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Forced Exposure New Releases for 6/26/2013

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New music is due this week from Nurse With Wound and Graham Bowers, Bomb the Bass, Merzbow vs. Nordvargr, and Matt John, plus old music from Rhythm & Sound, King Tubby, Isan, Nate Young, Father Yod, and Fred Neil.


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OEP 1003CD

NOZERO, LARRY: Time CD (OEP 1003CD) 15.00
"180 Proof Records continues to bring new life to the Strata Inc. catalog with Larry Nozero's 1975 passion project, Time. The last album to be released on Strata Inc., Time is a dreamlike mix of mood, an album full of range, tempo, and feeling; from the impulsive and airy rendition of the jazz standard 'All the Things You Are' to the brooding melancholia of 'Tony,' Nozero's Time is destined to become known among aficionados as a classic of 1970s jazz. Working with his cousin and collaborator Dennis Tini, Time is unlike many albums of the era in that it truly feels like a work fueled by freewheeling expressionism. The pieces are funky, soulful, strange, and soothing all at once. Tini's stand-out contribution to the album is 'Tune for L.N.,' a funk-fueled piece of rhythm-centric jazz. A distinguishing feature of the album is the use of wordless vocalise. The scat work on part two of 'Chronicle of the Murdered House' adds a distinct counterpoint to Nozero's reed work, while the high pitch bebop of 'Baubles, Bangles and Beads' closes out the album with a carefree and buoyant groove. Time has been remastered from the original reel to reel masters, along with the artwork, which has been restored and printed on top heavy stock tip on gatefold jackets. The record is numbered and pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos."


NOZERO, LARRY: Time 2LP (OEP 1003LTD-LP) 31.00
Double LP version. Comes numbered in a heavy stock, tip on gatefold jacket. Pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos.


4M 232LP

NEIL, FRED: Sessions LP (4M 232LP) 19.00
"Released in 1967, Sessions is the follow-up to Fred Neil's classic self-titled solo album. Although the long, meandering, raga influenced songs on Sessions are a bit perplexing at first, the album's rewards increase with each subsequent listening session. Neil's vocal performances are astounding and the album as a whole is a meditative experience. An under-rated LP from one of American folk's finest voices." On 180 gram vinyl.

4M 233LP

NEIL, FRED: Other Side of This Life LP (4M 233LP) 19.00
"Other Side of This Life is the final album from American folk music legend Fred Neil, released in 1971 before his long self-imposed retirement from music to focus on dolphin conservation in his home state of Florida. Featuring a side of live recordings of some of his most lasting and well known compositions (including 'The Dolphins' and 'Everybody's Talkin'') as well as a side of studio sessions featuring Les McCann and Gram Parsons, Other Side of This Life may not be Neil's most memorable album but it's still head and shoulders above most other singer-songwriter material of the era." On 180 gram vinyl.

4M 525LP

POP, IGGY: Lust For Life LP (4M 525LP) 19.00
2013 repress. "Released less than a year after The Idiot, Lust For Life is a return to the sloppy, sleazy, blues-y, swagger of the Stooges. Though the record is again produced by David Bowie, he takes much more of a backseat musically, allowing for Iggy Pop to take center stage in his return to form. His best solo album and an absolute classic from this legend." 180 gram vinyl.


N 033CD

JOASIHNO: A Lie CD (N 033CD) 15.50
The rectangular fields surrounding, shaping, and defining the upper Bavarian village Joasihno call home turned out to be a significant influence and defining factor during the duo's recording sessions for their sophomore effort A Lie. Former sole mastermind Christoph "Cico" Beck (Aloa Input, Ms. John Soda) and his new bandmate Nico Sierig (Missent To Denmark) have referred to them before, and apparently these fields work pretty much like blank sheets -- just waiting to be filled with Joasihno's shapeshifting, rather circular, meandering, and free-floating tracks that are full of surprising little twists and turns. The opening track of Joasihno's second album feels a bit like a plane's smooth landing at sundown. The air is shimmering, and suddenly there's this new thirst for action upon touchdown. Further down those fields, they present a sound that seems to bolt and shoot off into the wind -- "Oh Boy!" -- but also staying true to its melancholy undercurrents reminiscent of the Matt Marque. Elsewhere, Joasihno even live up to Cico's last name when "Some Light" indeed sounds a bit like Beck Hansen trapped in the garden of intricate beats. Over the course of the LP, the duo weaves a vast array of influences ranging from world music to minimal and back -- Cico mentions Reich, Glass, Ligeti, and Nancarrow when asked about his key influences -- into an electro-acoustic tapestry of sound that includes hypnotic layers, surprising melodies almost reminiscent of The Strokes, and some fine home-made soundtrack material that would make any super-8 collection look even better. On this album sonic snapshots and moments hum like an old-school slide show -- in fact, you can almost feel the shimmering air against your skin.



BEAINI, RABIH: Albidaya CD (END 007CD) 28.50
Albidaya in Arabic means "the beginning," which in the case of Rabih Beaini's, might be the return to the beginnings, or the start of the path. The album is conceptually a revisiting of the traditional and early psychedelic Arabic music, all through distorted paths and instruments, remashed and deconstructed sounds, recreating patterns with diverse instruments to give a different perspective of the sound itself. Includes musicians from Upperground, Piero, Bittolo, Bon, and Tommaso Cappellato. Commissioned by Annihaya in Lebanon, by Sharif Sehnaoui, Raed Yassin, and Hatem Imam -- includes artwork by Maria Kassab. "Dips into the ethnically charged concepts and neo-traditionalisms of Annihaya, traversing through a panorama of sounds and textures. Eastern twang, Middle Eastern thematics and jazz all play a role in Albidaya, as do tribal drums and marketplace noise with the introduction of live and off-the-cuff synth experiments, arpeggiated space transmissions and eerie Wu-Tang-like vocal samples entrapped in a gurgling soup of analog beef." --Juno Plus Blog


BEAINI, RABIH: Albidaya LP (END 007LP) 29.00
LP version.



