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Forced Exposure New Releases for 5/21/2018

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New music is due from Gas, Gábor Lázár, and David Grubbs and Taku Unami, while old music is due from Taj Mahal Travellers, Cement, and The Real Kids.

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PRICE: $14.00
CAT #: 10YEARS 011EP
Second release on 10Years, by Parallax Deep. Three original cuts by Parallax Deep with a Per Hammar remix. Edition of 250, hand stamped. Vinyl only.
PRICE: $33.00
2018 repress. First ever vinyl release; originally released on cassette in 1983. Gorgeous and essential archive material from this master of mood. The latest unearthing on Chee Shimizu's 17853 Records -- previously only available on a very limited Japanese cassette back early '80s. The late Hiroshi Yoshimura, a pioneer of Japanese ambient music, was involved in a wide range of fields, such as sound design for public installations, graphic design, visual poetry, free improvised performance (using his own body), and inventing his own instruments, right up until he passed away in 2003. The seven songs on Pier & Loft were created for a fashion exhibition held at a warehouse in the Tokyo bay area. He released it on cassette tape on Japanese label Fukusei Gijutsu Kohboh ran by Yoshio Ojima who also produced the album. Yoshimura referring to the Loft: "As the time goes by, the Loft that was swept away (forgotten) from the city but it somewhat has a look of a 'City of Ruins' that reminds you of something you have forgotten. Something nostalgic. Sounds from the city and the vast landscape gave me a great opportunity to take a fresh look at Tokyo". And referring to the Pier: "His look towards Tokyo bay takes on the shape of sonic particles. . . . tickling down gently while tinged with change. A landscape of seven sounds." The sleeve image is the same as on the original cassette release.
AUK 042-10
PRICE: $14.00
CAT #: AUK 042-10
Hold That Thought announces The Brian Jonestown Massacre's forthcoming two albums to be released in 2018. The first track is "Hold That Thought" which comes from the forthcoming album Something Else, to be released in June of 2018. The second track is "Drained" which will come from the self-titled album, to be released in September of 2018. Both tracks were recorded in Berlin. White-colored 10" vinyl.
PRICE: $31.00
Aguirre Records present a reissue of Distant Voices, Steve Lacy's rare Japanese collaboration album, originally released in 1976. Renowned for remarkable solo concerts that confirmed his mastery of the soprano horn and that carried its instrumental language into previously unexplored regions, Lacy also loved to collaborate with musicians who could inspire him to stretch the boundaries of his own artistry. During the summer of 1975 Lacy toured Japan, and on June 24th he entered a Nippon Columbia studio in Tokyo with Yuji Takahashi and Takehisa Kosugi, two adventurous kindred spirits, guaranteed to fire Lacy's creative imagination. The fascinating outcome of that dynamic session is Distant Voices, an album without parallel in Lacy's extensive discography. Composer Iannis Xenakis was so impressed when he heard Yuji Takahashi playing piano in 1961 that he later wrote music especially for him. His repertoire extends back to Bach and Purcell yet for Takahashi, music has remained an open quest and a process of discovery. Takehisa Kosugi on the other hand has been a legendary figure in the international avant-garde since the mid-1960s when his work was endorsed by the fluxus movement. In Japan he was by then already well established as leading practitioner of experimental music and intermedia performance art. At the time Distant Voices was recorded Kosugi had also developed a following for his electric violin playing with the Taj Mahal Travellers, a group whose sound had strong stylistic affinities with psychedelic rock and space music. Subsequently other audiences worldwide came to know Kosugi through his long association as a composer, performer, and musical director with the Merce Cunningham Dance Company. On 24th June 1975 Takahashi sat at a grand piano, with celeste and vibraphone alongside him and small bells attached to his hands. Kosugi was equipped with violin, flute, mouth organ, an electronic modulator, porcelain bowls and at times he used his voice. Lacy played soprano saxophone, of course. Now and then he pressed the mouth of the instrument against the skin of a kettle drum. He occasionally fiddled with a transistor radio, and also found uses for a stepladder, a toothbrush, and a spinning wheel. This was in no sense a routine musical session. Distant Voices preserves a unique occasion when three singular musicians joined together to embrace the unknown. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker. 180 gram vinyl.
PRICE: $36.50
Aguirre Records present a reissue of Taj Mahal Travellers' August 1974, originally released in 1975. A monumental work by the Japanese experimental music ensemble. In April 1972 a group of Japanese musicians set off from Rotterdam in a Volkswagen van. As they crossed Europe and then made their way through Asia they made music in a wide range of locations. They also paid close attention to the changing scene and to differing ways of life. Midway through May they reached their destination, the iconic Taj Mahal on the bank of the Yamuna river in Agra, India. The Taj Mahal Travellers had fulfilled physically the promise of the name they adopted when they formed in 1969. The double album August 1974 was their second official release. The first July 15, 1972 is a live concert recording, but on August 19th, 1974 the Taj Mahal Travellers entered the Tokyo studios of Nippon Columbia and produced what is arguably their definitive statement. The electronic dimension of their collective improvising was coordinated, as usual, by Kinji Hayashi. Guest percussionist Hirokazu Sato joined long-term group members Ryo Koike, Seiji Nagai, Yukio Tsuchiya, Michihiro Kimura, Tokio Hasegawa, and Takehisa Kosugi. The enigmatic Takehisa Kosugi, whose soaring electric violin was such a vital element in their music, had been a pioneer of free improvisation and intermedia performance art with Group Ongaku at the start of the '60s. Later in that decade, before launching the Taj Mahal Travellers, he had become known internationally through his association with the fluxus art movement. During the mid-70s the Travellers disbanded and while his colleagues more or less stopped performing as musicians Kosugi continued to reach new audiences across the course of several decades as a composer, regular performer, and musical director for the acclaimed Merce Cunningham Dance Company. August 1974 captures vividly the characteristic sound of the Taj Mahal Travellers, haunting tones from an unusual combination of instruments, filtered through multiple layers of reverb and delay. Their music has strong stylistic affinities with the trippy ambience of cosmic and psychedelic rock, but the Taj Mahal Travellers were tuning in to other vibrations, drawing inspiration from the energies and rhythms of the world around them rather than projecting some alternative reality. Films of rolling ocean waves often provided a highly appropriate backdrop for their lengthy improvised concerts. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker.
AU 4001CD
PRICE: $15.50
CAT #: AU 4001CD
Trrmà, an instrumental duo formed by Giovanni Todisco (percussion) and Giuseppe Candiano (synths), present a self-titled record. The record is composed of five movements that mix acoustic percussion with synthesis. Symphonic and Mediterranean percussion built polyrhythmic structures to create primitive and ancient imagery connected to synthesizers, which draw dystopic and sci-fi soundscapes. Recorded at Reh Offcine di Strada in Terlizzi by Dario Tatoli and Fabio Gesmundo. Mastered by Rashad Becker at Dubplates & Mastering in Berlin.
