, Noveller, OvO, members of The Jesus Lizard, and members of Swans. Baker has toured extensively around the world, and has appeared at such festivals as Festival International de Musique Actuelle de Victoriaville, South by Southwest, Incubate, Unsound Festival, and MUTEK. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany. Half Lives is his Gizeh Records follow-up to his acclaimed 2013 album Already Drowning (GZH 043CD). While that album was built around the guest vocals of female singers -- including Carla Bozulich, Jessica Bailiff, and Geneviève Castrée (Ô Paon) -- Half Lives comprises two separate but interconnected albums, and Baker's loose concept was that they would bridge the more abstract/experimental and song-oriented natures of his work. Both albums were recorded in August 2014 in Berlin and are the product of initial extended improvisations that were then arranged into coherent pieces -- "constructed" rather than "composed." In these senses, parallels can be made with artists such as Bark Psychosis, Low, and The For Carnation, for whom experimentation with texture and timbre has never been a reason to abandon the song form. Where the two discs of Half Lives differ is in their sonic palettes. Mountains Sweat Clouds is based on the electric guitar whereas As I Walked On Dead Earth features primarily acoustic guitar. However, any sense that this might provide an easy separator is quickly erased by Baker's supreme skills at arranging and layering his material, featuring extensive use of organ, synths, percussion, field recordings, and vocals. His curiously dispassionate yet emotional vocal is actually one of the strongest elements of the albums; conceived once the music was complete, it provides the thread along which the pieces flow. Taken together, the two albums that make up Half Lives are further evidence of Baker's expressive, shapeshifting sound.



DARKNESS FALLS: Dance and Cry CD (HFN 043CD) 17.00
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.



AKKORD: HTH035 CD (HTH 035CD) 15.50
Following the monumental success of HTH030 (HTH 030EP), on which The Haxan Cloak (co-producer on Björk's 2015 album Vulnicura) and Hospital Productions' Vatican Shadow reworked tracks from Manchester duo Akkord's HTH020 EP (HTH 020EP), Akkord (Synkro and Indigo) return with another handpicked curation, bringing together two more producers at the top of their game in their respected genres. Fis (Tri Angle, Loopy) conveys the experimental drones of sound design and left of center D&B abstraction in his reworking of "Gravure" and "Continuum," while techno originator Regis (Downwards, Sandwell District) reassembles the same two tracks, looping sludgy dub techno atmospherics and placing emphasis on the space in between. HTH035 also includes Akkord's originals of these tracks, the originals of the tracks remixed on HTH030, and the remixes from HTH030. This CD brings together some of the most exciting producers in experimental electronic music on one release. Mastered by Matt Colton at Alchemy and presented in Houndstooth's distinctive spot-varnished PVC outer sleeves.



WRONG STEPS: EP02 12" (HUNTLEYS 017EP) 14.50
Wrong Steps is back! Following his outstanding 2014 self-titled debut (HUNTLEYS 013EP), the talented Berlin-based artist delivers a lovely selection of melodic musical melters. It's a bit daft describing something as "musical," but in this instance the term can't be denied.


BEC 5772240

MOREAU, JEANNE: Succés et Confidences (CD/DVD) CD+DVD (BEC 5772240) 14.00
This limited edition of Succés et Confidences includes a 110-minute DVD (PAL all-region format) chronicling the work of legendary French actress and singer Jeanne Moreau, with live archives (TV shows, galas), clips of vocal performances from Moreau's film work, and an interview. The CD features 27 highlights from the Moreau's career. Moreau's work as an actress with such leaders of the French new wave as Louis Malle, François Truffaut, and Jean-Luc Godard had already established her iconic status by the time she connected with Jacques Canetti to record her first album in 1964. Her career as a vocalist, however, was still nascent, having just begun to show its potential in her performance of Cyrus Bassiak's song "Le Tourbillon" in Truffaut's 1962 film Jules et Jim. Succés et Confidences includes such classics as "Le Tourbillon," "J'ai la Mémoire Qui Flanche," "La Peau Léon," and "La Vie de Cocagne." CD available without DVD as Succés et Confidences (BEC 5772239, 2015). DVD format is European PAL, region free.

BEC 5772252

REGGIANI, SERGE: Toujours CD (BEC 5772252) 14.00
Jacques Canetti Productions presents a collection of classics from the career of painter, poet, actor, and singer Serge Reggiani. Beginning as an actor, Reggiani turned to chanson in 1963 with the help of Jacques Canetti. Accompanied by lyricists Boris Vian, Georges Moustaki, Jean-Loup Dabadie, and Claude Lemesle, among others, he led a distinguished career as an unparalleled actor and singer until his death in 2004. Toujours includes highlights from Reggiani's repertoire, including "Le petit garçon," "Les loups sont entrés dans Paris," "Ma liberté," "Sarah," songs from Reggiani's first album with lyrics by Boris Vian, plus six previously unreleased tracks. The CD also features a spoken tribute to Reggiani by Patrick Bruel, Isabelle Boulay, Carole Laure, Robert Hossein, and Georges Moustaki, as well as Reggiani's thoughts, in the form of his letters, on Édith Piaf, Jacques Brel, Simone Signoret, Romy Schneider, Barbara, Boris Vian, Lino Ventura, Michel Piccoli, and his wife Noëlle Adam Reggiani. Also available as a CD+DVD set (BEC 5772257, 2015).

BEC 5772255

REGGIANI, SERGE: 12 Succes Originaux CD (BEC 5772255) 11.00
Jacques Canetti Productions presents the 1967 second album by Serge Reggiani, a central figure in the history of modern chanson whose work ranks among some of the most acclaimed recordings of the genre. This album, recorded with Canetti in 1967, features many of Regianni's most well-loved songs, including "Les loups sont entrés dans Paris," "Sarah," "Le petit garcon," and "Ma solitude." The album also features lyrics by Boris Vian, songwriting credits from Serge Gainsbourg, Jean-Loup Dabadie, and Georges Moustaki, and introductions taken from the poetry of Charles Baudelaire, Arthur Rimbaud, Guillaume Apollinaire, and Jacques Prévert. Previously released by Jacques Canetti Productions as a gatefold LP (BEC 5772793, 2014).

BEC 5772257

REGGIANI, SERGE: Toujours (CD/DVD) CD+DVD (BEC 5772257) 17.00
Jacques Canetti Productions presents a collection of classics from the career of painter, poet, actor, and singer Serge Reggiani. This edition includes a DVD (PAL all-region format) with footage of Reggiani's 1968 performance at Bobino, Paris, as well as a 44-minute 1969 interview, all in Dolby Digital 5.1 sound. Beginning as an actor, Reggiani turned to chanson in 1963 with the help of Jacques Canetti. Accompanied by lyricists Boris Vian, Georges Moustaki, Jean-Loup Dabadie, and Claude Lemesle, among others, he led a distinguished career as an unparalleled actor and singer until his death in 2004. The CD includes 14 highlights from Reggiani's repertoire, including "Le petit garçon," "Les loups sont entrés dans Paris," "Ma liberté," "Sarah," and four songs from Reggiani's first album with lyrics by Boris Vian, plus six previously unreleased tracks. The CD also features a spoken tribute to Reggiani by Patrick Bruel, Isabelle Boulay, Carole Laure, Robert Hossein, and Georges Moustaki, as well as Reggiani's thoughts, in the form of his letters, on Édith Piaf, Jacques Brel, Simone Signoret, Romy Schneider, Barbara, Boris Vian, Lino Ventura, Michel Piccoli, and his wife Noëlle Adam Reggiani. CD available without DVD as Toujours (BEC 5772252, 2015). DVD format is European PAL, region free.