RADIO SLAVE: Balance 023 2CD (BAL 008CD) 23.00
Matt "Radio Slave" Edwards is one of electronic music's true experimentalists; a man rooted in house and techno whose oeuvre reaches much farther beyond. From the downtempo gloss of his Quiet Village project to a half-hour-long remix of Diddy to the audio-visual soundscape immersions of The Machine, he continually strives to push his music forward and keep himself on his toes. His concoction for Balance comes in two distinct parts. CD1 begins with a dash of found-sound, taken from Edwards' daily routine, segueing into the emotive strains of DJ Bone's "Change" a cappella. Stephan G & The Persuader's 1997 roller "Kaos" begins the groove, with dainty melody shimmering subtly atop a throbbing, deep bass line. Dystopian grooves characterize CD1's first half, fragments of otherworldliness permeating his rolling, hypnotic grooves. It's in the backwards pianos of his remix of Ian Pooley & Spencer Parker's "Lurchen und Eulen" and the warped, dubby stabs of Svek's Brommage Dub (another '97 gem). Timeline's "Ghosts of Greystone" jets into space from a Detroit launch pad, joining the dots between techno and jazz, and we're gradually drawn into more organic sounds via the hazy keys of Fred P's remix of Nina Kraviz's "Voices" and to long-forgotten late-'80s Afro-house from No Smoke. Rasta vocals on Brotherhood's "Memorial Smith" give way to a handful of classic and classically-styled house tracks. This uplifting crescendo concludes with Prins Thomas whipping up Edwards' "Tantakatan" into a rousing Balearic anthem, and Larry Heard's sumptuous "First Call of the Morning," giving a Muzak-inflected nod to the selector's laidback work of years gone by. CD2 travels through the deeper recesses of his record collection, soaking up ambient, downtempo and experimental flavors that are bound by a sense of melody and atmosphere. Beatless soundscapes eschew in the mix's beginnings before we emerge at the hazy beats of Theo Parrish remixing Skooby Laposky's "Lighthouse" and the abrupt piano twinkles and stomping beats of the Slum Village track. Low-slung funk carries us through the next phase, into the illustrious Balearic disco glamour of Linda Law's "All the Night" from 1978 and the sumptuous strings of his Quiet Village beauty "Can't Be Beat." It's into bleeps and bass next with a vintage F-Communications workout from D.S., then somber contemporary jazz from Portico Quartet before Edwards cleverly segues into Herbie Hancock's seminal, minimalist 1974 workout "NoBu" -- one of the earlier meetings of synths and jazz. The classic, ethereal twinkling of Software's lush "Present Voice" rounds off this engrossing collection, with a final snippet of a week in the life of Radio Slave serving as an auditory bookend to the proceedings. With this masterful collection of tracks from five decades of record collecting, he has undoubtedly succeeded in presenting a vision that's a million miles away from the generic sounds filling up so many floors in this day and age. Other artists include: Julien Perez, Delano Smith, Makam, Frost (Of), Rhadoo, Jeremy, Vadim Svobada, Sandy Rivera, Joe Claussell, Melchior Productions, Larry Heard, Ryuchi Sakamoto, Vince Watson, The Machine, and Jay Dee.


BAM 7007CD

ITO, AKIRO: Japanesque CD (BAM 7007CD) 17.00
Keyboardist and former member of the Far East Family Band, Akira Ito embarked on a solo career making what has been described as "floating electronics," using a medley of analog synths, guitar, bass, drums, and choral vocals. He released Japanesque in 1981; an album considered to be illusionary mind music at its finest and rarest. It's a gorgeous, mellow, floating, cosmic album, perhaps like a more organic Kitaro. Ito lends his sonic signature sounds of cosmic rock to full effect on Japanesque, reminding us why the Far East Family Band were considered to be the foremost innovators of early electronica.

BAM 7009CD

SAI, YOSHIKO: Mikko CD (BAM 7009CD) 17.00
Truly a Japanese psychedelic female acid-folk masterpiece. Released on July 25th, 1976, Mikkô was Sai Yoshiko's second album, a wonderful acid-folk album on which she gets assisted by a string of big name musicians such as Kuni Kawauchi (of the Happenings Four, amongst others) to arrange the songs. Mikkô features Sai's original songs, making it her first real complete album. At times the disc draws in Middle Eastern influences (sitar and tabla), but once she gets to singing, the listener is lulled into her own private, mysterious sonic world, through which one gets sucked in by her wide-ranging vocalizations. At the time of this recording, Sai Yoshiko was merely 23 years-old. Totally obscure, much in-demand by Japanese psych heads, and rather hard to track down. One of Sai Yoshiko's biggest fans is Jojo Hiroshige from Hijokaidan and Alchemy Records, who eventually, 25 years after she recorded this stunning album, dove in the studio with her for the Crimson Voyage CD on which she merely attributed some sighs and moans. This album is really a stunner and a must for people into some more advanced Japanese underground historical recordings. Includes the English translation of the original Japanese LP insert. Digitally-remastered.


BK 002EP

BIKINI KILL: Bikini Kill EP 12" (BK 002EP) 13.00
2013 repress. "This is the 20th anniversary reissue of Bikini Kill's debut 12" EP. The vinyl reissue includes a new fanzine in the form of a 34" x 21" poster featuring interviews with Ian MacKaye (Minor Threat, Fugazi, The Evens) and Molly Neuman (Bratmobile), liner notes by Layla Gibbon (Skinned Teen, MRR), excerpts from the band's zines (Bikini Kill #1 and #2, Jigsaw #4), and photos from the band members' personal archives. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar, and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early '90s via their political lyrics, zines, and confrontational live performances. The self-titled EP, originally released in the fall of 1992, comprises four songs recorded by Ian MacKaye at Inner Ear Studios; one song from the band's 1991 demo cassette, recorded by Pat Maley (Yo-Yo Studios) and one song recorded during Bikini Kill's live performance on April 4th, 1992, at Washington, D.C.'s Sanctuary Theater."



FORRESTS: Wilder LP (PTYT 077LP) 19.50
A toe-tapping contemporary Dublin-based electronic duo who sculpt guitars and found objects into thumping f-buttons and live pulse-fests delivered at heavy metal volume. The track "Billions" is one of those once heard, never forgotten anthems for a salmon-pink, shakey phone-movie, dawn come-downs. The verdant soundtrack to your own mystery worlds.