PRICE: $15.50
CAT #: COR 042CD
GREEN, TIM Her Future Ghost CD
Tim Green returns to Cocoon with his atmospheric and emotive album titled Her Future Ghost. Surprisingly, after all this time, this 11-track production is his first ever album in his career. Her Future Ghost is effectively composed similar to an electronic romantic film soundtrack: "My concept and direction for Her Future Ghost was to write a film score for a film that doesn't actually exist." says Tim. "As an avid film score lover, I wanted to create a body of work that took certain traits from common film score practices. For example, different themes that repeat throughout, like character themes that evolve and mutate. As well as a narrative and story that develops through the music. In my mind the story is set in the future, based around two people, a couple. It based on another planet, a planet so distorted and corrupted in comparison to the world we know now. Essentially they are trying to flee and stay alive in a future society where it is impossible to stay under the radar, where they have to go to extreme lengths not be caught and put into the same system and society as everyone else on this planet." The album concept was further influenced by the work of Ahmed Emad Eldin, an Egyptian digital artist who is best known for his design on Pink Floyd's 2014 album The Endless River. Tim reached out personally to the artist, and the two collaborated on the cover art for Her Future Ghost. Tim first made his production debut on four:twenty in 2006, going on to release on Dirtybird and Get Physical, before Cocoon tapped the young producer for his first EP on the label in 2011 (COR 088EP). Whilst the prolific studio head has continued to experiment on other respected labels, Cocoon and Sven Vath have helped Tim's productions reach the biggest dancefloors in Ibiza and across the globe. A fiery live DJ, Green has been tapped by Sven Vath to play at Cocoon events around the globe as well as solo at some of the world's most respected clubs. Whilst Tim Green's prowess at moving dancefloors was never in question, the release of Her Future Ghost shows the talented producer spreading his wings and pushing himself to fulfill his creative potential -- this is just the beginning of a new and exciting chapter of Green's career.
PRICE: $15.50
CAT #: CSR 245CD
Lunisolar is the second solo album from the "Queen Of Japanese Noise", Mayuko Hino. "Faintainhead" unleashes swathes of densely layered noise, undulating in intensity and ferociousness. Although claustrophobic throughout, there are moments of gentle metallic percussion, punctuating the raging vibrations beneath. "Astral Travelling" offers no such relief, featuring unrelenting, piercing electronics throughout until the final few minutes of psychedelic comedown. In addition to self-made instruments, Hino plays noise with her six-theremin oscillators (in bright pink) -- the only one in the world, specially made by Ryo Araishi (aka ichion). Prolific as a live performer, Hino is most well-known for forming C.C.C.C. (Cosmic Coincidence Control Center) in 1990, together with Hiroshi Hasegawa, Fumio Kosakai, and Ryuichi Nagakubo. In its early phase, the band grabbed attention by combining noise music with Hino's sadomasochism performance using bondage ropes and dripping candle wax. She has since been a member of Mne-Mic, DFH-M3, and Transparentz.
PRICE: $15.50
CAT #: CSR 247CD
NDE United (Through Iron And Blood) CD
Praise my fame, my violent heart. United (Through Iron And Blood) is NDE's third album and sees a return to the harsher sounds of their debut, Krieg Blut Ehre Asche (CSR 110CD, 2011). Deranged black metal vocals over uncompromising, blood-soaked death industrial, rhythmic power noise, and claustrophobic power electronics. United is NDE's strongest "song-based" album to date, with assured harsh dancefloor fillers. "Sons of truth gather now, colour your hands with their blood..." For devotees of Trepaneringsritualen, Propergol, Navicon Torture Technologies, Genocide Organ.
PRICE: $15.50
CAT #: CSR 249CD
Siberian band Nytt Land presents its new epic musical canvas. Working with the same unchanging four band-members, the musicians continue to revive the true magical sound of the Ancient North. O?al... Heritage... Path to the roots... O?al is inspired by the traditional music of the indigenous peoples of Siberia, the Old Icelandic epic and the atmosphere of classic Norwegian black metal. This time the album was recorded without using samples; all parts of the instruments were performed live. All songs were recorded and mixed in one of the technical quality best Russian studios, "Radio Sibir", which strongly affected the sound quality. All the sounds of nature were recorded in western Siberia and northern Norway. For the first time the four-year-old son of Natalia and Anatoly, Yuri Pakhalenko, took part. By this they emphasize the concept of the album -- heritage. As in the previous album, Fimbulvinter (CSR 234CD, 2017), O?al features the traditional Siberian overtone singing technique "kargyraa", but the overtone singing by vocalist Natalia Pakhalenko gives a special character to the sound. This is very unique, since this technique is an almost exclusively a male singing practice due to its physicality. So, it's time to start the path to the roots... For fans of: Wardruna, Forndom. Presented in a six-panel digipak.
PRICE: $15.50
CAT #: CSR 251CD
Midori is the third album by Italian artist She Spread Sorrow (Alice Kudalini). Midori tells a story, the escape from a harsh reality that becomes an echo of nightmares and visions, a house that is the scene of fear and anguish, a soul that is lost in pain to an epilogue of death and purification. The gloomy, intense, dream-like sound, sometimes distorted, sometimes angelic is the soundtrack of a dramatic story, but also of relief. Duplicity is the key to this work. Death industrial with female vocals and ambient moments, more dilated, with sounds that also refer to a ritualistic horizon. Presented in a six-panel digipak.
PRICE: $15.00
CAT #: CSR 253CD
SONOLOGYST Silencers (The Conspiracy Theory Dossiers) CD
Eerie drones, oscillations from the ether, distorted dark matter, signals from other dimensions... The music of Sonologyst fluctuates between scientific sonic documentaries and psychedelic abstraction, illuminated by early experimentation of the '50s and '60s, as well as future possibilities of the electronic and electro-acoustic. Silencers (The Conspiracy Theory Dossiers) is inspired by the testimonies of those who have had contact with the so-called "Silencers" or "Men in Black". Federal agents? Aliens? International conspirators? Sonologyst makes a documentary in music, including spy tech, declassified documents, official recordings, control techs, secreted scientific information, CIA Deep Black Programs, NASA classified tapes, Secret societies, and breakaway civilization hypotheses. Recommended for those who follow the nebulous paths of Inade, Schloss Tegal, Bad Sector, Lustmord. Presented in a digipak with booklet.
PRICE: $22.00
VA Last Of The Garage Punk Unknowns Volume 8: Heartbroken American Garage Jangle Misery 1965-1967 (Plus A Swiss Treat!) LP
"15 prime slabs of mid-60s USA garage punk MISERY - garage punk SADness in GATEFOLD SLEEVED luxury with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and NONE of these tracks were on the old series GARAGE?PUNK?UNKNOWNS)." Tracks by: The Other Side, The Pastels, The Toads, The Henchmen, The Night Walkers, The Time Takers, The Night Riders, The White Angels, We The People, The Dominions, The Saxons, The Sonics, The Mystics, The Vacant Lot, and The Squires.
PRICE: $26.00
KIDS/THE REAL KIDS, THE The Kids November 1974 Demos / The Real Kids 1977/78 Demos/Live CD
"Eight previously unissued proto-punk godheaded rippers from the pre-Real Kids combo The Kids recorded on Nov 10 1974 -- plus four previously unissued Real Kids demos from Spring 1977, recorded by DJ Oedipus at WTBS radio station with 1 mic suspended above the band -- plus 10 blasting live cuts recorded at the Rat on January 22 1978! 22 cuts, 78 minutes of greatness! 204-page booklet crammed with tons of liner notes (48,000+ words not counting the text of the press clippings, built mostly upon Dave Laing of Dog Meat Records' mucho-extensive March 1995 interview whilst key band members Borgioli and Alpo were alive), never seen photos, flyers, press-clippings, info, etc. on John Felice's days with The Modern Lovers, his combos The Children's Rock & Roll Band, The Kids, and the Real Kids! There was a young Boston lad named John Felice who took it upon himself to say 'F.U.' to the current dull-ass folkie/prog/Top 40 crap and blast forth with his?own fucking vision/riproar and, most important, pop?songwriting?mastery of Groovies/Kinks/ Stones/Stooges/VU/Dolls-influenced rip-roar. In 1970 at age 15 John Felice formed the Modern Lovers with next door neighbor Jonathan Richman. At age 16 John Felice formed his own band, which Jonathan Richman named The Children's R&R?Band because Felice was in 10th grade and drummer Paul Murphy was in 9th grade and lead singer Ricky Carmel was in 6th grade. A band consisting of teenagers covering the unissued Velvets' 'Foggy Notion' was certainly an oddity in the age of Zep/singer-songwriter folkie pap. Felice departed the Modern Lovers in January 1973 to concentrate on The Children's R&R Band, who soon became The Kids, then later, in early 1976, The Real?Kids, who would become labelmates at Red Star Records with Suicide. Just upon the verge of exploding into the Big Time, the Real Kids imploded along with Red Star. The booklet goes full-depth into all these years and circumstances. The music? Ripping, absolutely ripping rock and roll music."