BEC 5772372

VA: Mes 50 Ans de Chansons 4CD/DVD BOX (BEC 5772372) 32.00
Mes 50 Ans de Chansons is a four-CD/DVD box set tracing the incredible journey of French record executive, talent agent, and producer Jacques Canetti. The first CD covers Canetti's early successes with Georges Brassens, Jacques Brel, Juliette Gréco, and others; the second includes tracks from Guy Béart, Serge Gainsbourg, Jeanne Moreau, and others; the third highlights the poets and lyricists with whom Canetti worked, and features songs with lyrics by Louis Aragon, Marguerite Duras, Norge, and more; and the fourth continues the journey with tracks by Serge Reggiani and others. The DVD includes live clips and interviews featuring Charles Trenet & Johnny Hess, Marlène Dietrich, Duke Ellington, and others. Includes 24-page booklet and poster documenting Canetti's history, as well as his venue The Three Donkeys. Also features Canetti, Henri Salvador, Boris Vian, Magali Noel, Mouloudji, Francis Lemarque, Patachou, Les Freres Jacques, Roche & Aznavour, Catherine Sauvage, Yves Montand, Philippe Clay, Félix Leclerc Et Lucienne Vernay, Jean-Claude Darnal, Raymond Devos, Pierre Dac, Francis Blanche, Jacqueline François, Les Baladins Des Champs Elysées, Jacques Higelin, Brigitte Fontaine, Judith Magre, Jean BourbonSarah Boréo, Georges Dor, Cora Vaucaire, Bruno Brel, Les Garçons De La Rue, Eric Robrecht, California Jubilee Singers, Romain Bouteille, Mort Shuman, Michel Legrand, Pierre Delanoë, Philippe Noiret, Emmanuelle Riva, Zette, Jean-Marie Hummel, Arlette Tephany, Bee Michelin, Marie-José Casanova, Renaud Marx, André Claveau, Nina Corot, Eric Zimmermann, Simone Signoret, Annie Girardot, Michel Simon, Pierre Brasseur, Jean-Paul Belmondo, Charlotte Rampling, Richard Bohringer, Catherine Arditi, Jean-Claude Brialy, Freddy Johnson, La Môme Piaf, Danielle Darrieux En Duo Avec Pierre Mingand, Bix Beiderbecke, Coleman Hawkins, Louis Armstrong, Earl Hines Avec Jimmie Noone, Henri Garat & Lilian Harvey, Clara Haskil, Agnès Capri, The Galimir Quartet Of Vienna, Mireille, Maurice Chevalier, and Lucienne Delyle. DVD format is European PAL, region free.

BEC 5772611

REGGIANI, SERGE: Ses Chansons Côté Scène, Côté Coeur CD+3DVD (BEC 5772611) 17.00
Jacques Canetti Productions presents a set of one 28-song CD and three DVDs (PAL all-region format) chronicling the career of beloved actor and singer Serge Reggiani. Beginning as an actor, Reggiani turned to chanson in 1963 with the help of Jacques Canetti. Accompanied by lyricists Boris Vian, Georges Moustaki, Jean-Loup Dabadie, and Claude Lemesle, among others, he led a distinguished career as an unparalleled actor and singer until his death in 2004. Ses Chansons Côté Scène, Côté Coeur includes a CD with 28 songs recorded between 1969 and 1976, and three previously unreleased DVDs with seven hours of footage. The first DVD includes 49 television and stage performances recorded between 1967 and 1985; the second includes 13 clips and interviews from 1957 through 1969, as well as a tribute to Austrian-born actress Romy Schneider, with whom Reggiani collaborated, with stories, interviews, and clips from 1955 through 1981; the third includes 13 clips from 1970 through 1985, with interviews in which Reggiani tells his story with amazing frankness and tenderness. DVD format is European PAL, region free.



MOORE & THE RHYTHM ACES, BOBBY: Dedication of Love LP (JMAN 074LP) 25.50
LP version. Includes insert. Limited numbered edition of 1000. Much is said in the mainstream media about million-selling records, yet the opposite is true of the no-hitters -- the obscurities that sold badly and sank without a trace. Represented here is the bittersweet experience of a hard-working soul band that experienced the elation of a million-selling chart-topper (1965's "Searching for My Love"), but also the dejection of a self-released flop that sold so few copies that barely a handful can still be found. The 1976 album Dedication of Love by Bobby Moore & the Rhythm Aces is that flop, and it exists in 2015 as only a handful of copies, selling for up to $2000 on the highly competitive rare soul market. This is its first ever reissue. From Jazzman's exclusive interviews with long-standing band member Bobby Moore Jr., this reissue's detailed liner notes tell the story of Bobby Moore & the Rhythm Aces from inception through 2015, including all the highs and lows that membership of a touring soul band can bring, as well as some spectacular, previously unseen vintage photos. The notes dig deep to find out just why this record was made, and why, despite such a wonderful array of heartfelt soul, street funk, and downhome funky blues, it became such a rarity. Part of the Jazzman Holy Grail Series.


JBJ 1059EP

CHANTERS/BROTHER WOODMAN, THE: She Wants to Mambo/Watts 7" (JBJ 1059EP) 11.00
Lifted from the second volume of Jukebox Mambo (JMAN 073CD/LP/BK), Jazzman's compilation of Latin-tinged R&B, The Chanters' "She Wants to Mambo" features an exotic rumba back-beat and stop-start rhythm complete with obligatory "unghh" vocal interjections to ramp up the sex factor. Chanters lead siren Ethel Brown is in a particularly flirtatious mood as she coos and oohs back and forth with her backing singers. On the flip, another rumba-laced track from The Chanters, cut for Chuck Higgins's Combo label and featuring a male lead delivering a proud tribute to the group's hometown, the south central Los Angeles district of Watts.

JBJ 1063EP

KING COLEMAN: Down in the Basement/Crazy Feelin' 7" (JBJ 1063EP) 11.00
Tremendous twin-spin two-sider from larger-than-life cult hero King Coleman. Famous for singing -- uncredited -- "The Mashed Potatoes," the 1959 dance craze hit with backing from James Brown's band, Coleman's career was much more varied and lengthy than such fleeting infamy would otherwise suggest. Here, we have Coleman appearing on two early '60s low-slung and sleazy R&B dancers. Both "Down in the Basement" and "Crazy Feelin'" are total killers.


KH 9044CD

KAPT. KOPTER & THE FABULOUS TWIRLY BIRDS: KFPK Radio LA 13 September 1972 CD (KH 9044CD) 17.00
As lead guitarist for late '60s US psychedelic visionaries Spirit, Randy California needs no introduction to serious rock fans. This tremendous live set was recorded for the LA radio station KPFK in September 1972 -- the same month his wild solo debut, Kapt. Kopter and The (Fabulous) Twirly Birds, appeared -- and also features Larry "Fuzzy" Knight on bass and Spirit's legendary Ed Cassidy on drums. It captures them in blistering form on several cuts from that album, and features rare and wild performances of other material, and is presented here complete with background notes and rare images.


KL 5019CD

KING, ALBERT: The Purple Carriage St Charles IL 02-02-74 CD (KL 5019CD) 17.00
Albert King was one of three Kings (along with B.B. King and Freddie King) who helped to define the blues and pronounce its grip on generations of young musicians. King was also a pioneer in merging blues with the hard-driving funk of his Stax label-mates The Bar-Kays and with the sound of The Isaac Hayes Movement. The Memphis sound served King well and helped him stay ahead of the game, entertaining rock and soul audiences alike at such venues as the Montreux Jazz Festival and The Fillmore. Amid the upsurge in King's revisited repertoire stands his February 1974 appearance at the Purple Carriage House in Illinois. King performed with a tight, emotional hold on "Lucy," his beloved Flying V guitar, before an admiring and intimate crowd fortunate enough to bear witness to another of King's mesmerizing performances. Klondike's homage to this phenomenal blues legend is represented in this beautifully packaged edition of the complete WXRT-FM broadcast of this February 1974 performance; a celebration the complex depth of a true musical giant. Digitally remastered; includes background liner notes.



RE.YOU: Speicher 86 12" (KOM EX086EP) 12.50
Berlin-based producer Re.You (Keinemusik, collaborator with Rampa) delivers the latest installment of Speicher, a worthy addition its heritage of forward-looking, club-ready techno. The hypnotic "Fantasy," grinding its synth teeth and brimming with foreboding atmosphere, is a particularly enigmatic stomper that pairs its compositional relentlessness with a small, hand-picked sound-palette, tailored to perfection for an adventurous crowd. The uncanny "Robot" starts out as a somewhat relaxed groover embedded in what sounds like an animatronic zoo, but builds up a sizeable amount of nail-biting tension thanks to a single rising drone that is joined by mysterious voice snippets and a stoic baseline.



ARTHUR: Dreams and Images CD (LITA 118CD) 15.00
"The pantheon of performers known by but one name is full of superstars. Arthur -- the nom de plume of singer-songwriter Arthur Lee Harper -- is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption. Released on Lee Hazlewood's LHI label, the haunted Dreams and Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as 'A man who will someday be a child again... A reason to cry and be unafraid... A bird with eighth-notes for wings.' Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World of Peace Must Come has been reissued by Light In The Attic. 'Arthur was a peace person. He was all about peace, love, and harmony,' remembers Kalinich in the brand new, extensive liner notes for Dreams and Images. 'He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace.' While Kalinich and Buckingham were signed by The Beach Boys' Brother Records, Arthur allied with Hazlewood, having knocked on the door of the label's Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. 'He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind,' remembers Randi. A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is the Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. Dreams and Images was produced by Lee Hazlewood. This is its first CD release, and it features three previously unreleased tracks, as well as in-depth liner notes by LHI Archive Series co-producer Hunter Lea with unseen archive photos. All tracks newly remastered from the original tapes."