BB 129CD

DER PLAN: Die letzte Rache CD (BB 129CD) 17.00
Retrospectively, it makes perfect sense that Der Plan created a soundtrack. For one thing, visuals were almost as important to Der Plan as their music. And if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, Der Plan went further -- with scenery, masks and album covers designed by Moritz R® they invented their own universe. Indeed, the sounds of everyday life woven into Der Plan's music contributed to the filmic quality of their sound. Thus Frank Fenstermacher, Moritz R® and Pyrolator were not slow in responding to their old friend Rainer Kirberg's request to work on his latest film Die letzte Rache. The director Kirberg, born in 1954, studied film in Düsseldorf. They all knew each other from shared lodgings, political meetings and the local hangout Ratinger Hof. As well as playing his part in the music, Moritz R® also came up with the sets, while Frank Fenstermacher secured a minor role as the inspector's sidekick. But back to the music: Letzte Rache (1983) was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. With the aid of the Emulator 1, Der Plan succeeded in recording something which could also work as a diverting radio drama without moving images. In contrast to the two previous albums Geri Reig and Normalette Surprise (BB 105CD/LP), which defined the Plan sound and virtually did without any musical quotations, echoes of jazz can be heard on Die letzte Rache and, of course, film music. Andreas Dorau weighs in with a bona fide pop hit in the guise of a "Junger Mann." Ah yes, the film itself, what is it actually about? Following the aesthetic tradition of 1920s German Expressionist cinema, Die letzte Rache -- "the last revenge" -- tells the hair-raising tale of a ruler who charges "the worldly" with the task of finding him a successor. The problem is: idiots abound. The worldly's search is fruitless and -- sometimes the most obvious solutions are the most practical -- he decides to seize power himself. At the end of the day: the ruler's empire in ruins, the Worldly goes mad, the inspector goes to jail (arrested by his own assistant!), and the ruler is badly injured yet immortal, suffering terrible agonies. Bonus tracks include the six pieces from the film Der Grottenolm.

BB 130CD

DER PLAN: JaPlan CD (BB 130CD) 17.00
Der Plan were invited to Tokyo in 1984 to play six concerts for Seibu, a Japanese department store chain. Seibu were staging a "German Week." But how did they come to choose Der Plan, of all bands? Why not an Oktoberfest combo or the Scorpions? Moritz Reichelt explains: "German New Wave was really popular in Japan. They knew more about it than people here at home. Catalogs and magazines detailed every obscure record and depicted the covers. This particular department store chain was linked to Wave, a record shop and distributor -- and they really knew their stuff." JaPlan documents the set list from these Tokyo shows. Featuring previously-released songs from the Normalette Surprise (BB 105CD/LP) album, the Die letzte Rache soundtrack, and the double single Golden Cheapos, JaPlan also includes rare instrumentals produced for these very concerts, and one of the most famous songs by Der Plan: "Gummitwist." Der Plan and Japan -- a good match, not only phonetically. Reichelt: "Japan had always been one of our strongest territories. Our records were exported there from the very beginning. When I arrived, I understood why. Japanese pop culture is really 'planesque' in a way. Artificiality with a twinkle in the eye. We stepped inside our hotel in 1984 and switched on the television. The first thing we saw was an advert with three dinosaurs singing a song. Pretty much like one of our shows." The reissue is graced with new artwork due to the fact that the Japanese simply adopted the cover of the existing Golden Cheapos EP. The relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. A joke at the expense of the censors fell victim to actual censorship. This re-release could be said to correct an optical error in the band's discography. Includes four bonus tracks.


BM 001EP

RHYTHM & SOUND W/ PAUL ST. HILAIRE: Never Tell You 12" (BM 001EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 1996. This first (in a series of 13), was originally released in 1996. Burial Mix is the crucial Berlin mystery label coming out of the Basic Channel axis. The production team of Rhythm & Sound is Mark Ernestus and Moritz von Oswald (Maurizio). The style is deep dub with trademark lo-fi clips, hiss and gloriously repetitive grime. Vocals from Paul St. Hilaire, with an instrumental version on the flip.

BM 002EP

RHYTHM & SOUND W/ PAUL ST. HILAIRE: Spend Some Time 12" (BM 002EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 1996. "Second installment of arguably the oddest project involving Basic Channel. By taking techno deep into the mine shafts of dub, they've created an eerie, full-circle variant of the latter. A cauterized, dreadnaught bassline and steady hi-hats propel Tikiman's fragmented vocals on 'Spend Some Time.' What's odd about this number is how you're drawn into the music and effects, but unlike a lot of dub plates, there aren't any friendly reminders of melody." --Reverb

BM 003EP

RHYTHM & SOUND W/ PAUL ST. HILAIRE: Ruff Way 12" (BM 003EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 1997. Third in the series. Continuity in the groove and the sound sphere is provided with this release, shifting the focus more on the song. A dub version is included on the B-side.

BM 004EP

RHYTHM & SOUND W/ PAUL ST. HILAIRE: What A Mistry 12" (BM 004EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 1997. The 4th Rhythm & Sound on Burial Mix. Again continuity in the groove and the sound sphere is provided with this release. A dub version is included on the B-side.

BM 005EP

RHYTHM & SOUND W/ PAUL ST. HILAIRE: Why 12" (BM 005EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 1997. The 5th Rhythm & Sound on Burial Mix. Vocals by Tikiman and a version on the flipside. Famous deep dub techno-house from Berlin.

BM 006EP

RHYTHM & SOUND W/ CORNEL CAMPBELL: King In My Empire 12" (BM 006EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2001. "King in My Empire" is a fine combination of dub and roots reggae with the Jamaican singer legend Cornel Campbell, who started his career in the very early '60s at Studio One. Other releases by Cornel Campbell include the classic I Shall Not Remove 1975-80 retrospective, released in 2000 for Blood & Fire Records.

BM 007EP

RHYTHM & SOUND W/ PAUL ST. HILAIRE: Jah Rule 12" (BM 007EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2001. Rhythm & Sound team up again with vocalist Paul St. Hilaire (formerly known as Tikiman). Blissed-out, addictive dub grooves that keep on rolling and rolling into your hearts. Once again, the incredible St. Hilaire is giving the record enormous spiritual depth with his unique voice.

BM 008EP

RHYTHM & SOUND W/ SHALOM: We Been Troddin 12" (BM 008EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2002. This time, Rhythm & Sound are accompanied by reggae vocalist Shalom aka Stephen Harper, who has collaborated several times with none other than Sugar Minott on his famous Youth Promotion Label. One of the most truly epic releases in the series, perfect rhythm.