PRICE: $30.00
THE KIDS/THE REAL KIDS The Kids November 1974 Demos / The Real Kids Spring 1977 Demos LP
"Eight previously unissued proto-punk godheaded rippers from the pre-Real Kids combo The Kids recorded on Nov 10 1974 -- plus four previously unissued Real Kids demos from Spring 1977, recorded by DJ Oedipus at WTBS radio station with 1 mic suspended above the band! Gatefold LP plus 32-page 12" x 12" (30.5cm x 30.5cm) booklet inside crammed with tonsa liner notes (28,000+ words not counting the text of the press clippings) built mostly upon Dave Laing of Dog Meat Records' mucho-extensive March 1995 interview whilst key band members Billy Borgioli and Alpo were alive, never seen photos, flyers, press-clippings, info, etc. on John Felice's days with The Modern Lovers, his combos The Children's Rock & Roll Band, The Kids, and the Real Kids! There was a young Boston lad named John Felice who took it upon himself to say 'F.U.' to the current dull-ass folkie/prog/Top 40 crap and blast forth with his?own fucking vision/riproar and, most important, pop?songwriting?mastery of Groovies/Kinks/ Stones/Stooges/ VU/Dolls-influenced rip-roar. In 1970 at age 15 John Felice formed the Modern Lovers with next door neighbor Jonathan Richman. At age 16 John Felice formed his own band, which Jonathan Richman named The Children's R&R?Band because Felice was in 10th grade and drummer Paul Murphy was in 9th grade and lead singer Ricky Carmel was in 6th grade. A band consisting of teenagers covering the unissued Velvets' 'Foggy Notion' was certainly an oddity in the age of Zep/singer-songwriter folkie pap. Felice departed the Modern Lovers in January 1973 to concentrate on The Children's R&R Band, who soon became The Kids, then later, in early 1976, The Real?Kids, who would become labelmates at Red Star Records with Suicide. Just upon the verge of exploding into the Big Time, the Real Kids imploded along with Red Star. The booklet goes full-depth into all these years and circumstances. The music? Ripping, absolutely ripping rock and roll music."
PRICE: $22.00
REAL KIDS, THE Live At The Rat! January 22 1978 LP
"Red Star press release, late-January 1978, by Miriam Linna: 'A three day engagement at Boston's Rat club (Jan. 20, 21, 22) kicked off the release of The Real Kids' premier LP for Red Star Records. The club was packed to capacity despite the two-odd feet of snow and ice which had closed several of the city's main thoroughfares during the week. Sunday, Red Star and The Real Kids celebrated the official release of RS-2 with friends, fans and members of the press with a party at a local bowling lane, with beer and pizza to boot. Everyone was a real kid (for the afternoon at least) as boots got traded in for bowling shoes and rock & rollers hit the pins to the tune of piped-in recordings of the Kids' favorite records, past and present, including their own slice of vinyl history, of course. The highlight of the weekend came that evening with a live broadcast on WCOZ-FM, one of New England's top FM stations. Featured on the live show were several tracks from the new LP, entitled simply, The Real Kids.' And this here is that night. Imagine that the Real Kids have somehow drunkenly stumbled from the bowling alley over to the Rat. Then imagine that a hammered band could pull off a set like this. Yes. The Real Kids were just that damn hot. Gatefold LP plus 2-sided inner sleeve."
PRICE: $15.00
FELDMAN, MORTON Turfan Fragments CD
2018 repress; originally released in 2001 by the Dog W/A Bone label, this release features these 2 long pieces: For Samuel Beckett and The Turfan Fragments. Performed by: The Orchestra of the S.E.M. Ensemble, with Petr Kotik, conductor. For Samuel Beckett and The Turfan Fragments are Morton Feldman's only chamber orchestra compositions. Both were commissions: The Turfan Fragments by the Swiss-Italian Radio Orchestra in 1980, For Samuel Beckett by the Schönberg Ensemble, Amsterdam, in 1987. Both titles are descriptive and suggest how Feldman arrived at a particular concept for each piece. The Turfan Fragments is a succession of short sections, which could indeed be described as fragments. The title relates the composition to manuscripts from Turfan (the southwest region of present-day China), which are in the collection of the Preussischer Kulturbesitz in Berlin. These calligraphic remnants, going back to the 9th century, were brought to Germany before World War I and Feldman must have seen them while living in Berlin in 1971. In contrast, For Samuel Beckett is based on a single idea of several chord progressions unfolding continuously for almost an hour. In 1977, Beckett wrote a text for Feldman, to be used as the libretto for his opera Neither. Feldman's description of Beckett's writing most eloquently suggests what was on his mind when composing For Samuel Beckett: "here's something peculiar about it [Beckett's text]. I can't catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you're doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought." Includes an 8-page booklet with liner notes from Petr Kotik and an extract from Morton Feldman from Give My Regards To Eighth Street (Exact Change). The Orchestra of the S.E.M. Ensemble; Petr Kotik, conductor.
PRICE: $15.50
CAT #: EPR 046CD
LANDING Bells In New Towns CD
Connecticut group Landing celebrate their 20th anniversary in 2018 but they show no signs of losing creative momentum. Bells In New Towns, their second album for El Paraiso Records, is arguably their finest, most cohesive effort to date. The group's sound has always been multi-textured, alluding to many different genres at once. There's the heavy oscillating drones and the fuzzy, motoric psychedelia, the lush ambient soundscapes and shimmering, dreamy vibes -- all tied together by that characteristic sense of fluid progression. On this record the ethereal components of their sound are firmly anchored by a tight, steady low-end -- certainly due to the fact that the album was partly recorded by Justin Pizzoferrato (Dinosaur Jr., Elder, Pixies, Sonic Youth). The result is an electric music that speaks to the mind as well as the senses."Groups like Stars of the Lid and E.A.R. have wandered this same misty plane in search of the perfect drone, but Landing incorporates Bardo Pond's jam aesthetic into the journey, imparting a welcome communal feel to their lengthy, meandering compositions." --Pitchfork
EE 003LP
PRICE: $31.00
CAT #: EE 003LP
GRUBBS & TAKU UNAMI, DAVID Failed Celestial Creatures LP
Empty Editions present Failed Celestial Creatures, an unexpected collaboration between composer-guitarist David Grubbs (Gastr Del Sol, The Red Krayola) and Tokyo-based musician Taku Unami. Primarily recorded in Kyoto, the album takes inspiration from the duo's shared musical and literary influences, emerging just as much from their improvisatory explorations as from an eclectic reading list exchanged prior to the recording sessions. The album's narrative inclinations are rooted in both artists' previous experiments with the complex reciprocity between sound and text, including Grubbs' work with the poet Susan Howe and Unami's collaborations with writers such as Eugene Thacker and Evan Calder Williams. Failed Celestial Creatures draws in particular upon a group of short stories by the short-lived Japanese author Atsushi Nakajima (1909-42) -- perhaps best known for inflecting Classical Chinese folktales with a modernist vein of absurdist and existential foreboding -- as the imaginary backdrop for its set of guitar-based instrumental explorations. In Nakajima's The Moon Over The Mountain, a mad-poet metamorphosed into a hybrid-tiger recites poetry with an obscure defect, while The Rebirth of Wujing sees the titular river monster self-identifying as a "failed celestial being" [???]. The cryptic collapse read in both of these episodes resonates with Unami's research into the etymology of the chinese character "?," meaning "to fail" in modern usage, but historically understood as referencing "sacred meat from the altar fallen on the ground." Such a primordial scene evokes the violation of the sacred as a tacit aspect of ritual. This failure of ritual, always a condition (and perhaps even a technique) for musicians of Grubbs and Unami's ilk, can be broadly understood as the primary point of departure for Failed Celestial Creatures. Situated within this affective terrain, the album's title-track consists of a side-long progression of dirge-like riffs enveloped by clouds of vaporous electronics -- eventually erupting into unruly squalls of feedback as Unami joins Grubbs on electric guitar. The B-side features a cluster of luminous guitar duets which are beguiling in their seeming effortlessness and simplicity. Threadbare and fallen, Grubbs and Unami invoke the failed ritual, the spilling at the altar, always suggested at the precipice of sonic emergence. Recorded by Taku Unami at Soto, Kyoto, August 7th and 9th, 2017; Mastered by Rashad Becker at Dubplates & Mastering. 180 gram vinyl; Edition of 500.