ARTHUR: Dreams and Images LP (LITA 118LP) 20.00
LP version, housed in deluxe Stoughton tip-on gatefold jacket.


SUPREME JUBILEES: It'll All Be Over CD (LITA 120CD) 15.00
"If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time. A band of brothers and cousins, the group was founded from two families: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price -- who belonged to neither family -- completed the line-up that recorded the group's first -- and, prophetically, only -- album, It'll All Be Over. Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover -- a low, orange sun setting over the Pacific Ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.' A copy of the album sold to a fan on a Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time."


LEWIS: Romantic Times LP (LITA 123LP) 21.00
LP version, housed in deluxe Stoughton tip-on gatefold jacket. Includes download card. "Earlier this year (2014), we released the mysterious, bewitching L'Amour, a 1983 private press record thought to be the only release by one of music's true lost talents: Lewis. So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid. Deciding that Lewis' spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis. One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias -- or perhaps even his real name -- on the sleeve of a completely unknown album. Sourced soon after the re-release of L'Amour, Romantic Times is the 1985 follow-up to L'Amour -- and it's released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats. Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin 'Sipreano' Howes in Vancouver, BC. It's so rare that what is, at present, the only other known copy -- found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of L'Amour -- is presently soaring into quadruple digits on eBay. Even engineer Dan Lowe, credited for working on the album at Calgary's Thunder Road Studios, remembered little about the session other than that Lewis seemed to be 'under the influence'. Yet the music is utterly captivating. The album further fleshes out the Lewis myth -- we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. 'I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,' writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. 'This record went further [than L'Amour]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.' It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen."



TINDERSTICKS: Across Six Leap Years LP (LUCKYDOG 015LP) 26.50
2015 repress; LP version, on 180 gram vinyl. Includes download coupon. 2013 is a landmark year for Tindersticks, who turn 21. In this time they have recorded nine studio albums, composed music for films, museums, fashion shows and installations, have toured the world, played with various orchestras, collaborated with many great singers and musicians, lost their desire, split up, rearranged, reformed, re-kindled their musical passion and in 2012 made what they, and many critics consider to be one of their finest albums, The Something Rain. Tindersticks wanted to mark this special anniversary year in some way, to connect this history with what they have become. After much discussion, they entered the legendary Studio 2 at Abbey Road and between the 6th and 9th of April 2013 recorded Across Six Leap Years, their 10th studio album; 10 new versions of songs from throughout their history. Across the years some songs were "lost along the way." For one reason or another, they never became how they were imagined to be in their recorded form, until now. Across Six Leap Years brings together these previously-unrealized tracks as part-celebration, part-reinvention. "Recording these songs again was not so much about righting past mistakes or inadequacies, but more about the power of now. It's something that's been growing since the film shows, something that made us recognize how we feel now, and connecting that to our past feels important. Walking up to Abbey Road, it could easily have overcome us. But it had nothing to do with its past. We weren't there to take photos on the crossing. I didn't think about playing the 'Lady Madonna' piano. I'd like to say it was just another studio, but sadly, that's not true anymore. It's one of the only studios of its kind left. And it wasn't about our past either. These songs feel like cover versions. Someone else's music we feel we had something new to bring to." --David Boulter, 2013



BOURBONESE QUALK: Lies 12" (MNQ 059EP) 14.50
Pressed on 160-gram vinyl; includes postcard; limited to 300 copies. Bourbonese Qualk came into existence in 1979 and put out a stream of confrontational albums through much of the '80s and into the early '90s. After a long pause, they released On Uncertainty in 2001 and disbanded the next year after the death of guitarist Miles Miles. "Lies," a terse, TR 808-driven electro-tinged cut just under two minutes long, originally came out in 1986 on the Preparing for Power LP by way of the group's own label Recloose Organization. This EP features Ancient Methods on edit and remix duties.



SCHMIDT, M.C.: Batu Malablab: Suite for Prepared Piano, Flute and Electronics CD (MEGA 031CD) 13.50
Based in Baltimore, M.C. Schmidt is one half of the acclaimed electronic duo Matmos. As half of Matmos, Schmidt has worked with Terry Riley, Björk, Kronos Quartet, Peter Rehberg, INA-GRM, Rrose, Marshall Allen, Horse Lords, People Like Us, Keith Fullerton Whitman, Antony Hegarty, William Basinski, and many more. Batu Malablab, his first solo album, works a dislocating magic, indulging in a tradition of western fantasy of non-western music. Recalling gamelan-inspired experimental classics such as John Cage's prepared piano work, Can's "Ethnological Forgery Series," and Jon Hassell's "Fourth World" ambient music (GB 019CD/LP), Batu Malablab is imaginary global music made in the Baltimore basement studio pictured on the back of the album. Features appearances by Wobbly and Thomas Dimuzio.



ODEON: Selva 12" (MONDO 004EP) 20.00
180-gram vinyl. Mondo takes its name from the Italian mondo film genre born in the '60s, characterized by documentary-like content concerning topics from around the world ("mondo"). The Mondo label's goal is to produce music that is descriptive of concepts, images, and environments. Mondo is inspired by library music frequently used as theme or background music in radio, film, and television in that very same period. This is the fourth of Mondo's four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes.


MT 015LP

LOVE, JUSTIN: Rockola LP (MT 015LP) 19.50
Mono-Tone Records presents the first reissue of the impossible-to-find 1984 second album by the ultra-cult '80s NY rocker. Only once out of a hundred times is the "undiscovered gem" tag appropriate... and this is the one. A lost treasure of early '80s New York, the perfect blend of Johnny Thunders's deconstructed raunch 'n' roll, The Modern Lovers' romance rock, Alex Chilton's twisted productions, and some deranged paisley-pop from an unknown planet. Justin Love, the best kept secret in rock 'n' roll!



JEMMY: hierotrip 12" (MUSIQ 185EP) 14.00
Liverpool-based artist Jemmy debuts with "heirotrip," a piece of dark, jazzy, minimal house. Mark E's remix is warm deep house and Wareika's remix is more uplifting, playful house.


MR 352LP

STEVE TREATMENT: All Dressed for Tomorrow LP (MR 352LP) 19.50
Brilliant DIY 'n' roll from Steve Treatment, one of the most fascinating but less heralded figures of the late '70s British punk/DIY scene. Bonding over a shared love for Marc Bolan, Steve and the nascent Swell Maps would play and hang out together around London. The Maps backed Steve on his first single, released on their own Rather Records in 1978. All Dressed for Tomorrow includes said record and Steve Treatment's other two singles from 1979, plus chosen highlights from 1977-1979 recordings, unreleased at the time. Raw, unkempt, experimental glam rock magic. The extensive liner notes by Chuck Warner (Hyped to Death, Messthetics), accompanied by copious photos and memorabilia, cover not just the music but also Steve's varied interactions with Marc Bolan, the Swell Maps, The Moors Murderers, Derek Jarman... among others.


OT 014EP

SMOKE, ALEX: Stauner 12" (OT 014EP) 12.50
Optimo Trax is delighted to welcome prodigious Glasgow producer Alex Smoke. Mr. Smoke is one of the most advanced sound designers in modern electronic music who has demonstrated his talents across all sorts of releases in all sorts of not-easily-defined areas of music. He also knows how to make advanced electronic music that will work on a dancefloor, as all four of these stunners amply demonstrate. No filler here. Four tracks to make you stand up strong and proud. A-HEM.



COSMIC MICHAEL: Cosmic Michael LP (OSR 033LP) 25.50
Ultra-crude basement garage psych and acid-boogie-blues from 1969! Who was the mysterious Cosmic Michael? Nobody knows for sure -- rumor goes that he was a freak from New York who later relocated to the West Coast after living the Woodstock dream. That's all we know about him. But before vanishing without trace, Cosmic Michael self-released a couple of primitive, homemade albums on his Bliss label. This is his first one, DIY stoner bluesy garage psychedelia with crude organ, guitars, and vocals. Featuring underground classics like "Cosmic Michael Theme" (covered in 2013 by neo-psych band Psychic Ills) and "Now That You Found It" among others. First ever vinyl reissue, original artwork, insert with a reproduction of the original poster, plus pasteable reproductions of original LP labels like those that came with the original release. Remastered sound.