BM 009EP

RHYTHM & SOUND W/ THE CHOSEN BROTHERS: Making History 12" (BM 009EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2002. This time the Berlin Rhythm & Sound crew comes up with quieter tones on "Making History." With vocals by The Chosen Brothers, who is none other than Lloyd Barnes aka Bullwackies himself, "Making History" presents itself as a mellow-electronic dub track in best Jamaican as well as in best Rhythm & Sound tradition which is complemented by the "History Version" on the flipside.

BM 010EP

RHYTHM & SOUND W/ LOVE JOY: Best Friend 12" (BM 010EP) 12.00
2013 repress, originally released in 2002. With this collaboration, Rhythm & Sound deepens its articulation of the Bullwackies legacy. Over an edgy, stepping rhythm, Claudette Brown of the Love Joys is pitched between reserve and recrimination, desolation and resilience. A key Rhythm & Sound release; a killer record.

BM 011EP

RHYTHM & SOUND W/ JENNIFER LARA: Queen In My Empire 12" (BM 011EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2002. This is the female answer version to BM 06 (R&S w/Colonel Campbell). Veteran Studio 1 singer Jennifer Lara changes the mood of the original tune while Rhythm & Sound are providing an updated riddim.

BM 012EP

RHYTHM & SOUND W/ THE CHOSEN BROTHERS: Mash Down Babylon 12" (BM 012EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2003. The 12th installment in this spectacular series, featuring Rhythm & Sound with The Chosen Brothers. With the usual versioning on side B.

BM 013EP

RHYTHM & SOUND W/ JAH BATTA: Music Hit You 12" (BM 013EP) 12.00
2013 repress, now available as a 12" format; originally released as a 10" in 2003. Thirteenth release in the series, with Jah Batta on vocals.



KYRILL & REDFORD: Somebody EP 12" (BUR 013EP) 12.00
"Somebody to Love" is an all-time summer anthem that hasn't lost even a tiny bit of its topicality, even 50 years after its first release. In times of mash-ups from A-Z, it's maybe not surprising, but this edit of Jefferson Airplane's '60s hit is an officially-authorized cover version and will surely stir up every summer festival. There's also original songs by Kyrill & Redford, "Wait" and "Watching You" that are stripped down to the essentials of deep house: solid groove, persistent chords, and soothing vocals.



PAILHES, EZECHIEL: Divine LP (CCS 079LP) 19.50
LP version. For a long time before the success of Nôze led him to discover the rest of the world, Ezechiel Pailhès remained a prophet in his country. For a long time as well, he worked on creating what became his first solo album, waiting for the right moment when he could no longer contain all the melodies that populate this epic. A voyage in a free world, where creation knows no formal constraints, transforming the original pieces without knowing in advance how they will end up, disguising the instruments so that they are mistaken for others -- nothing frightens this intrepid sailor whose ship is nevertheless securely moored at home in Paris. Sole master on board, the tinkerer illusionist prepares his piano with mechanic's tools (Scotch tape, rubber, percussion, wooden claves adrift over the strings), obtaining instruments that sound unexpected. Here are captivating melodies like siren-songs, sometimes dressed in a simple lala or lyrics by David Lafore -- ports of call offering a sweetness that is at times extremely melancholy, pieces whose implacable refrains take root the first time you listen to them. This is indeed a divine crossing of wide-ranging references such as Serge Regianni, D'Angelo, Bernard Hermann, Timber Timbre, and Stevie Wonder but also Henri Duparc, Moondog, Keith Jarrett and Tony Bennett). Ezechiel's career as a pianist has evolved on the stages where he has been performing for years as a duo with Nicolas Sfintescu (Nôze). Divine is the companion for all trips, the disk you take to the deserted island and to the loft in Berlin, the disk that you play constantly without tiring of it because each listening reveals places you were unaware of, sounds that had not yet been discovered, because it thrills music lovers.



JOHN, MATT: The Keys CD (COR 034CD) 17.00
This is Matt John's debut for Cocoon Recordings. This is Sheffield, Warp, and the early Hacienda and LFO-days that are shining through here. No massive 909-programming, no Chicago and no New York house revival, and finally, not just another London and Berlin hipster soundtrack. We are talking northern sound-inspired techno here, dark but hedonistic analog synths and for those who remember: A Certain Ratio feeling all over the place. The style and vibe of Matt John's collection is defined right from the start: "Interview" is built around slim analog drums and shouts out loud that you won't find loop-house and over-polished drum-sounds in here. "Angel Dust" will show many youngsters how effective a clean and banging 808 can be. The classic backwards strings on top lead to that special dark but hedonistic vibe that is almost dying for some cool MC Tune rhyme. Matt John continues with his very own bleeps and plonks revival and with "Monogramm" it is almost undeniable that master John must have been a big fan of the "Sweet Exorcist" and all the other Warp legends. With "The River," Matt John shows his jazzy side and introduces more warm organ sounds and heavy beats and even a guitar joins the game. "The Ocean Inside" sounds far more contemporary and way more up-to-date then the rest of the album. A dry bass line, dub-echoes, warm strings, and a pretty cool groove makes it a nice connection to the techno of today. "My Pocket" follows this and more jazz vibes are spread, almost in a soundtrack-style. "The Keys" features banging beats and the vocals call us to "enter the signs of today." "Britz Wind" slows down the tempo again and has a nice summer sound. "The Surf Owl" is a bizarre melting-pot of heavy beats, ocean surf and synthesizer bird-sounds. On "Today" a New Order bass line and vocals that appear to be recorded through DJ headphones meet a funky guitar and create a great piece of music. Last but not least, "Froydish" possesses a hypnotic beat and sounds that follow a more contemporary direction, forming a soft and warm ending for a heavy album.



The third and final part of the Partikel trilogy is finally here. Another beautifully-constructed collaboration from the two noise giants -- Japanoise King Masami Akita (aka Merzbow) and Swedish Overlord Henrik Nordvargr Björkk (MZ.412, Folkstorm, Toroidh). The styles on Partikel III range from total noise barrages, to intelligent electronics, to subtle dark ambient pieces. Essential. Presented in a luxurious matte laminate digipak.