PRICE: $14.00
KHAN, SEAN Palmares Fantasy Feat. Hermeto Pascoal CD
For his third album for Far Out Recordings, London-based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement "Palmares" in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and it features Azymuth drummer Ivan "Mamao" Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee and having been turned away from Guildhall School of Music for being "too raw", he became disillusioned with what he saw as the exclusivity, elitism, and dangerous institutionalization of the jazz world. Yet Sean's love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed "the most impressive musician in the world", is a similarly independent artist. by the 17th century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while made up mostly of escaped African slaves, many deserter conquistadors also joined the settlement. Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, Rhodes, and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. "Moment of Collapse" is Sean's poetic study on the uncertainties of modern day western civilization, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own "Montreux" (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento and Lo Borges MPB classic "Tudo Que Voce Podia Ser" featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out Recordings boss Joe Davis in the summer of 2016.
PRICE: $14.50
NOCOW Vozduh 12"
Vozduh ("air") marks the first in a series of EPs by Nocow for Figure, showcasing his emerging signature-style of electronica-tinged techno. As each part of the trilogy is represented by an element, the tracks on Vozduh are vaporous by nature: from the crackling ambiance of opener "Bouis" to the weightless vocals on stoic "Forgiven", as well as a surprisingly introspective take on ghetto-house or the wafting melodies closing out the record's B side -- all forms seem to be in constant shift, casting a dense yet permeable body of sound.
PRICE: $14.50
NOCOW Voda 12"
Voda ("water") the second part of his trilogy sees Aleksei Nikitin delving deep into Baltic seas. Coming up again with chilled flows of acid on "Vdaleke", the bubbly yet driving thump of subaqueous "Placeholder"; then he goes diving even further on the flip, cruising through underwater caves filled with tentacles of twisted, seductive electro, gnarly acid-techno, before finally emerging in "Iskatel", ears still ringing with harmonies of shredded beauty.
PRICE: $14.50
NOCOW Zemlya 12"
Zemlya ("earth"), the final installment of Nocow's three-part EP-series for Figure unearths the artist's maybe most drastic work to date. While opener "Libbi" still sprouts gently into crystalline arteries of ambiance, the incessant arps of "Synchronicity" loom ominously. Equally challenging, yet offering conciliation in form of string-led soothing is "Rave Button", after which the record finds closure in the seemingly open-ended sound spiral of "Troubles Will Be Miles Away".
PRICE: $29.00
Double LP version. 180 gram vinyl. Detroit Swindle present High Life, their second studio album on the duo's own Heist Recordings. The heart of the album was recorded over a three-week period at their Amsterdam studio in March 2017, and the release will coincide with the fifth anniversary of the label. Since forming in 2011, the Dutch duo have carved a unique place for themselves in the scene. Their sound -- which merges references from multiple decades into one smooth aesthetic -- quickly rose to popularity for its careful blend of soul and rhythm, taking cues from their passion for obscure records, with influences ranging from house and funk to Afrobeat and soul. Dynamic live shows and DJ sets afford them a packed touring schedule across the globe, whilst their label Heist Recordings is credited with consistently breaking new artists. High Life explores the intersection of live and electronic music, with much of the improvised material left largely untouched to maintain its organic sensibilities. Detroit Swindle describe the album as an "electronic album with a live approach, combining our love for house, ambient and jazzy harmonics, making it a record interesting for the club, as well as a pleasant album to put on at home." High Life explores stripped back soul and groove driven house over ten glistening productions. Featured on the album are a sun-drenched collaboration with British singer/songwriter Tom Misch and a deep workout with the vocals of trained gospel singer turned house aficionado Seven Davis Jr. on "Flavourism" and Lorenz Rhode who accompanies the duo for their live shows, features on the infectious melodies of "High Life". "Call Of The Wild" incorporates none other than Dutch nine-piece brass band Jungle By Night.
IV 009LP
PRICE: $26.50
CAT #: IV 009LP
AME Dream House 2LP
Double LP version. Gatefold sleeve. In the world of electronic dance music, Âme stand apart. Since 2003, the duo of Frank Wiedemann and Kristian Beyer have cut a singular path through techno, house, minimal, ambient, and more with their anthemic singles and mixes. But 2018 reveals their finest achievement yet, their second full-length album Dream House. It both sounds unmistakably like Âme and unlike anything you've ever heard from the duo, an evocative home listening journey enacted after 15 years spent crafting dancefloor weapons. Features Matthew Herbert, Gudrun Gut, Planningtorock, Jens Kuross (ex-drummer for RyX), and Roedelius.
JSP 11002LP
PRICE: $19.00
CAT #: JSP 11002LP
JOHNSON & ISHMAN BRACEY, TOMMY Canned Heat Blues: The Legendary 1928 Memphis Sessions LP
"Few were more important to the development of pre-Robert Johnson delta blues than Tommy Johnson. His reputation rests upon six records and a few songs issued after his death. His unique singing style - with an ululating falsetto - turned speech defects to advantage. He was born in 1896, one of thirteen children, on a plantation in Mississippi. Musically, he learned quickly and from age sixteen, when he left home, a born traveller. After two years he returned an accomplished bluesman. Musicians including Ishmon Bracey gathered round him. In February 1928 Johnson, Bracey and Rosie Mae Moore visited Memphis to record for Victor. On February 3, with Charlie McCoy on second guitar, he cut 'Cool Drink Of Water Blues' and 'Big Road Blues'. The forthright 'Big Road' was a marked contrast to the reflective 'Drink'. The records sold well. Johnson and Bracey, were called back. Another four songs were cut, including the prophetic Canned Heat Blues. (Sterno, a cooking fuel, was known as 'canned heat' and Johnson was addicted to it.) Later, the Mississippi Sheiks cut a version of 'Big Road Blues' on OKeh. Victor sued. Johnson believed the settlement meant he'd sold his right to record again. He played for tips during the 1930s, often with Ishmon Bracey. He entered a decline which continued through the 1940s and into the Fifties. The end came in November 1956, after he'd played at a party for his brother LeDell's oldest daughter. He was buried in an unmarked grave. 'I thought a heap of Tommy and I just loved to hear him sing and play. We learned one from another.' Rube LaceyBorn in Byram, MS in 1901. Ishmon Bracey had one hit, 'Saturday Blues'. Bracey's fate was to be rarely mentioned without Johnson. His fellow musicians thought better of him. Rube Lacey said 'Ishmon was a really good musician. Ishmon had, I thought, a gift to sing...' Towards the end of the 1930s, Bracey became an ordained minister. He was rediscovered in 1963 but refused to play blues. He died in 1970."