VA: Mixed Up Minds Part Ten: Obscure Rock & Pop from the British Isles 1969-1974 CD (PART 4047CD) 17.00
Mixed Up Minds investigates the overlooked underbelly of British rock and pop from the late 1960s and early 1970s. Volume Ten of the intrepid series captures a further glimpse of the rumblings from British suburbia with 20 melodic musings from a variety of unsung wonders whose place in the British pop phenomena is now safely secure. Includes 12-page full-color booklet with comprehensive liner notes and rare color photographs. Includes songs by Rod Thomas, Terry Clarke, Ray Brooks, Graham Layden, Advocates, John Brimacombe, Jo Ann and Barry, Jonjo, Raymond Froggatt, Blue Mink, Gordon Haskell, Contrast, Love Story, Reuben James, Rainbow Family, Gravy Train, Kemo Sabay, Skiffles, and Neil Woodley.


VA: Piccadilly Sunshine Part Twenty: British Pop Psych and Other Flavours 1966-1971 CD (PART 4048CD) 17.00
Forever serving to embrace the floral heavens of British pop, this twentieth and final installment of Piccadilly Sunshine continues to celebrate the obscured artefacts of illustrious noise that emerged from the Great British psychedelic era and beyond. A flower-powered trip through a momentary place where kaftans, beads, and painted faces meet. Piccadilly Sunshine arrives at its inevitable conclusion, presenting a healthy dose of hocus pocus with 20 long-forgotten pearls of magical pop, recorded between 1966 and 1971, resurrected for your listening pleasure. Includes 16-page full-color booklet with comprehensive liner notes and rare color photographs. Includes songs by Jeff Kane, Michael Alred, Danny Hutton, Henry Tudor, Gary Aston, Steve Darbishire, Bruno, Hubert Pattison, Baldwin, Hamlet, The Rothchilds, Gerry Lockran, Jerry Shore, Peter Carr, Studio Six, Allan Sheldon, Brindley D. Spender, Saker, and Lesley Duncan.


PV 008EP

ALVARIUS B.: Sorban Palid 7" (PV 008EP) 7.00
Unearthed from a very shallow grave: limited edition screenprinted tour-giveaway 7"s from Alvarius B.'s East Coast 2014 tour, featuring artwork by Byron Coley.APES AHOYby Byron ColeyIt's amazing every one pretendsperhaps wishing a billion post-marsupials couldjust stand in for most aspects of self motivationprocedures of the masters which bear the mark ofa master's golden inevitable apocalypse.But let's just be content, we hairy bumsimpaling, as though we had tusksthe current whatever some lazy music journalist writes.Creating, in the process, more differences betweenAmuletian Snares than anyone from the future could imagine.But when they visit our continually pounded planet...they will realize only 6 visions really happen --Their replication of a weekendYour weekend.Your show business.Your expense.Much more feces.Blogging and spewing by music pipsqueak fanboys who can't know.And in not knowing, those presentmay see the future.shall we begin again



Two beautiful covers of Eden Ahbez's evergreen standard, "Nature Boy." As first recorded in 1948 by Nat King Cole, the song went on to be performed by just about everybody, from Frank Sinatra to David Bowie! Here, two complimentary versions by female jazz vocalists -- Etta Jones and Lorez Alexandria -- both slow, sultry, and simmering, tipping them into the popcorn sphere.


PH 606CD

HEAD HIGH/WK7: Home.House.Hardcore. CD (PH 606CD) 15.50
CD compilation release on the Power House label, brought to you via Basic Channel/Hardwax. Techno pieces by Berlin resident René Pawlowitz (Shed) created as Head High and WK7. A sequence of techno cuts reminiscent of the diverse, breakbeat-heavy techno of the early 1990s. 55:45 min. MIXED. Tracks previously available only on 12"s, produced between 2009 and 2015.


PT 8038CD

HOLY MACKEREL: Holy Mackerel CD (PT 8038CD) 17.00
Formed from the ashes of UK psych legends Jason Crest, and featuring members of cult rockers Samuel Prody and Orang-Utan, this fine quintet coalesced in 1972. Having honed their material in the North of England, they became an immediate success on the live circuit and were soon offered the chance to make an LP. Issued at the end of 1972, it draws on prog, country, pop, and rock influences, but never connected commercially, though it's recognized as a lost classic today. It makes a welcome return to CD here, together with background notes and rare images.

PT 8039CD

CIRKUS: One CD (PT 8039CD) 17.00
Despite being self-recorded, the 1973 debut by this British progressive quintet is one of the most accomplished albums in its genre, recalling the work of Yes, King Crimson, and The Moody Blues, with plenty of imaginative keyboard and guitar work. It makes its long-awaited return to CD here, complete with background notes and five bonus tracks, and is sure to delight all fans of early '70s underground music.



RAAM: Raam 002 12" (RAAM 002EP) 12.50
Raam is back with Raam 002, on which he delivers the massive "Hidden," a classic dub-driven techno banger. With its stabby synths and 4/4 rhythm, it's devastating on the dancefloor. On the flip, "Hidden" gets a remix treatment from the talented Baba Stiltz (Studio Barnhus). Baba buries the original in a deeper, gritty journey. The EP ends with "Pallas," which is a slow and raw house track with a moody atmosphere.


R-N 157CD

BRETSCHNEIDER, FRANK: Sinn + Form CD (R-N 157CD) 17.00
Raster-Noton co-founder Frank Bretschneider's new project Sinn + Form (Meaning and Form) is based on the conflict between the fundamentally chaotic world described by mathematical and physical theories and models (dynamical systems, probability theory, stochastic systems) and the constant human attempt to recognize, describe, predict, control, and change this world. Musically, Bretschneider simulates this concept with a modular synthesizer system, in which various modules produce a constant flow of randomly generated data that modulate the decisive musical parameters (pitch, note length, volume, tone). Sinn + Form, in this context, attempts to transform this stream of events into a musically relevant system of chaos and order, dynamics and statics, content and form, by means of an improvised but deliberate process of constant control and influence. Aesthetically, the project recalls the electronic music of the mid-20th century, exemplified by such studios as the Institut de Recherche et Coordination Acoustique/Musique in Paris, Elektronmusikstudion in Stockholm, Studio for Electronic Music of the West German Radio in Cologne, and the Columbia-Princeton Electronic Music Center in New York. Sinn + Form captures the dynamics and energy of a spontaneous improvisation as a reaction to a complex world, a world in permanent crisis. Recorded in July of 2014 at Elektronmusikstudion, Stockholm, using Buchla and Serge analog synthesizer systems.

R-N 158CD

DASHA RUSH: Sleepstep CD (R-N 158CD) 17.00
Sleepstep's subtitle, Sonar Poems for My Sleepless Friends, describes its underlying concept -- Sleepstep is a trip through electronically alienated micro-compositions and sound collages that, interwoven with text passages, aim at creating a dream-like atmosphere. The album's journey strives for oblivion of time, an immersion, a drifting in universal states -- moving through the stations of death, life, birth, grief, desire. The titles often appear to be raw sketches; fugitive, surreal short stories. The musical arrangements are rather subtle and fragile, and, though the pieces are electronically manipulated, no production technique pushes itself to the fore. Dasha Rush's sonar poems for her sleepless friends are feminine, subtle, and personal reports. A musical dream journey in the form of a classical concept record, and an album that also stands in the tradition of ambient music. Dasha Rush is already known as a techno DJ and producer. Here on Sleepstep, she celebrates her alter ego. CD includes 32-page booklet showing her photographic interest and containing her poems that form the music's text passages.



Ridges is the result of a creative encounter between veteran of improvised avant-electronics Max Loderbauer (Sun Electric, Moritz von Oswald Trio, Ricardo Villalobos) and spiritus movens of Warsaw label Recognition Jacek Sienkiewicz. Deeply introspective and individualistic confrontations between two sensibilities and imaginative worlds give birth to contemplative electronic music at its purest. Both timeless and futuristic, Ridges serves as a perfect antidote to turbo-speed contemporaneity. The work takes its due place among the works of noble pioneers, from Popol Vuh's Transylvanian hymns in Herzog's Nosferatu (1979) and Lionel Marchetti's concrète reports from the glacier to Simon Fisher Turner's Himalayan soundtracks.