VA: Throne 2CD (CSR 181CD) 11.00
A nice-price 2CD sampler of Cold Spring Records' current/forthcoming releases. Thirty-three original tracks spanning over 100 releases, since their last sampler Swarm. Throne encompasses all sides of Cold Spring. Artists include: Iron Fist Of The Sun, Kreuzweg Ost, Sleep Research Facility, TenHornedBeast, Splinterskin, C.C.C.C., Hirsute Pursuite (feat. Boyd Rice), Heldentod, Satori, NDE, Rose Rovine E Amanti, Nordvargr, Merzbow & Z'ev, Steven Severin, Sutcliffe Jugend, Emme Ya, Goatvargr, Von Thronstahl, Z'ev, Skullflower, All Hail The Transcending Ghost, Deadwood, Cages, Wicked King Wicker, Merzbow vs. Nordvargr, South Saturn Delta, Sagittarius, Fire In The Head, Sistrenatus, Sehnsucht, Merzbow, and Anni Hogan.


CCT 3027LP

DUBBLESTANDART: Woman in Dub LP (CCT 3027LP) 23.00
LP version. Comes on 180 gram vinyl. Dubblestandart proudly presents album #13. With Woman in Dub, a collaboration with singers from all over, their dub voyage continues -- a colorful journey that ranges from lover's reggae, dub poetry to R&B and indie-pop vibes. Starting with Chezere from Barbados (Don Letts & Screaming Targets/Big Audio Dynamite/Urban Species/The Roots), the album opens with a smooth reggae song followed by reggae legend Marcia Griffiths' (Jam) tempting "Holding You Close." AmA Tone seduces with her indie-pop influence as the wide range of crossover compositions unfolds. Whether Jazzmine Tutum (Jam-Zion Train) tells not to "Worry What People Think About You" or as Coshiva's song says, "what it is all about?" "With Music We Communicate." Dubblestandart's approach remains quality first: Their massive studio in Vienna is full of classic equipment, a 48-track mixing desk, and loads of outboard gear to build mixes for the audiophile. Have a listen to Kiras reshape of Marianne Faithfull's "Broken English" classic and you know what's happening. Also included is acclaimed singer Caron Wheeler (Soul II Soul) as well as to Hoda Mohajerani and Saria Idana with some profound content straight from their heart. Since 1990, Dubblestandart have released 12 full-length albums, several 12" and 7"s, and have featured on more than 70 compilations. Their collaborating artists list includes Lee Perry, Ari Up, David Lynch, Ken Boothe, Adrian Sherwood, Sly & Robbie, Dillinger, Anthony B., Elephant Man, William S. Burroughs, and Mad Prof, amongst others. Lovely lyrics and melodies perfectly melt with Dubblestandart's 21st century urban roots beats, into the great Woman in Dub experience.



AGUAYO, MATIAS: The Visitor CD (COMEME 003CD) 17.00
To those of you unfamiliar with Matias Aguayo, he remains a core Kompakt recording artist and one of today's most ambitious music makers and collaborators. Be it from his early days as half of the now-legendary techno act Closer Musik, to singing for Battles on their recent hit "Ice Cream," Aguayo makes Cómeme his platform to work with fellow musicians from around the world and continues to push all notions away of what dictates trend in order to create his own. Matias returns with his third solo full-length, The Visitor -- recorded over the course of five years in various places around the world including Buenos Aires, Ciudad de México, Vitry-Sur-Seine, Rionegro (Antioquia, Colombia), Sternhagen Gut, and his studio -- The District Union in Berlin. As with his previous albums, Matias Aguayo unveils a perplexing and unexpected offering. Rather than appealing to a specific genre, he considers rhythm as a core influence in The Visitor and delivers what could be his most purposeful music to date. A collaborative process plays a dominant role on this album, articulating Aguayo's attentiveness to the community that surrounds him. Mixed and co-produced by Scott Monteith aka Deadbeat upon first hearing The Visitor, long-time fans of his music will be immediately aware how the songs sound natural and immense. The secret is not just in the mix but due to the fact that there are numerous musicians and vocalists performing on each track. By utilizing so many layers of analog and acoustic instrumentation, The Visitor as a whole provokes a distinct listening experience that contrasts the ease of digital processing techniques and the styles of most modern dance music out there today. Guest artists include: Juliana Gattas (Miranda!) and Aérea Negrot (Hercules & Love Affair), Luis Miguel "Cucharita" Jaramillo, Philipp Gorbachev, Alejandro Paz, Ana Helder, Julia Bande, Julia Kasprzak, Amelia Bande, Rodrigo Olavarría, and Daniel Maloso.



RED AXES (FEAT. ABRAO): Caminho de Dreyfus 12" (CORR 016EP) 12.00
There's no denying that a new wave of Israeli electronics is rushing into international DJ crates, with Tel-Aviv's Red Axes riding its cusp. Producers Dori Sadovnik and Nirv Arzi have already turned heads with their unique style, and now it's up to Correspondant to host the duo's psychedelically-flavored house antics. "Caminho de Dreyfus" packs quite some heat, with a weather-beaten bass line supporting a hand-picked cast of kinky cowbells, raspy guitar hooks and Abrao's eccentric vocals. Remixes by Rebolledo and Marc Houle.



ARCTIC: Shook 12" (COY 004EP) 11.00
Arctic has been running and promoting his own grime event called 50/50 in Melbourne and refining his own production style, inspired by the legends of days gone by. Shook features two original Arctic tracks, "Shook" and "Know This Don." In typical Coyote fashion, high-grade remix pressure is also provided, this time from Seattle's Kid Smpl with his re-interpretation of "Shook." The devastating precision of Arctic's production stands out, with razor-sharp rhythms and tightly-coiled percussion imbuing crisp swing and movement.



JONSON, MATHEW: Her Blurry Pictures CD (CRM 023CD) 15.50
"Encompassing electronica, techno, and elements of house in a deft array of electronic craftsmanship, Mathew's sound is instantly recognizable, rhythmically complex and a timeless fluid style that is unique to his productions."



"Awareness of The Source Family, YaHoWa13 and Father Yod has been growing since their early 1970s heyday. A spiritual commune dedicated to a wide-ranging blend of eastern and western mysticism, The Source Family were very much a part of the infamous era of tuning in, turning on and dropping out in the late 1960s and '70s. The Source Family's celebrity-hang-out vegetarian restaurant, rock band, utopian commune, and beautiful women made them darlings of Hollywood's Sunset Strip; but their outsider ideals and controversial spiritual leader Father Yod provoked local authorities, leading to their dramatic demise. Still, Yod's spirit lives on -- in the hearts and souls of Family members, and in the music that he and the family's various bands made during his life, much of which remains in circulation. Additionally, new finds from the many hours of tapes they left behind are released every year. This incredible true story -- told largely through home movies and photographs maintained by archivist Isis Aquarian, one of Father Yod's fourteen wives, features a soundtrack comprised entirely of original Source Family music. The Source Family provides an unparalleled insider's view into the cult/commune phenomenon and wild social experimentation of the '70s; a penetrating and bittersweet examination of the joys of the free love generation and the contradictions that lay beneath the surface of their peaceful, easy feelings. In this, it is a uniquely Californian story as well." NTSC format.\; 99 minutes; aspect ratio: 16:9.