PRICE: $29.00
CAT #: KOM 386LP
GAS Rausch 2LP
Double LP version. Includes download code. "Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite." --Wolfgang Voigt, 2018; Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GAS will continue to perform live throughout 2018 to support Rausch.
PRICE: $15.50
GAS Rausch CD
"Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite." --Wolfgang Voigt, 2018Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GAS will continue to perform live throughout 2018 to support Rausch.
PRICE: $14.00
SIECH, PATRICK Tetrahedron Cluster EP 12"
Swedish DJ and producer Patrick Siech's first EP on Mary Go Wild Black: Tetrahedron Cluster EP. The title track is a compulsory kick into the unknown, where you will find yourself surrounded by unpredictable delays shooting ahead. Italian DJ and producer Fabrizio Lapiana delivers an amazing remix that will rush through your mind and body. Let yourself roam in a world where warm rays of light eventually slip through the cracks of a dark hypnosis on "Bubbli". Dutch duo Abstract Division took care of the remix, picking up intriguing and pulsating signals creating the perfect calm after the storm.
PRICE: $25.50
SKYMARK Virtual Stars LP
New release on Modern Sun Records, Skymark's Virtual Stars. Independently released, Virtual Stars is an album of '80s boogie, disco, and jazz fusion, performed and recorded by Skymark playing the ARP, Prophet, Moog, Roland and Korg synths. Great songwriting and drum programming skills are on display throughout while Skymark deftly works an array of synths.
PRICE: $15.50
Being a key figure in Iceland's music scene over the past 20 years with his bands múm and FM Belfast among others, the time has come for Örvar Smárason to release his debut solo album. Light Is Liquid is made up of eight precious electronic pop songs that show him both as a gifted songwriter and producer. It's an update of the sound that made múm one of the most revered Nordic acts since the 2000s, but it's also slightly reminiscent of Boards of Canada's pastoral beats or even the transcendental tracks of Arca and Björk. A heap of experience and a sure-footed feeling for style constitutes this record, but at the same time it feels like a young and fresh love affair with music. Besides having released roughly 20 albums with his musical projects, exploring and blurring the borders of electronica, folk, indie rock and ambient, Örvar is a poet and a writer. On Light Is Liquid, maybe more than ever before, this talent translates into his songwriting. Lyrics and song titles oscillate between concrete objects and daydreams, reference dark regions on faraway planets, scientific phenomena and unsolved mysteries. What is light made of, what does it do? If you think about it, you start drifting off to strange and amazing places. Light Is Liquid provides the fitting soundtrack. The songs have been written over the past few years, most of them before Örvar's other recent project started at the beginning of 2016: Together with Sóley and Sin Fang he recorded one song each month in only a few days time, compiling them all into another wonderful album (MORR 150CD/LP, 2018). Sóley also sings backing on a few songs on Light Is Liquid, while Sin Fang mixed the whole album. Other guests include Sillus, whose magical voice accompanies Örvar on three tracks, and JFDR, another Icelandic talent lending her vocals to "Tiny Moon". Their voices are eerie and evocative, wrapping themselves around smoothly futuristic tracks. In "Duality Paradox", a robotic voice is stuttering over heartfelt melodies. There are lots of moments on this record that feel like a kind of android pop music. But then songs like "Flesh & Dreams" assure you that it's all very human after all. Light Is Liquid has all the qualities of a truly enthusiastic debut.
PRICE: $25.00
CAT #: MFM 029LP
Music From Memory return with more Music From The Living Room (1983). Delving further into the archives of British musician Michal Turtle, Return To Jeka brings together eight previously unreleased works recorded between 1983 and 1985. Drawn from a larger archive of works the compilation highlights a fascinating period of material Michal recorded after the release of his only album. Working as an accompanist musician at The Laban Centre in New Cross at the time, Michal met Jonathan Smart who was currently studying dance. After being invited to add spoken word vocals to a few of Michal's tracks, Michal discovered Jonathan was also an accomplished guitarist; and Jonathan would add guitar to a number of recordings from this period. Vocalist Lucianne Lassalle who Michal was working with in local bands The Duplicates and The Wicked Kitchen Staff and who had worked with Michal on recordings for his album, would also collaborate with Michal again during this period. While some tracks were produced with the idea in mind of a follow up to his album Music From The Living Room which UK label Shout proposed but which would sadly not materialize, others were in fact demos written for student dance choreographies. Produced in the living room of his parents' home in Croydon, South London and later in his apartment in Camden Town, Michal Turtle's home recordings featured on Return To Jeka continue his unique musical explorations; drawing extensively on the use of percussion and electronics they bring together elements which were not only in many aspects visionary but also sound like little else.
NEOS 10819CD
PRICE: $15.50
CAT #: NEOS 10819CD
NAKAMURA, ISAO Works for Solo Percussion CD
On this CD, Isao Nakamura presents a selection of works for solo percussion which -- despite some very demanding technical passages -- do not focus primarily on technical brilliance but on clear, focused artistic ideas, as well as, in some cases, extra-musical concepts. The main focus here is on drums. As the only instruments tuned to a specific pitch, in this CD the timpani features in two movements of Elliott Carter's "Eight Pieces for Four Timpani" and in Peter Eötvös's "Thunder". The latter is an experimental solo work for one-pedal timpani. Nicolaus A. Huber uses only a single snare drum in "dasselbe ist nicht dasselbe" ("the same is not the same"). A nearly endless range of sounds is elicited from the timpani by alternating playing techniques. Several works on this CD were dedicated to Isao Nakamura. Also features compositions by Mauricio Kagel, Younghi Pagh-Paan, Iannis Xenakis, and Toshio Hosokawa.
NEOS 11606CD
PRICE: $15.50
CAT #: NEOS 11606CD
HUBER, RUPERT Ruh-I-Gulab Mein Venedig CD
r??-i-gul?b (The soul of the rose) is based on two 13th-century Oriental texts: the Rose Poem of ?al?l-ad-Din R?m? (translated by Friedrich Rückert) and excerpts from the Poem of the Mantle by Sharaf al-Din al-B?s?r?. A cross-cultural work of art emerges from the composition. Opening up to Oriental and Far Eastern culture is a central concern of the conductor and composer Rupert Huber. This includes turning away from the strict conceptualization of a work -- that is, away from traditionally "fixed" notation -- to encouraging individual performers to assume responsibility and listen closely to and respond to each other. He consistently follows this approach in the Rose Ausländer setting, "Mein Venedig" ("My Venice"). Chor des Bayerischen Rundfunks & Mad?? Ensemble: Doris Huber - bowl, bells; Rupert Huber - conductor.Rupert Huber was principal conductor of, among others, the WDR Choir and directed the SWR Vokalenemble Stuttgart as well as regularly conducting well-known choirs, orchestras and ensembles. His works are performed at festivals such as Ruhrtriennale, Salzburg Festival, Wien Modern, or Eclat Stuttgart, often in cooperation with ARD broadcasters.