BAD GUYS: Bad Guynaecology CD (REPOSE 044CD) 15.50
Recorded in a snake pit, in a quarry, on top of a mountain, in the desert, at night, during a thunderstorm, Bad Guynaecology is the second album from Hackney's Bad Guys. Full of heavy riffs, pounding drums, and wild vocals laid down on seven-foot-wide steel tape, then smelted into WAVs by an irritable dwarf in an ancient forge, in space, Bad Guynaecology truly is the soundtrack to your generation. Whoever you are. Production duties on this album fell to esteemed metal producer Jaime Gomez Arellano (Ghost, Cathedral, Angel Witch). For fans of Motörhead, Harvey Milk, Melvins, Thin Lizzy, The Jesus Lizard, Torche, MC5, Killdozer, Black Sabbath. Bad Guys are a southerner, a midlander, a Canadian, and a Hungarian. They have played at several ATP festivals without ever being asked, razed a chalet to the ground on one occasion and got heavily fined, then next time played directly outside the security guards' accommodation and got shut down. Learning from experience, they opted to play inside the main building next time and were shut down due to being a fire hazard. They've played on the fourth plinth in Trafalger Square as part of Antony Gormley's One and Other art installation, where they were told to shut down as well even though you were supposed to be able to do whatever you like. They've played in a theater, as part of a poorly judged bit of experimentalism by a director. They weren't shut down but it was clear everyone wanted them to leave. Then they played in the life-drawing room in the Royal Academy (the oldest life-drawing room in the country), where they performed naked and people drew them, with varying degrees of success. They weren't shut down and lots of intellectuals said it was interesting. As well as all this stuff they've played in countless pubs and clubs and parties up and down the country and around Europe and have been generally very well received. Apart from in Glasgow, where the promoter didn't bother turning up, the DJ played techno to warm up, and one drunk woman kept shouting at them to shut up. Digipak CD limited to 500 copies.


BAD GUYS: Bad Guynaecology LP (REPOSE 044LP) 25.00
LP version in high-gloss sleeve with printed inner bag; limited to 400 copies.



GHOLD: Of Ruin CD (RITE 033CD) 12.50
The two components of bass and drums are bound together so tight on Of Ruin that they resemble a singular gnarled entity, kneading together groove and melody like putty in the palms of their hands, with explosive results. Intrinsically heavy and elastically supercharged, London duo Ghold create a strain of viscous rock that is as plainly devastating as it is capricious, pushing down the scales to achieve an ever heavier outcome. The wealth of ideas presented by Paul Antony and Alex Wilson on Of Ruin surpass the imaginations of the majority, and it's easy to see why Terrorizer tipped them as one to watch for 2015. The alchemical duo fuses elements of power violence, doom, gloom, and heavy rock with enchanting vocal incantations. Since their inception in 2012, Ghold have been steadily amassing fans of their filth jams from countless shows performing alongside the likes of Yob, Pallbearer, Stephen O'Malley, and Årabrot. Of Ruin was mastered by James Plotkin. The CD and LP artwork feature different paintings by Alex Virji.


RB 108EP

CHARLES, RAY: What'd I Say 7" (RB 108EP) 11.00
Landmark material here from Ray Charles, with one of his signature works and a song which inspired a million copycat attempts. Half a century later, "What'd I Say" remains as fresh and exciting as ever before and is guaranteed to fill any dancefloor in the known universe.



SHIT AND SHINE: 54 Synth-Brass, 38 Metal Guitar, 65 Cathedral CD (LAUNCH 078CD) 16.50
Taking the repetitive rhythmic drive of krautrock and marrying it to a percussive Butthole Surfers-style strain of acidic intensity, Shit and Shine have carved out a unique niche for themselves as one of the most unpredictable and -- occasionally -- outright unpleasant outfits in living memory. Like a robot Can-Hawkwind hybrid in a Philip K. Dick future, reassembling disco, abstract electronica, and noise rock into elegant new shapes, Shit and Shine furrow brows and fry synapses in equal measure. In spite of 54 Synth-Brass, 38 Metal Guitar, 65 Cathedral boasting a leaner, sleeker attack than before -- partly informed by the band's 2013 and '14 releases on Powell's Diagonal (including DIAG 012CD/LP) -- the same sense of gleeful perversity is abundant, and the same twisted humor ingrained in these grotesque and hypnotic grooves. Where there is rock within the album, its essence is morphed and feverishly formulated into extraterrestrial aural landscapes, as on the opening "Electric Pony 2," which lurches forth like Chrome alchemically reassembling the disembodied spirit of Marc Bolan in a scrapyard trash compactor. Elsewhere, specters of smooth jazz fusion lock horns with the against-the-grain approach of Aphex Twin and circular necro-Necks grooves are beset by demons. And the abstract funk of "Love Your Hair -- Hope You Win!" locks a Larry Graham-style groove in a vortex of digital disorientation. Brandishing an intimidating psychic attack and equipped as ever with both nameless menace and savage wit, rarely has a band made sounding so wrong sound so right. CD includes two exclusive tracks: "Goat $Hit" and "Egg MM-Mufin/Pimp Different."


RM 469CD

ENGLISH, LAWRENCE: The Peregrine CD (RM 469CD) 16.50
Room40 presents a reissue of Australian sound artist Lawrence English's acclaimed 2011 album The Peregrine, inspired by John Alec Baker's 1967 nature writing classic of the same name. "I first discovered The Peregrine when I was visiting my friend David Toop in London. He had the book on his desk and I picked it up and randomly turned to a page. It was an exquisite description of an Owl silently hunting. I was struck by the detail and evocative sense of listening in the writing. It was as though I was there experiencing that moment through the author's ears. I turned to another page and before I finished that paragraph I was sold. I ordered The Peregrine and was reading it avidly days later. Since that time I have spent a good deal of time with that book and J.A. Baker's only other text The Hill of Summer. I've purchased in excess of 100 copies of The Peregrine, gifting them to fellow musicians and artists who visit and occasionally sending them to people who I felt might relish the book. Most infamously I suppose is my sending the book to Werner Herzog, who I was introduced to by my friend Douglas Quin. Herzog loved the book and now includes it as essential reading in his film school. For me, The Peregrine captures a very special turning point in the 20th century. It marks a recognition of the role humans play in shaping their environment. Without ever addressing the topic directly, Baker's misanthropic, almost nihilistic reading of modern life pinpoints many issues that have come to a head in contemporary society. For a character we never learn very much about, Baker's voyeur of the falcons is a surprisingly engaging figure. As the reader we become him, we live through his textual renderings of time and place. Ultimately, through this ghost of a character, we become the bird in what Herzog so perfectly called a 'quasi-religious transubstantiation' -- reader into author into bird. This book changed my life. So much so that I felt it necessary to make a record about it and find some small way to respond to what is, in my opinion, one of the finest literary outings of the 20th century. I hope you can find some space in which to experience both the book and this record." --Lawrence English, January 2015


RB 054EP

KINK: Cloud Generator EP 12" (RB 054EP) 14.00
The music Strahil Velchev aka KiNK creates for the 12" format is as playful and fanciful as it is functional and precise. His first outing for Running Back is no exception. Inspired by the hardware of the same name, his Cloud Generator EP makes the most use of that. Computer nerd symphonies and cyberpunk melodies for clubs, roofless raves and virtual racing games. Wilhelm Reich and William Gibson would enjoy this.



MOLE, THE: Inhuman 12" (SOL 007EP) 12.50
Canadian DJ and producer The Mole (Colin de la Plante) follows up Hang in There Fry Guy (SOL 004EP, 2013). "Inhuman" surprises with a higher BPM than you might expect from The Mole, and breathes a warm and humorous funk while twinkling mischievously from the dancefloor. "Another One of Those Nights" offers a deep and almost melancholic view on the night and its various side effects. "Hot Tea Dog Man" links perfectly to "Now I Understand" from Hang in There Fry Guy; its hypnotic beat concentrates on the essentials and a few well-set elements carry the track wonderfully and endlessly.


SONG 170212-LTD

FENNESZ: 17.02.12 2LP/CD/DVD (SONG 170212-LTD) 112.00
Restocked, new lower pricing. Song Cycle is a label dedicated to box sets and multimedia limited editions. This limited box set presents a full retrospective of the artist's performance at Museo Marini in Florence on February 17, 2012 with additional features and bonus content: a DVD, photo albums and more. A strictly limited edition of 500 copies. Christian Fennesz is an Austrian electronic musician active since the late '90s and influenced by artists like Fripp and Eno and guitar-synth pioneer, Chuck Hammer. Fennesz uses guitar and laptops to created "multilayered compositions that blend melody and conventional musical instruments with harsh, irregular glitch-influenced sounds and washes of white noise." Over the years, Fennesz has played and collaborated with a number of artists, including Mike Patton, Jim O'Rourke, Ryuichi Sakamoto, Keith Rowe, Peter Rehberg, Mark Linkous (Sparklehorse), and David Sylvian. In 2012 Fennesz also wrote the original soundtrack to the independent Austrian film, Aun, directed by Edgar Honetschläger, and based on the writings of Claude Levi-Strauss. On this double LP Fennesz can be heard performing in front of a live audience at the beautiful Marino Marini Museum (located in a medieval church) in Florence, Italy in February of 2012. In addition to the 2LP and CD of the performance, this deluxe box set includes a 12-page photographic book, a CD-ROM with a virtual gallery of the museum and a DVD featuring a 1927 silent film by German filmmaker Walter Ruttmann Berlin called Die Sinfonie der Großstadt (Symphony of a Great City). DVD is NTSC region-free format.