EB 096CD

VA: King Size Dub: Germany Downtown Chapter II CD (EB 096CD) 9.00
Second volume of the compilation sub-series, featuring German reggae artists. The release of King Size Dub: Germany Downtown Chapter II is another impressive display of how a musical style has progressed: dub as a style with all its reference points between commerce and innovation. The subtitle "file under logical dubgression" shows the way and the tracklisting fulfills all expectations. The variety of styles (reggae, dubstep, pop, dancehall, trip, and dope beats) is the pivot for more "logical dubgression" with all the usual -- and some very unusual -- suspects of the remixer and artist set. Artists include: Aldubb (feat. Ras Perez), Giotto, Chassy Wezar (feat. Onejiru), SEEED, iLLBiLLY HiTEC, Longfingah, aDUBta, Melissa & The Big Crash, Cornell Campbell (feat. Lisa Imuze), The Senior Allstars, AudioArt (feat. Birthe Bendixen), Dub Spencer & Trance Hill, Robo Bass Hifi, Jazzmin Tutum & Hey O Hansen, Braintheft, Symbiz Sound, Rob Smith aka RSD, TACK>>HEAD, Dubvisionist, Ken Boothe, Dubblestandart, Marcia Griffiths, and Victor Rice.


EA 001CD

PANZNER/GREG STUART, JOE: Dystonia Duos CD (EA 001CD) 13.50
"ErstAEU is a new CD imprint, launched by Erstwhile Records to help document the work of young American experimental musicians working in a post-electroacoustic vein. EA 001 is recommended if you like Sheer Hellish Miasma, R/S, At the End of an Endless Stream."

EA 002CD

"RIYL: motubachii, Luc Ferrari, being confused."

EA 003CD

"RIYL: Joe Foster, Balloon & Needle, Robin Hayward."



"Graham Lambkin first heard Keith Rowe's sixties work in AMM as a teenager growing up in Folkestone, a small town in Kent, England, and for him it was very influential. That same year, Lambkin formed his now legendary band The Shadow Ring and Lambkin says, 'For Darren (Harris) and I, AMM was one of the groups that gave us licence to just do what we wanted, regardless of whether it fitted with convention or employed "accepted" techniques, and did so from a very English standpoint which held great appeal.' A decade of increasingly skewed and inspired work by the band culminated in 2003's I'm Some Songs, constructed long distance as Lambkin had relocated to the US in 1998. Since then, Lambkin has primarily worked under his own name, both as a solo artist and in duo with Jason Lescalleet. Rowe first became aware of Lambkin's work more recently, initially via 2007's Salmon Run, but when the two first met at the AMPLIFY 2011: stones festival in NYC, the connection was immediate. 2012 was spent in preparation and in January 2013 the duo met first in NYC for a memorable live set and then travelled to Graham's house in Poughkeepsie where Making A was recorded. The instant personal chemistry between the two fully translated to their musical relationship, both the similarities and differences seem to perfectly fit. This immediate rapport led to the quickest ever turnaround time from recording to release for an Erstwhile, just 77 days. Both musicians feel that Making A represents something very unusual and unique from their own perspective, and it is also the first release in Rowe's close to half century of recording in which he does not use a guitar or a radio. The six panel digipak features combined artwork from the two musicians, joining forces to create a visual whole that parallels the music."



PUBLIC SPEAKING: Blanton Ravine CD (FABREC 027CD) 14.00
"On his knees in a semicircle of electronic processors and percussive clutter, the singer quakes and moans, possessed with a passionate, paranoid vision. Public Speaking is the solo moniker of Brooklyn experimental musician Jason Anthony Harris. Utilizing found objects, radio, tape recorder, synthesizer and effect pedals, he constructs percussive, textural music for his deep, soulful vocals to croon over. Somewhere between Brian Eno and Tune-Yards, or Tortoise and James Blake, Harris' music explores pop music as organized sound. The Deli Magazine wrote: 'This is soul music functioning as 21st century meditation... [This] is what happens when an artist personally realizes the sound of his environment, and puts it to use.' His first full-length, Blanton Ravine is a lush collection of songs and sounds drawing on avant rock, IDM, ambient, noise, and R&B."


PUBLIC SPEAKING: Blanton Ravine LP (FABREC 027LP) 20.00
LP version. Limited edition of 225 with paste-on art over all black jackets. Includes a free download code.



HOME BODY: In Real Life CD (FTR 102CD) 6.00
First LP by superbly-talented Northampton, MA duo, Haley Morgan and Eric Hnatow, who rewrite the basic DNA of electro-pop for their own nefarious purposes. They are capable of the sweet gesticulation for which the form is noted, and they do this with incredible aplomb. Staying away from the cute-ass rhyming-nada that so many of their peers use as stock-in-trade, when they opt for romantic aktion, they craft tunes that carry the weight of flat-out Buckingham/Knicks updates in terms of sheer perfection -- multi-part femme-voiced songs of longing that explode with deep, fully-immersed emotional content, set inside of perfectly-balanced guitar/key/percussion explorations. Outside of time or style, these pieces hew to Home Body's own standards of canonical pop-re-imagination. Even better are Home Body's darker, weirder songs on the second side, like "Hunt It" and "Ram," which head in oblique directions both lyrically and musically, creating purely original vistas of possibility. This album fulfills many desires, some of which you may have never even suspected you harbored. Classic.


HOME BODY: In Real Life LP (FTR 102LP) 16.50
LP version.