NEOS 11607CD
PRICE: $15.50
CAT #: NEOS 11607CD
HUBER, RUPERT Nachkalng - Rose / Wermut / Der Kranke Mann CD
In "Nachklang - Rose (Echo - Rose)", two (music) cultures stand side by side on an equal footing: that of Europe and of Persia. The starting point is the effect left behind by the scent of a rose. While it is associated with love in Western culture, in Islam it has strong religious, metaphysical and symbolic connotations. Rupert Huber himself describes his composition for mixed choir and Persian instrumental ensemble as a "patchwork" in the best sense of the word, where flecks of different colors stand side by side without one dominating. The present CD also includes two older works by Huber: "Wermut (Wormwood)" for choir and trombone to a text from the Book of Revelation, and "Der kranke Mann (The Sick Man)" based on a theme by Robert Schumann. Chor des Bayerischen Rundfunks - Dastan Ensemble: Mike Svoboda - trombone; Rupert Huber - conductor.Rupert Huber was principal conductor of, among others, the WDR Choir and directed the SWR Vokalenemble Stuttgart as well as regularly conducting well-known choirs, orchestras and ensembles. His works are performed at festivals such as Ruhrtriennale, Salzburg Festival, Wien Modern, or Eclat Stuttgart, often in cooperation with ARD broadcasters.
NEOS 11706CD
PRICE: $15.50
CAT #: NEOS 11706CD
After CDs featuring orchestral works, organ pieces and string quartets by Ernst Helmuth Flammer, NEOS is now releasing a CD of chamber music. On this disc, the composer investigates the phenomenon of time frequently and intensively, and sheds light on various aspects of it from both a musical as well as a philosophical perspective. Composed in 1988, "Zeitflucht" ("Time-Flight"), for example, explores the difference between the subjectively perceived and actually measurable passage of time, while in "Dahingegangen" ("Passed Away") from 1992 the transition into the hereafter, in other words beyond time and beyond real existence, is explored. The CD concludes with what Flammer calls a "closing piece for a chamber music ensemble", "All Ding will haben ein End" ("All Things Come to an End") (scored for a Pierrot ensemble) -- the composer wishes its rondo form to be understood as a symbol of the existential process of "becoming and passing away".
NEOS 11715CD
PRICE: $15.50
CAT #: NEOS 11715CD
POSADAS, ALBERTO Poetics of the Gaze CD
A major interest of the Spanish composer Alberto Posada is exploring the relationship between music, nature and mathematics. He also focuses on the connection between music and other forms of art. This portrait CD, Poetics of the Gaze, comprehensively documents the influence of fine art on his compositions. Alberto Posadas was born in Valladolid, Spain in 1967. He is regularly a composer-in-residence at IRCAM, has held scholarships from the Free State of Bavaria (Villa Concordia, Bamberg) and the Wissenschaftskolleg Berlin, and was awarded the National Music Prize by the Spanish Ministry of Culture. His music is played at many festivals, including the Donaueschinger Musiktage, Eclat (Stuttgart), Ars Musica (Brussels), Ultima (Oslo), Klang-spuren Schwaz (Tyrol), Ultraschall (Berlin), Musica Strasbourg, and the Wittener Tage für Neue Kammermusik. Klangforum Wien featuring Nacho de Paz as conductor.
NEOS 11720CD
PRICE: $28.50
CAT #: NEOS 11720CD
GEISSE, GUNNAR The Wannsee Recordings 2CD
In The Wannsee Recordings, Gunnar Geisse expresses his fascination with accepting the fleetingness of the current moment and his perception of its changing nature. On the other hand, he is also attracted to the possibility of expressing and reflecting upon the complexity of human existence through art. Geisse developed an instrument he calls a "laptop guitar", a computer-enhanced extension of his former main instrument (the electric guitar) which allows him to take analog playing to the digital level. He uses the possibility of software-based real-time conversion of audio into MIDI data to control virtual instruments and samplers. It does not matter which type of audio signal is used as a source: Input signals can be from electric guitar, speech, or noises; even "translation" of music into other music is possible in this way. Today, Gunnar Geisse uses the computer both as an instrument for improvisation and as a production tool in creating well over 20 radio plays, in commissioned works for musica viva, the Munich Opera Festival, the Munich Biennale and the Donaueschinger Musiktage. Geisse used real-time manipulation of choral singing and orchestra in Gregor Hübner's "De Profundis". In addition to his work as an electric guitarist with among others the Symphonieorchester des Bayerischen Rundfunk, the Radio Symphony Orchestra of the SWR. and the Broadway Musical Company New York, his love for improvised and experimental music has resulted in collaboration with Peter Brötzmann, Vinko Globokar, Phil Minton, David Moss, Olga Neuwirth, Mike Svoboda, Michael Wertmüller, and many others.
NEOS 11730CD
PRICE: $15.50
CAT #: NEOS 11730CD
What musical means and forms can be used today when composing orchestral music? Composer Moritz Eggert poses this question in the two works of this release, which are live recordings of the world premiere performances. "Muzak" for voice and orchestra was composed in memory of David Bowie, who died in 2016. A modified version of the word "music", Muzak refers to the background music commonly played on elevators, department stores, and hotels. In "Muzak" Eggert seeks to include the entire sound world of his own time in a single composition. "Muzak" is therefore a distillation of all kinds of music, from pop music to classical repertoire, and addresses the question of whether boundaries between genres are still viable and make any sense. In "Number Nine VII: Masse" Eggert takes up the aesthetic challenge of composing a work for orchestra where all musicians play continuously without a break. Moritz Eggert - voice; Symphonieorchester des Bayerischen Rundfunks with David Robertson as conductor for "Muzak" and Peter Rundel as conductor for "Number Nine VII: Masse".
NEOS 41701CD
PRICE: $15.50
CAT #: NEOS 41701CD
What Phil Minton is able to create with nothing but his voice -- those, as Bert Noglik puts it, "simply unbelievable and uncanny sounds for which nothing comparable exists, far and wide" -- seems to lie beyond what it is possible. He is the indisputable vocal giant of the jazz avant-garde. He meets a collective of kindred spirits with the ICI Ensemble. Comprising some of the most enthusiastically experimental instrumentalists and sonic artists of the German improvisation scene, this ensemble has been creating a unique sonic cosmos for almost 20 years that has already inspired numerous international composers and improvisators to collaborate with them. Phil Minton and the musicians of the ICI Ensemble spin here a refined chamber musical texture and seem to whisper words of the late Beckett: "Say Yes." -- until someone else relativizes: "Till No". And then nothing is any longer as it was before. Personnel: Phil Minton - voice; David Jäger and Markus Heinze - saxophones; Christofer Varner - trombone; Martin Wolfrum - piano; Gunnar Geisse - laptop guitar; Georg Janker - double bass, electronics; Sunk Pöschl - drums.
PRICE: $15.50
CAT #: NFCD 1002CD
oOoOO & ISLAMIQ GRRRLS Faminine Mystique CD
The album is a collaboration between oOoOO and Islamiq Grrrls. The album's title -- Faminine Mystique -- is an allusion to the Betty Friedan book Feminine Mystique (1963) that inspired the second wave feminist movement in the US. Freidan said that while society was providing (middle class) women with historically unparalleled material abundance, it failed to allow space for personal growth. A rigid apparatus was keeping women in a narrowly defined social role that all but excluded self-exploration. Pronounced "Famine in Mystique", the album's name reflects both groups' feeling that, in a similar way, an increasingly powerful set of contemporary social forces are aligning to, on the one hand, provide people with more music and art than was made accessible before, yet rigidly limiting the types of music offered to people to sounds that favor a rigid economics first model of clicks and easy consumption over exploration and experimentation. Faminine Mystique's 13 songs are framed by fragments of lost, forgotten, or discredited 20th century artists and genres: the well-crafted guitar solos of '80s metal; jazz guitarist Barney Kessel; the "Ashley's Roachclip" drum break; Milli Vanilli; a Kool DJ Red Alert radio show barely audible on some bedside clock radio in some blue collar town on the outskirts of Manhattan; a freeform saxophone solo over a two minute, feminist juke-punk anthem; The elusively simple but dreamy vocals of a France Gall or Astrud Gilberto. All blended into the compressed sounds of modern pop and RnB.