SONG 170212LP

FENNESZ: 17.02.12 2LP (SONG 170212LP) 31.00
Restocked, new lower pricing. Gatefold double LP version on 180 gram vinyl. Christian Fennesz is an Austrian electronic musician active since the late '90s and influenced by artists like Fripp and Eno and guitar-synth pioneer, Chuck Hammer. Fennesz uses guitar and laptops to created "multilayered compositions that blend melody and conventional musical instruments with harsh, irregular glitch-influenced sounds and washes of white noise." Over the years, Fennesz has played and collaborated with a number of artists, including Mike Patton, Jim O'Rourke, Ryuichi Sakamoto, Keith Rowe, Peter Rehberg, Mark Linkous (Sparklehorse), and David Sylvian. In 2012 Fennesz also wrote the original soundtrack to the independent Austrian film, Aun, directed by Edgar Honetschläger, and based on the writings of Claude Levi-Strauss. On this double LP Fennesz can be heard performing in front of a live audience at the beautiful Marino Marini Museum (located in a medieval church) in Florence, Italy in February of 2012, backed by the images of the 1927 silent film by German filmmaker Walter Ruttmann Berlin called Die Sinfonie der Großstadt (Symphony of a Great City).


ST 004LP

ROGER, ROGER: Musique Idiote LP (ST 004LP) 21.00
180-gram vinyl. Roger Roger (August 5 1911 - June 12 1995) was a French film composer and bandleader. His aliases included Eric Swan and Cecil Leuter, the latter a pseudonym he used for his electronic productions. He was one of the first, along with Pierre Henry and Jean-Jacques Perrey, to experiment with the Moog synth; his Pop Electronique album was released in 1969, five years after Bob Moog put his synth on the market. Musique Idiote is his super-rare experimental Moogy LP with beautiful cover art, a definitive collector's item for fans of Dada, the absurd, or Monthy Python. It's full of short analog synth compositions on the theme of "extremely annoying and devolved." Kinda like the total madness of a circus calliope album, but more circuit-bent. This is music to bash your brains in with a hammer to! Roger Roger was one of the kings of library music; this album was originally released in 1971 by the French label Neuilly, easily one of the coolest libraries, with a roster that included Janko Nilovi?, Yan Tregger, Jean Bouchéty, and Nino Nardini.



VA: Slow Grind Fever Volume 3 & 4 CD (STAGO 066CD) 17.00
Stag-O-Lee presents the third and fourth volumes of Slow Grind Fever on one CD -- each volume is also available on vinyl as (STAGO 064LP) and (STAGO 066LP) respectively. Includes 12-page booklet. Volume Three was compiled by Richie1250, founder of the Slow Grind Fever club night, Melbourne's only slow dance party; Volume Four was compiled by London's DJ Diddy Wah, who is known for his Diddywah Blog, his radio show, and his constant presence as a host and DJ for London club nights like Heavy Sugar, Get Rhythm, and others. The decade between 1953 and 1963 offers an endless supply of danceable, up-tempo tunes. We're talking rhythm 'n' blues, and the phase in the early '60s when it morphed into soul (now called new breed), as well as popcorn -- Belgian music with a mid-tempo style and a high groove-factor. The Slow Grind Fever series highlights the slower side of this period, and takes its title and inspiration from Richie1250's club night, an event devoted to only the "slowest, spookiest, sweetest records" the DJs could find, with folks dancing "real slow in a haze of smoke and dim red light." Stag-O-Lee was convinced that this was a great concept for a compilation series, the third and fourth volumes of which include tracks by The Notes, The El Torros, Eddie Cooley & The Dimples, Isley Brothers With Ray Ellis & Orchestra, Donna Dee, Charlie Williams, Henry Thome, Bob Lee, Little Willie John, Elizabeth Waldo, Bobby Rebel, Jessie Hill, The Flamingos, Jimmy Scott, Jay Hawkins, Yvonne Fair & James Brown Band, Nappy Brown, Bobby Peterson Quintet, Big Daddy and His Boys, Roy Brown, Varetta Dillard, John Greer and His Combo, Duane Eddy, Howlin' Wolf, Elmore James, The Jaguars, Yvonne Baker and the Sensations, The Stone Crushers, Cozy Cole, and El Pauling and The Royalton.



WOODBINE & IVY BAND, THE: Sleep On Sleeping On CD (VAN 281CD) 16.50
The Woodbine & Ivy Band's lineup again features a wealth of Manchester's finest musicians, capturing a magical folk oeuvre flecked with psych, prog, jazz, and country rock. Partly inspired by G. I. Gurdjieff's theories on "waking sleep," this collection of ten tracks sounds appropriately out of step and out of time, as if the product of an off-kilter dream; of instinct or the subconscious. Where their 2011 debut drew comprehensively on folk tradition, earning glittering reviews and favorable comparisons with the likes of Sandy Denny, Fairport Convention, and Crazy Horse, Sleep On Sleeping On pulls in a different direction. Alongside three traditional folk songs and three covers, there are four original compositions too, all steeped in careworn tradition yet fresh and invigorated. For the first album they worked with a different singer for each song, but here all vocal duties are taken care of by two highly contrasting voices: the soft, amorphous voice of Jenny McCormick and the coarser tones of James Raynard. The album is indebted to such British folk classics as The Albion Band's Rise Up Like the Sun and Lal & Mike Waterson's Bright Phoebus, but that pedigree is augmented by gracefully textured arrangements of pedal steel, horns, drones, and glissandos, along with pastoral synth washes like a Klaus Schulze soundtrack for a film about allotments. From the woozy, ethereal title-track to the gorgeously plaintive folk rock of "Arm a Nation," "Jackdaws," and "Pretty Fly Lullaby," they conjure forgotten memories from sparse instrumentation and, on the latter, Morricone-esque harmonies. Meanwhile, the gentle guitar melody of "Old Man" recalls Bert Jansch, and Lal Waterson's "Flight of the Pelican" is similarly stripped-down and eerie. "White Hare" imagines swirling organ, rousing horns, heavy piano chords, and crunching, fuzzy guitars, and "One Summer Day" is a psych-fuelled state; a dizzying fever of a groove that sounds like Popol Vuh, Stereolab, and Steely Dan jamming in a community sewing center. The centerpiece of the album is "Minstrel and the King," written by Gerald T. Moore and originally performed by Heron on their 1971 second album. Here, it's a nine-minute, piano-led tour de force with mournful horns, saxophone solo, and an extended coda, dripping with melancholy but oddly euphoric with its insistent melody and unerring rhythm. Equally poignant is the closing track "Rebel Soldier," an American Civil War song re-wired here as a hauntingly fragile, piano-led lament underscored by horns and twanging guitar.


SR 395CD

STORDEUR, ANDRE: Complete Analog and Digital Electronic Music 1978-2000 3CD (SR 395CD) 20.00
Another installment in Sub Rosa's Early Electronic series: the complete works, for the most part previously unreleased, 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. Complete Analog and Digital Electronic Music 1978-2000 includes Stordeur's only album, 18 Days, originally released in 1979 by Igloo, and two discs of previously unreleased material: Analog and Digital Works 1980-2000 and 6 Synthesis Studies Circa 2000.