JUSTICE YELDHAM: Popped in the Head All the Time Now 12" (FTR 108LP) 16.00
Justice Yeldham is the performing handle of Lucas Abela of Sydney, Australia. For the last five or so years, Justice has taken Iggy Pop's early '70s experiments with glass-as-instrument to whole new vistas of bloody ruin. Where the Ig saw glass as something merely to shatter and slash with (rendering old Ben Franklin's experiments with his "Amonica" quaint in the process), Justice uses shatterage as the capstone to a whole new quasimusical way of life. Yeldham takes salvaged sheets of glass and contact mics them, runs them through electronics, and blows the ever-loving shit out of them. Someone described him as "a trumpet player trapped in a two-dimensional universe" (to parse this reference, see Edwin Abbott's Flatland), and that sorta captures the gestalt of his performance style. Of course, the sound is something else again. Keeping the trumpet concept in focus, this record sounds like (your favorite trumpeter's name here) attempting to blow the fever out of Lou Reed shortly after he'd been bitten by a horse. Which means it has some of the same gaseous quality as most solo brass-qua-brass records, but it also seems have been processed through the diseased body of some former member of The Primitives. Originally recorded as part of the soundtrack to a film by Vincent Moon, Popped in the Head All the Time Now is sure to make 300 movie haters very, very happy.


GREAT VALLEY: Continental Lunch LP (FTR 112LP) 16.00
The third album by Brattleboro's Great Valley, who walk as equals amongst the woggly dream-pop giants from the charted region of the upper Connecticut River Valley. Like their brethren, Happy Jawbone (a member of whom surfaces hereon), Great Valley concoct a strange type of pop music, with certain similarities to musicians as disparate as California's Van Dyke Parks and Pennsylvania's Strapping Fieldhands, without yielding a single woof of their Brattleborian distinction. Blanche Blanche Blanche is also represented here by Zach Phillips, but Great Valley's take on the Southern Vermont ethos remains unique. Much of the sound on Continental Lunch has a pointedly ruralist base. Individual notes could be credited to ZZ Top or even members of the Capricorn Records cabal, yet when you engage with the entirety of their sound there is little chance of confusing them with anyone else. Their craft in creating a murky, muddled wall of sonic puh is strange, meaning it's far from usual. Instrumental passages have the crudeness of a carnival band, but these link with vocals bearing the lush potency on any mock-Beach Boys hybrid you could name (even the Rip Chords), albeit with a post-punk compositional modernity that buggers easy comparison. Every song on the album here shifts mood and mode as handily as Tura Santana shifted her hips in Faster Pussycat. There are odd blips of neo-electronic pop, which're immediately subverted by drunk sailor vocals. There are pieces of Matt Valentine/Neil Young vocalese that implode of their own volition in a shower of warm, swallowed sputum. There're blurts of patented 'Boro ganged chorus parts that refuse to stop acting drunk. If this is not one of the most low-keyed balloons of berserk psych blow-uppery, you should give me a list of other contenders. Because you are wrong. The more you listen, the wronger Continental Lunch is. What could be a higher compliment? Edition of 300.



FIAKUN TEAM: Something About the Way Your Hair Falls in Your Face 12" (FIAKUN 010EP) 12.00
After a long break, Fiakun Team and El_Txef_A join forces again, for this second collaboration at the studio. "Something About the Way Your Hair Falls in Your Face" is pure summer love. Original mix was recorded by the guys at the Tigerskin studio in Berlin while El_Txef_A was recording some drafts for the new album. Adding to the original, the Fiakun guys include an extended groove mix of the track. As an extra is an original track by James Duncan -- pure MPC shit.



FOTHERINGAY: Fotheringay CD (FLED 3044CD) 17.00
2013 repress. Fledg'ling's 2004 reissue of one of the highest-regarded British folk-rock albums, featuring Sandy Denny. Originally issued by Island in 1970 (previous Hannibal CD long o/p). With additional artwork and bonus tracks. Fotheringay's beautiful debut album was recorded in 1970, and has long been regarded as one of the greatest achievements of British folk-rock. Sandy Denny, Trevor Lucas, Jerry Donahue, Pat Donaldson and Gerry Conway created a magical ensemble sound and one of the finest albums of Sandy's career. For this carefully remastered edition, Fledg'ling have restored all of the original artwork and added four bonus tracks -- performances recorded at the 1970 Rotterdam Festival. Remastering approved by original producer Joe Boyd.



JAMIE HUSTLE: Pleasure Dome EP 12" (FRM 005EP) 11.00
Formula Records introduces Jamie Hustle's Pleasure Dome EP -- two killer tracks of unapologetic bass line-fuelled party-starters. The title-track is layered with pitch-bent synths that aren't a million miles away from a sci-fi movie soundtrack, while the booming 4/4 drum pattern allows it to fit neatly into house and garage DJ sets. "One Objective" has more of an anthemic feel to it with intermittent key stabs that lead into a drop of heavy-duty kicks and claps that's aided by a vocal sample.



MITSURU, TABATA: Uprising/Sky Lantern 7" (FDS 084EP) 10.00
The third entry in the FD Records sub-series by one of Japan's most important and prolific artists, here with a slice of psychedelia-tainted avant-weirdness seemingly beamed in from somewhere outside the atmosphere and ending up in an abandoned industrial complex. Tabata Mitsuru formed Boredoms, became a key member of Zeni Geva, and had many other projects before mostly becoming known for his solo and collaborative works as well as his current status as one of the main contributors to the Acid Mothers Temple collective.



KAROCEL: Plaited CD (FREUDE 008CD) 17.00
Freude Am Tanzen presents the debut album from Karocel. What do you do when a live project exceeds its own ambitions? Just keep doing the wonderful concerts and eventually head to the studio. Sounds simple and conclusive. In the case of Karocel, that was exactly how they went about it and surprisingly, all six band members made it happen. Though the four members of Marbert Rocels, Mathias Kaden, and Michael-Mitchi-Nagler have known each other from their hometown along the Gera-Jena-Erfurt corridor, and the Karocel live shows have been well-received, an album is an entirely different beast. In the fall of 2012 everyone got together in Marbert Rocel's studio for three intense jam sessions. With a single click it all began -- after a while everything was knotted together only to be woven through the mixer where it then lay. Post-production vocals and overdubs weren't needed. The 10 pearls that emerged from those sessions glistened in their raw form and now, the multifaceted nature of a Karocel event is now available in album format. In various dramatic curves Plaited prances over the dancefloor. Right smack in the middle there are tracks like "This One," "Tease You," and "Undo" and the bar-shaking "Vox," "Watts," "Boys," and "Don't Play," the kissing-on-the-sofa "Without" and the one for on the way home, "Parallels." Plaited is a complete work of art, no question.