OP 048LP
PRICE: $30.50
CAT #: OP 048LP
Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
R 046LP
PRICE: $22.00
CAT #: R 046LP
IVYTREE, THE Unburdened Light LP
The Ivytree, as some may know, is the project of San Franciscan musician Glenn Donaldson. In the early 2000s Glenn was a founder of the Jewelled Antler Collective, forming such projects as The Blithe Sons, Thuja, and The Skygreen Leopards, among many others. The range of projects he is associated with all beautifully web together. Between 2001 and 2005 Donaldson published a handful of discs under the names The Ivytree and The Birdtree. These boiled down and tanned the patient, outdoor ambiences of the long-form instrumental recordings. These were slow and pastoral and pensive songs, carried by Glenn's haunting voice. Glenn recorded outside with field-recorders and mini-discs: in forests, headlands, and tunnels of the Bay area. Recital label head Sean McCann on the recordings: "I grew up listening to his recordings -- throughout high school and college in Goleta, CA. They spark many memories: driving around beach parking lots, dragging boomboxes into creeks, camping in the mountain valleys etc. I remember once driving five hours up to San Francisco with a group of friends to try and get into a Giant Skyflower Band concert (another Donaldson project). It was at a bar and we were under 21 -- so we couldn't get in, even after trying to bribe the doorman. As you can tell, very special places in my mind and memory. My fondness for The Ivytree never dissipated, and I always dreamed of hearing more material from that time, as I know how prolific the Jewelled Antler association can be. On a whim in 2017 I reached out to Glenn and asked him if he wanted to publish a 'best-of' The Ivytree as a limited LP. This idea blossomed and provoked Glenn to dig through his vast mini-disc archive, where he unearthed some forgotten jewels. The recordings were trickling in to my email -- one by one, each better than the last. Ranging from the Robert Wyatt-esque piano ballad 'Evil Is Circular' to the gentle melancholy of 'All The White Plumes' that could belong on Richard Youngs' Sapphie (1998). 'Unburdened Light' carries on the warm breeze and innocence of the early 2000s CDr culture. So our project then turned into publishing a new album of unreleased Ivytree recordings. A full circle youthful wish now ripens in my adulthood. I am honored to have stirred up the bees-nest to deliver you these tragically honeyed songs." Unreleased recordings: 2001-2004. Includes eight-page 9x9? booklet of Glenn's collages. Edition of 300.
PRICE: $17.00
CAT #: REN 130CD
VA Warsaw's Jewish Mermaid: Syrena Recordings From The Orvomaa Archive 1909-1933 CD
In conjunction with the Music Archive Finland, Renair Records announce another disc in their series exploring the history of Jewish recorded music. Until its destruction during the War, Warsaw, together with Berlin, was at the cultural and intellectual intersection of East and Western Europe. Known as the Paris of the East, its musical, literary, artistic, and theatrical flourishing was in no small part due to its extraordinary ethnic and cultural diversity. Most traces of this period vanished in the devastation of the 1940s but thanks to the survival of some precious recordings made in this period you can hear echoes of that rich culture. The Syrena (Mermaid) label covered all aspects of musical activity in Poland between 1909 and the end of the 1930s. All human life is on this CD. You will hear people arguing, soldiering, going bankrupt, and praying. They also dance to Klezmer bands, meet the devil, fail to have sex, complain about modern girls, and of course, eat. The package is completed by a richly illustrated and informative 28-page booklet. Features Kenig, Norski, Feld, Sirota, Belf, Brajtman, Kupfer, Feinstein, Oppenheim, Fenigstein, Sibiriyakov, Anon, Kusewicki, Roitman, Kaniewska And Brajtman, Feinstein and Lindenfeld, Fenigstein, Lerman, and Neroslawska.
RCD 2199CD
PRICE: $15.50
CAT #: RCD 2199CD
Espen Eriksen Trio was formed in 2007 and released their first album in 2010. Their music relies on highly melodic and lyrical instrumentals and a "less is more" approach and is often credited for its unique voice within today's jazz scene by the international press. The aptly named Perfectly Unhappy features eight new songs by the pianist, all written with this collaboration in mind. These are enchanting and lyrical tunes, often melancholic and uplifting at the same time and will surely speak to followers of both the trio and Sheppard and attract many new ones. With a career spanning over four decades, working together with the likes of George Russell and Gil Evans, Andy Sheppard is truly one of Europe's leading saxophonists. Lately, his main focus has been with his own quartet and the trio with living legends Carla Bley and Steve Swallow, both acts recording for ECM.Andy Sheppard on the recording: "I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016. Since then we've had a chance to grow the music with tours in Korea and Norway, before Espen wrote a set of fantastic tunes for the recording session in Oslo. They played themselves and we had a ball recording, everything clicked and in two days we had made a very special album."
PRICE: $17.00
HUNEE Hunchin' All Night CD
Hunee presents a collection of his favorite dancefloor cuts from the '70s to modern times. Pressed on three slices of vinyl. Going from afro to disco to techno, Hunchin' All Night holds a wide spectrum of songs, tracks by the wonderful Boncana Maïga, Black Beat Niks, Larry Heard, Mappa Mundi, and many more. Hunee, aka Hun Choi, is a Korean Berliner who has been drawn in music since a very young age. After working in record stores and studying musicology he resided in Amsterdam, where he released his debut album Hunch Music (RHM 016CD/LP, 2015). As a DJ he has always followed "a hunch", which gave him wings to communicate the music he loves with crowds all over the world. With Hunchin' All Night, Hunee expresses his relationship with the dance floor. Features Carlos Maria & Nuno Canavarro, Aby Ngana Diop, Michael Ozone, Stanislas Tohon, Raphael Top-Secret, Don Laka, Ron Trent, Villa Abo, and Hunee.
PRICE: $12.50
CYNTIA/ASTARIA Surinam Funk Force 45 Sampler 7"
Two tracks taken from Rush Hour's Surinam Funk Force compilation (RHMC 002LP, 2016). Indo-Surinamese singer, Cynthia's "Jhoom Le" (1980) is wonderfully skewed synth disco gem. The track was previously only featured on the CD version of the compilation. Another favorite, Astaria's "Jamasa Roro" (1979), a driving Caribbean style disco bomb, appears on the flip.
PRICE: $46.00
CEMENT Utmaningen LP+CD
Second Edition: 180 gram, transparent green vinyl; two-page insert with liner notes with photos; Includes CD. Cement is from the island of Gotland, 200 miles east of Sweden's mainland. This island has always been different from the rest of Sweden in many ways, with their own strong dialect and mythology. The local mythology about Gotland, which dates back to the year 1350, holds that Gotland remained underwater during the daylight hours and only surfaced during the night because of a mysterious spell cast upon the island. Cement was formed during the autumn of 1973 by two guitar players (Björn Jonsson and Anders Åström) and two drummers (Ulf Abrahamsson and Thomas Harlevi). They were influenced by such bands as Mountain, Grand Funk Railroad, and of course the Swedish power trio November. They recorded Utmaningen in 1977 and released it in a limited run of 100 cassette tapes. This is the first LP release of the album. Instrumentally, Utmaningen is a tour de force, every bit as excellent as any of the better-known heavy rock album from the Swedish '70s. Heavy dual guitars, powerful bass, amazing drums, with fantastic production. 180-gram vinyl. Heavy sleeve. Includes two-page insert with liner notes and photos. Numbered edition of 400.