TR 310CD

LILAC TIME, THE: No Sad Songs CD (TR 310CD) 18.00
A prose poem, which Stephen Duffy composed especially for the release of the ninth album by his band The Lilac Time, contains the lines, "I was a flower child, now I'm a flower man." It took a long time before one became the other. When viewed from space, Duffy's path may well appear labyrinthine, filled with loopholes and trapdoors. Yet a sober perspective reveals the path of a musician and poet who is independent in the very best sense of the word. Nevertheless, a lot has happened since the young boy kept his Praktica camera trained on street scenes in the Birmingham of the Cold War. Back in 1979, an 18-year-old Duffy was a founding member of Duran Duran. Yet he did not board the train to superstardom. The visionary instinct of the young artist had other intentions. He might have had Bob Dylan, Nick Drake, and The Incredible String Band in mind, but he himself was not allergic to success. He quickly understood that a songwriter with an acoustic guitar had little access to the merry-go-round of the charts in the early '80s. Instead, he formed the band Tin Tin, trading his guitar for a synthesizer and making chic, clever, and sparkling pop music. The young man with the melancholy expression even landed two international hits with "Kiss Me" and "Icing On the Cake." But before the record company was able to put their plan into action and turn Duffy into the next Rick Astley, he took flight. He mothballed his pop persona and founded a band with his brother: The Lilac Time. On their debut in 1987, they made what Duffy had long dreamed of: flower music. The 1988 single Return to Yesterday conjured visions of Simon & Garfunkel. In an era of slapping basses and smacking snares, the instrumentation was exceptional: mainly acoustic, with guitars, banjos, fiddles, and accordions, all beautifully arranged by Nick Duffy, who was also responsible for composing the instrumental pieces on the record. Keep in mind that the new acoustic movement, which brought forth bands like Belle and Sebastian and Kings of Convenience, was still more than ten years away. Often in diametrical contrast with this melancholy folk pop were Stephen Duffy's lyrics, with descriptions of suburban tristesse placed seamlessly alongside biting commentary on the issues of the times and courageous reports of the singer's moments of excess and aventures amoureuses.



MIX MUP: Skip Intro 12" (TRILOGY 031EP) 17.00
Liepzig producer Mix Mup's debut on The Trilogy Tapes.


REZZETT: Goodness 12" (TRILOGY 032EP) 20.00
In silkscreened sleeve. "'Goodness' sees a return to the decayed, drawn-out techno-ambient that pulled me in the first time round. Each bar is led with a strong kick that quickly fades back into the maelstrom of rusted textures washing over the track. There might be three different hi-hats blundering into each other throughout, occasionally interrupted by dulled bumps and clangs. As 'Goodness' swells and snowballs, the cascade of descending synths turns the stomach over each loop -- a rollercoaster cart that relentlessly chugs its way to the top of the rails, only to find itself lost in the clouds." --Pitchfork, February 2015



SURGEON: Basictonal-Remake 12" (TRESOR 085EP) 12.50
Tresor Records is fortunate enough to be sitting on a catalog of past releases that no other label in electronic music would turn down. Three of the ?nest were created by Surgeon: Basictonalvocabulary (TRESOR 10073LP), Balance, and Force + Form (TRESOR 10117LP) all originally came out on the Berlin institution between 1997 and 1999. Surgeon's inimitable combination of Detroit techno and post-industrial sounds found its fullest expression in this masterful trio of releases on Tresor. The Basictonal-Remake 12" accompanied Surgeon's ?rst Tresor album in 1997, with additional Versions as well as a remix by long-time Birmingham collaborator Mick Harris.



VA: Chicas Vol. 2: Spanish Female Singers 1963-1978 2LP (VAMPI 162LP) 25.50
Gatefold double LP version. "Much of the music made by Spanish women in past decades didn't reach its potential audience. Too much. For varied reasons, the more personal and daring work couldn't break the barriers imposed by a society with a narrow and prudish view of what a woman's role should be. This second volume of ¡Chicas! must disprove again the lie that says that in the '60s and first half of the '70s, Spanish female artists hardly sang anything but ye-yé, singer-songwriter, copla, or romantic songs. Despite all the social determinants and repressive archetypes which stigmatized anyone who left the queue, the most courageous women began their paths in new music roles which they immediately considered their own... Whether it was as solo artists or as part of a band, along with men or other women, the real turning point for our more groundbreaking pop female singers at the time was their ability to associate. Suddenly, breaking the isolation that until then considered them mere instruments in the hands of men, those daring girls got involved in ambitious projects and tried to do it by themselves, obtaining a normality denied until then. Exquisite experiences of select avant-garde, brave examples of groove and funk or adventures in '70s rock; of course, there were also incursions in twist, bossa, ska, soul, or the emerging gipsy rock trend... The tracks featured here are the proofs of this wonder, and the line-up of female artists that make this record possible -- many of them sadly unknown or forgotten until now -- are the wonderful and still relevant cast of this story" --Vicente Fabuel. Many of these tracks, originally released between 1963 and 1978, are reissued here for the first time, including very hard-to-find records. CD and double LP include extensive liner notes by Vincente Fabuel featuring all of the original record sleeves and artist photos. Includes tracks by Claudya Con Ramón y Sus Showmen, Donna Hightower, Claudine Coppin, Blanca Aurora, Ana Kiro, Marina, Elsa Baeza, Antón García Abril, Edda Dell'Orso, La Nueva Generación, Elia y Elizabeth, Satin Bells, Karina Con los Jaguars, Rocío Durcal, Sola, Las Trillizas de Oro, Bárbara, Los Quandos, Los Jolly's, Anabella y los Platinos, The Zara's, La Llave 3, Paloma San Basilio, Morena y Clara, Alicia Granados, Los Cenits, Las Chic, Los Unísonos, and Elia Fleta.



JAUMET, ETIENNE: La Visite CD (VER 029CD) 15.50
A lot of water has passed under the bridge since the 2009 release of Etienne Jaumet's Night Music. His hypnotizing music and enchanting live performances put him directly on the map. Between Night Music and the creation of La Visite, Jaumet was not idle. Not only has he worked on numerous collaborations (with, among others, Joakim, Richard Pinhas, Frànçois & the Atlas Mountains) and picked up DJing, but he also released a Zombie Zombie album, 2012's Rituels d'un nouveau monde with Cosmic Neman, as well as Zombie Zombie's soundtrack for the 2013 film Loubia Hamra, and worked with artist Félicie d'Estienne d'Orves on the 2013 installation Satori. At the time of this album's release, Jaumet and his saxophone are on tour with James Holden. As a musician, Jaumet is in total control; he smoothly moves from his saxophone to his drum machine (his beloved TR 808) while turning knobs, modulating synths, and sending his voice through an echo. La Visite is more luminous and jazzy than its predecessor, and was composed and produced within a two-month period in the Versatile studio. It became a piece of introspection, mentally as well as physically. In the title-track, for which Flóp wrote the text, we hear Jaumet travelling through the inside of a body, Fantastic Voyage style. For the recording, Jaumet would arrive at the studio without any precise idea in mind, approaching his work rather intuitively. He works standing up, which brings a very different energy than being seated behind a computer polishing up every detail. He is in total mastery of his set-up, ready to capture that short-lived moment of true creation. The only use a computer has for him is to record his experiments, which are mixed afterward by Jérôme Caron (Blackjoy).



HAGELSTEIN, RUEDE: Apophenia CD (WGA 001CD) 17.00
Ruede Hagelstein and Watergate go hand in hand. Not only is Hagelstein one of the longest-running residents at the club, but he's also the man behind some of the label's most acclaimed music and the curator responsible for lucky number 13 in the illustrious Watergate mix series (WG 013CD). Considering this, it seemed obvious to put him up to his next task: an album. It is with great anticipation and excitement that Watergate Records brings you the first artist album for both Hagelstein and the label itself, Apophenia. "Apophenia" is the experience of seeing patterns or connections in random or meaningless data, and for Hagelstein, this is a perfect way to describe his writing process, in which ideas appear from the empty, chaotic darkness. A random chord progression or percussion arrangement opens the door to the imagination where structures appear and begin to take shape. Unlike most of his previous work, Apophenia is not strictly attached to the dancefloor, but created to work just as seamlessly while listening at home as in the club. For over a year, Hagelstein collected ideas and visualized his plan. It was important not to mimic his earlier work, but to focus on a certain sound. By staying minimalistic yet extremely organic and melodic he has created a timeless long-player. While the album spans a range of emotions, it is always grounded in Hagelstein's unparalleled, singular sound. Pair that with some notable features from PillowTalk, Hollis P. Monroe & Overnite, Justin Evans, Mentrix, and C.A.R., and you have a plethora of dazzling music. With "Moon Rabbit" and "Life Is a Beach" Hagelstein displays the sound of a night at the club, while "Already Undone (feat. PillowTalk)" takes a ride through the deeper, emotional spaces. In the end, Apophenia is the perfect display of not just Hagelstein's artistry, but Watergate's musical vision, which together create an illustrious and undeniable entity. CD version includes two exclusive tracks: "Found a Place" and "Pareidolia."



JAAR, NICOLAS: A Time For Us/Mi Mujer 12" (WLM 008EP) 14.00
2015 repress. Dreamt up while living at the Marcy, Wolf + Lamb's infamous fake hotel, Nicolas Jaar presents two slow and enveloping productions, adding a new dimension to his signature sound. The track's tempo slides down the scale at its peak and sensual spoken passages ooze through the gaps. "Time For Us" moves away from formulaic club music and inspires with its dynamic approach. Seth Troxler has laced it with admiration and the record was even unleashed at Burning Man.


XI 111CD

NIBLOCK, PHILL: Music By Phill Niblock CD (XI 111CD) 11.50
1993 release. Music by Phill Niblock features The Soldier String Quartet performing in Five More String Quartets, a piece for five multi-tracked string quartets and in Early Winter for flute, bass flute, string quartet, and synthesizer, also featuring Susan Stenger (flute) and Eberhard Blum (bass flute). In Five More String Quartets the musicians are tuned to specific pitches by calibrated sine tones as they play and the sound they produce is recorded, unprocessed, to multitrack tape. The piece is built up by means of multitrack recording. Early Winter has a different structure: a mixing of recorded instruments, computer controlled electronic instruments, and live instruments in the studio.

XI 112CD

CAMERON, ALLISON: Raw Sangudo CD (XI 112CD) 11.50
1995 release. Allison Cameron's compositions can be characterized as rigorous forms within which specific sound worlds are explored. She experiments with the physicality of sound on various instruments, using pithy material to exploit instrumental colors. Most of her works to date have been written for a variety of chamber ensembles encompassing both traditional and unusual groups of instruments. "Cameron takes her ideas and plunges them into darkness. There is nothing objective in this approach. Cameron's music has something to hide. By highlighting only a few musical features while restricting all others, Cameron puts a tiny corner of the musical world into very fine focus. It is like illuminating the universe with a pen-light. Compare this to the barely contained brutality of 'A Blank Sheet of Metal.' This piece is never quiet -- its soft moments are full of the tension of loud, powerful, angry arguments being forcibly held back. The restraint is deafening: those moments when the tension erupts or the loopy melody at the end can't clear the ominous air. It is a dark and unclean ritual, a terrifying vision of the world. Allison Cameron's great strength is that she has lifted that lid -- slightly, not enough to let the terrifying mixture spill out, but just enough to give a sense of the darkness, the dirt, and the raw, crude power of real life." --David Lang

XI 113CD

GOODE, DANIEL: Clarinet Songs CD (XI 113CD) 11.50
1993 release. Daniel Goode's Clarinet Songs has long been a favorite on the new music concert circuit. It is a 75-minute suite for solo clarinet which Goode began writing for himself in 1979, and reached its current form in 1991. It uses all of Goode's virtuosic techniques distilled into sixteen "Songs without Words," a poetics of the new clarinet. It is made up of a series of individual pieces, each a sound world of its own, based on some unique material, perhaps a specific technical, poetic, or sonic idea, or some synthesis of these. Most use circular breathing for continuity and use alternate fingerings which produce non-tempered intervals with unusual, striking timbres.

XI 114CD

CHILDS, MARY ELLEN: Kilter CD (XI 114CD) 11.50
1999 release. "Kilter is significant as a title because it displays Mary Ellen's habit of insisting we remember what, if left to ourselves, we'd be quite happy to forget. She's moved on, compelled like the rest of us to negotiate a strange, often lovely land, in an oddly menacing time. What she writes are signposts in that land, or lanterns which led the way home one night" --Bill Morelock, NPR. "In 'Parterre' transformation works as an almost psychedelic fantasy. Childs juggles a kaleidoscopic assortment of musical colors that are presented as layer upon layer of energized pulsations. These colors later develop and mutate with a wonderfully rich and warm sense of expansion. Childs creates a world where we feel anything could happen -- a truly universal world that's primordial in its understanding of humanity. In the work of Minneapolis composer Mary Ellen Childs, transformation is used to guide carefully and interpret the combined emotional and intellectual experience" --Bunita Marcus, Elle. "An enveloping and entrancing audio quilt composed of organic reeds, sylvan accordion, timepiece xylophone, seductive polyrhythms, and somewhat histrionic wordless vocals. 'Parterre' is an altogether surprising, accomplished, beautiful work that creates its own little universe" --Tom Surowicz, Twin Cities Reader. Performed by Guy Klucevsek (accordion), the SoHo Quartet (Mary Rowell, Mark Feldman, Lois Martin, Erik Friedlander), Relâche (clarinets, saxophones, bassoon, accordion, voice, perc.), Anthony de Mare (piano), Kathy Suprov (soprano), Dora Ohrenstein (soprano), Phillip Bush (piano).

XI 117CD

LOGOS DUO: Works CD (XI 117CD) 11.50
1995 release. Logos Works contains eight works by the Logos Duo featuring both Moniek Darge and Godfried-Willem Raes on various instruments, as well as other performers on a wide range of instruments. "This latest recording comes as they look back upon 25 years of collaboration as the Logos Duo. More than a retrospective, we see them affirming a long artistic relationship and forging new horizons -- together and on divergent musical paths. In this, their work is a metaphorical journey: an inward exploration of the elegance of algorithmic composition and a voyage out into distant soundscapes. This CD from Godfried-Willem Raes and Moniek Darge is both a literal and figurative journey; in sound and music we have the Yin­Yang energy that is the Logos Duo. Enjoy listening!" --Douglas Quin

XI 118CD

1998 release. "This is not an album of environmental sound for relaxation, though listening to it might have a calming effect. Nor is it sonic nostalgia for a tame or even cute nature. Some of these sounds (especially if played loudly on speakers with good bass response) can bite!" --Warren Burt. "World Rhythms" originated as a ten-channel live improvisation in which the audience was surrounded by ten loudspeakers. The recorded sounds include volcanic eruptions, earthquakes, radio waves, geysers and pools, and tree frogs. These sounds are a physical manifestation of energies which shape us and our environment constantly, energies of which we are not always aware, but which powerfully influence and interact with the rhythms of our bodies. "i come out of your sleep" follows a tradition of sound poetry, or text-sound, begun in part by Kurt Schwitters' Ursonate and expanded by composers such as John Cage, Charles Amirkhanian, and Jackson Mac Low. The piece is based on the speech vowels in Louise Bogan's poem, "Little Lobelia." The vowels are whispered and elongated; their shapes become breathed melodic arcs and tones, and that breathing becomes the core of a stylized meditation.

XI 120CD

GOLDSTEIN, MALCOLM: The Seasons: Vermont CD (XI 120CD) 11.50
1998 release. The Seasons: Vermont is a soundscape of Vermont as charted through the changes of its yearly soundings. It is a composition in four parts (Summer, Autumn, Winter, Spring) for magnetic tape collage with an unspecified live instrumental/vocal ensemble. Though the actual composing of the music was completed between 1980 and 1982, it is the realization of a ten-year composition project. Goldstein listened closely and became attuned to what was the particular sound quality of each season in Vermont. He then took the sounds that he had recorded and made a tape collage which, for him, arrived at that particular, essential quality of each season. This recording is the complete, unedited premiere performance that took place on Feb. 26 1983 at Real Art Ways in Hartford, CT. The booklet contains examples of the scores as well as excerpts from Goldstein's journals from 1977-1982.

XI 136CD

WALLER, MICHAEL VINCENT: The South Shore 2CD (XI 136CD) 14.00
XI Records is pleased to announce the debut full-length release from Michael Vincent Waller, The South Shore, featuring chamber works from 2011 through 2014, with album art photography by Phill Niblock. Waller has collaborated with numerous musicians and ensembles to bring this album to life. This kind of listening is for the brain to relax and enjoy, for the soul and emotions together as art for the universal. Reveling in subtext and subtlety, a symbiotic exploration of the history and future of musical life. "Blue" Gene Tyranny, in his liner notes to The South Shore, writes, "The music of Michael Vincent Waller offers a welcome and rare alternative to the tempo and noise of modern life. These touching miniatures employ the pure modal scales first described by ancient Greek philosophers and sustained through millennia in the folk song of many lands, in religious chant, and in the modern era by the works of composers such as Erik Satie (especially his monodrama Socrate) and Terry Riley (especially A Rainbow in Curved Air). Waller's music convinces us by its honest emotion, which avoids any artifice that would dramatically pull us toward some effect. Although it is the first time we have heard these works, we seem to immediately understand the intimate feeling they refer to." Experimental Intermedia Foundation, founded in 1968 by Elaine Summers, has been presenting performances since 1973, produced and curated by composer Phill Niblock. As an offshoot of Experimental Intermedia, XI Records was formed in 1990, with the main purpose of presenting a series of compact discs highlighting the music of contemporary artist-composers whose works are original and galvanizing. The intent of XI is to extend the experience of these engaging and pioneering works beyond the performance space into the home. XI's catalog includes Phill Niblock, Éliane Radigue, Tom Johnson, David Behrman, David First, David Watson, Lois V. Vierk, Ellen Fullman, Philip Corner, Malcolm Goldstein, Annea Lockwood, and many more.

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