PRICE: $42.00
Shadoks Music present a reissue of Jesper Siliya's Giant Steps, originally released in 1978. This album by Jesper Siliya was released originally on the same label as Chrissy Zebby Tembo's My Ancestors. Jesper Siliya used to play with the Ngozi Family and most likely, they played with him here. This is his sole album as a band leader, and it's a great one -- very catchy, simple but beautiful compositions, you'll find yourself singing these songs in your sleep. Heavy fuzz-guitar is all over the album -- Fuzz guitars all over with African beats and political lyrics. Originals are impossible to find in any condition and the prices are high when you do find them. African rhythms and '70s rockish underground moods -- never too polished. A "sugar & spice" album. The music suits all fans into Zam-rock such as Ngozi Family, Witch, and Amanaz. Heavy sleeve; 180 gram vinyl; Includes CD; Edition of 500 (numbered).
PRICE: $46.00
Shadoks Music present a reissue of Markheim's self-titled album, recorded in 1972 and released in 1991. This LP by the Swiss band Markheim was recorded in Venice, Italy 1972. Markheim was formed in 1972 by Andreas Wyden and dissolved the same year in lack of money, leaving some curious demo tapes behind. These guys lived in Paradiso, in the canton of Ticino, the Italian speaking part of Switzerland. Andreas Wyden and drummer Enzo Geninazza are Swiss, but little information can be found about pianist Phillip Reeves and guitarist Trevor Thoms. The band traveled to Venice during the summer of '72 in order to record their freshly composed songs. The demo tapes were later on remastered by the poet from Lugano, Dubravko Pusek, who also financed the whole project. All tracks and lyrics were composed by Andreas Wyden. The music itself is a mix of crazy progressive, folk, and psych rock. Some tracks are rather experimental as well with a progressive touch. Overall it's a very well-produced studio recording. Ten demos of a hidden treasure from Switzerland, released in 1991 on a private label in for the first "ever" in a tiny edition of 200 LPs. The only band name reference that can be found is the crime novel Markheim by Scottish writer Robert Louis Stevenson from 1884, but it's unknown if the band name came from this novel. A good friend of the label described the special atmosphere on this album as: "rustic, back porch strumming with precious stones humming and a mind for the instant chopping of original wood". Heavy sleeve; 180 gram vinyl; Two-page insert; Includes CD; Edition of 450 (numbered).
PRICE: $17.00
VA Flowers From The Ashes: Contemporary Italian Electronic Music CD
Flowers From The Ashes: Contemporary Italian Electronic Music is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within the album, reminding you that historically "decadent" times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the "floral" theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future. Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with "Errori", deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi's "Spitting & Skytouching", and then by the resolute electric bass patterns and luminous fog of "Lux Et Sonus" from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos Du Brasil enters with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani's "You Will Not Be There For The End", showcasing his distinctive take on the "paranoiac breakdance" aesthetic of classic EBM. S.A. veteran Chevel comes in with interlacing several percolating synth lines together into a richly conversational piece. The journey continues with "Starving The Mind", an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of "PRV-HH3-X", by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of "Virgo Rebellion", designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing "4G" from Spazio Disponibile co-founder Neel -- a crepuscular serenade that accurately sums up much of the foregoing activity. CD version comes in a gatefold cover with high-quality matte finish.
PRICE: $25.50
Techno mutant Gábor Lázár morphs two-step and warped electropes with futuristic tension and torsion on Unfold, the Hungarian artist's first solo double LP for The Death Of Rave. The eight-track album follows a busy 2017 for Gábor in which he released Crisis Of Representation with Shelter Press (SHELTER 076CD/LP, 2017), heard his music played in numerous Aphex Twin live/DJ shows, and also toured the EU with Josh Eustis and Turk Dietrich's Second Woman -- an experience which fed directly into the sharper defined rhythms and plasmic mentasms of this album; arguably Gábor's definitive solo release. Kerning classic styles with devious ballistics according to a mutant syntax reflected in the LP's bespoke sleeve art, Gábor galvanizes his signature flux of zinging mentasms and hyper rhythms with a cyber-mongrel gnash in Unfold. Drawing from the deeply affective and rude ends of South Yorkshire, Detroit, and South London tech-nous for inspiration, Gábor consolidates their mutual aspects by trimming the excess and stressing the funkiest points of syncopation with razor sharp, inventive edits. Whilst instantly recognizable as Gábor's work, his grooves are more pronounced, and this time unusually riddled with melodic gestures that lead to moments of unexpected emotive relief. In the contemporary field, Unfold firmly lives up to comparison with the retro-futurism of Mark Fell's Sensate Focus, the advanced playfulness of Errorsmith's Superlative Fatigue (PAN 081LP), or the fluidly knotted syncopation of Jlin, but with a singular mesh of style and pattern that Gábor can patently declare his own. Gábor Lázár lives and works in Budapest. He self-released a split tape with Russell Haswell in 2013; then I.L.S. (2013), and Crisis Of Representation (2017), beside his EP16 (RAVE 006LP, 2014), and a collaboration with Mark Fell The Neurobiology of Moral Decision Making for The Death of Rave (RAVE 010LP, 2015), and remixes of Second Woman and Jesse Osborne Lintier & Grischa Lichtenberger. Gábor has toured his live show extensively in Europe, held artist residencies at HeK, Basel; EMS, Stockholm; and 4DSound Amsterdam, and was a SHAPE Platform Artist of 2017. Typeface design and layout by Daniel Kozma. Mastering and cut by Matt Colton at Alchemy.
WIRE 412
PRICE: $8.50
CAT #: WIRE 412
WIRE, THE #412 June 2018 MAG
"On the cover: Laurie Anderson (More active now than ever, the multimedia artist and performer discusses a career marked by hybridity, borderless networks and a new interest in virtual reality). Inside the issue: Cecil Taylor (When the revolutionary pianist died in April, jazz lost one of its most uncompromising individualists. Author, photographer and historian Val Wilmer recalls their encounters); Senyawa (Javanese musicians and instrument makers Rully Shabara and Wukir Suryadi fuse metal with trance to create overwhelming fields of sound); Global Ear: Veracruz; Invisible Jukebox: The Storm Bugs; plus: Tansy Davies, Rodrigo Tavares, Sarah Hennies, Futura Records and more."
PRICE: $14.00
GORDON, FELIPE Teusaquillo EP 12"
Dirty funk house from Colombia. With heavy remixes by Seb Wildblood, Retrogott, and DJ Qualle and Pontchartrain. Felipe Gordon enters the house world via Toy Tonics in a heavy way. He used to play in bands before switching to samplers and getting addicted to old disco and house vinyl. You can hear that: his moody, raw tunes use samples of rare records. But selected carefully, adding his own Juno 60 or Moog synth chords (like on "Tell Me Something True"). Often using minor keys and lot of little noises and short, spoken-words by himself. Never clean, always musically special.
WG 047EP
PRICE: $14.00
CAT #: WG 047EP
LA FLEUR Outbreaker EP 12"
La Fleur's Outbreaker EP arrives just in time to curb any impatience you might have waiting for her signature blend of house and techno aesthetics with modern production techniques. La Fleur kicks things off with a wild heaving bass line and crisp, distinctive organic claps on "Devils Sigh" setting the tone for the hypnotic groove. Tuff City Kids lend their talents for a remix and turn "Devils Sigh" into an analog heavy, future-retro banger. Wrapping things up, La Fleur takes it a little slower and deeper with "Outbreaker" by utilizing lush organic percussion and washed-out guitars.
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