JAMES, HAYDEN: Permission to Love 12" (FCL 083EP) 12.50
Hayden James is a singer/songwriter and producer from Sydney, Australia. He makes music with organs, noisy synthesizers, and guitars. This being Hayden's first solo project, it's given him the freedom to create music that resonates on a very personal level. "Permission to Love" is a dreamy piece of Balearic pop -- a summer jam for the beach and the dancefloor. Remixes from Charles Murdoch and Touch Sensitive.



WHITLOCK, BOBBY: Where There's a Will There's a Way: The ABC-Dunhill Recordings CD (FDR 602CD) 15.00
"Collecting the first two early 1970's solo albums by Memphis singer/songwriter/keyboardist/guitarist Bobby Whitlock. Presented here together on CD, Bobby Whitlock (1972) and Raw Velvet (also 1972) are star-studded (George Harrison, Eric Clapton, Delaney & Bonnie), soulful albums from one of rock music's key unsung figures. Whitlock's story is a remarkable one. Born to a hardscrabble existence, raised in abject poverty, abused by his preacher father and sent out to pick cotton in the fields. Moving from one railroad town to another, Whitlock was quite literally from the wrong side of the tracks. Yet thanks to his singing and piano playing, music was Whitlock's escape. Winding up in Memphis, Whitlock hooked up with Stax Records, who signed him as the first white artist to their new pop label HIP. But it was soul music, not pop, that was in Whitlock's heart -- and his break came when Delaney & Bonnie asked him to join their band, The Friends. Following Delaney & Bonnie from Stax to Elektra Records, Whitlock found his life starting to intertwine with '60s rock royalty. Delaney & Bonnie took him on tour with Blind Faith, where Eric Clapton was impressed with Whitlock's playing and the camaraderie he saw in The Friends. Soon, Whitlock joined Clapton, Jim Gordon and Carl Radle in Derek & The Dominos, the crack unit that backed George Harrison on much of the seminal All Things Must Pass and recorded the classic rock album Layla and Other Assorted Love Songs. During the recording of those albums, Whitlock tentatively made his first steps as a solo artist. Though drugs were already beginning to tear Derek & The Dominoes apart, Whitlock was able to call on some high profile friends (and 'Friends') to play on his album, including Clapton, Harrison, session bassist Klaus Voorman (John Lennon, Carly Simon, et al), drummer Jim Gordon, Chris Wood (of Traffic) and others."


WHITLOCK, BOBBY: Bobby Whitlock LP (FDR 605LP) 20.00
"Deluxe, first ever re-release of Bobby Whitlock's 1972 debut solo album.... Memphis-style soul n' blues featuring George Harrison, Bobby Keys, and Delaney & Bonnie." Remastered from the original tapes. Comes on 180 gram vinyl, housed in a gatefold "tip-on" jacket; with detailed liner notes and archive photos.


WHITLOCK, BOBBY: Raw Velvet LP (FDR 606LP) 20.00
First ever reissue. Remastered from the original tapes. Comes on gatefold 180 gram vinyl with new liner notes interviewing Bobby Whitlock, plus unseen photos. Features George Harrison, Eric Clapton, Bobby Keys, Klaus Voormann, and Delaney & Bonnie.



2013 repress; LP version with insert.


Evolving from The Sweet Feeling, a band who rubbed shoulders with The Beatles and most of the stars of the nascent swingin' London scene (due to band member Steve Brendell's work for Brian Epstein's Nems Enterprises), Rupert's People were the quintessential UK '60s mod-psych band. They had the look, they had many famous friends (Paul McCartney was one of their biggest fans) and a set of terrific tunes. But somehow, they never made it big-time. On this vinyl compilation (1966-1969), you'll find most of their legendary 45 sides, from freakbeat/mod-psych anthems - "Hold On" and "Dream in My Mind" -- to amazing psych-pop numbers: the phasing-fuelled "I Can Show You," "Charles Brown," and "All So Long Ago" (the later taken from their first 45 under the Sweet Feeling name). Plus delicious flower-power/baroque psychedelia: "Prologue to a Magic World" and "Reflections of Charles Brown." Some rare recordings have also been included: "Flying High" is a previously-unreleased instrumental taken from a demo acetate that makes it here on vinyl for the first time. "Reflecting" and "You Can't Always Get What You Want" are live tracks recorded in 1969 and show the most progressive sound of the band with long guitar/organ passages. The confusing Rupert's People story (with links to bands like Les Fleur De Lys and The Iveys/Badfinger) is set straight on the extensive liner notes by band member Rod Lynton, included on a four-page insert along with many unseen pictures. Remastered sound, old-styled backflap sleeve. 180 gram vinyl.


HN 250CD

DILLOWAY, AARON: Modern Jester CD (HN 250CD) 11.00
"CD edition of 2012's double LP. Tape loops, percussion, synthesizer, junk, voice, and tape FX. Recorded 2008-2011. Edition of 500. Packaged in a poly jewelcase with insert. Every second of this recording contains subliminal messages."



MOONDOG: The Viking of Sixth Avenue 2LP (HJR 018LP) 20.00
2013 repress; 2005 release, on vinyl. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "This new release from Honest Jon's is the first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."


HALO, ABDEL HADI & THE EL GUSTO ORCHESTRA OF ALGIERS: Abdel Hadi Halo & The El Gusto Orchestra of Algiers CD (HJR 032CD) 17.00
2013 repress. Chaabi ("of the people") has its roots in the Andalusian music of Moorish Spain, spreading to North Africa with exiled Jewish and Moorish communities; but it really took off in the music schools, parties and bars of occupied, post-WWII Algiers, where its Andalusian, Middle Eastern and North African lineage fused with the Mediterranean soundtrack of that era -- chanson, jazz, snatches of tango, a little boogie-woogie. A chaabi band combines traditional instruments such as the quanoun (or zither), mandole, oud, gambar (a stringed turtle shell), bendir and derbouka (types of drum); together with the piano, flute, banjo (brought to Algiers by American GIs), violin (played upright on the lap to save space in crowded venues), accordion and bongos. With subject matter ranging from God to pretty girls, the songs often touch on taboo issues. For this recording, the Abdel Hadi Halo & The El Gusto Orchestra of Algiers includes four singers -- joined in chorus by the voices of the entire orchestra and five-man banjo, percussion and violin sections. The scale and organization are thrilling; the music is swirling and improvisatory, surging from the haunted to the bluesy, the devotional to the knees-up. This album was recorded on the tilting fifth floor of the Conservatoire d'Algiers, in a room overlooking the sea on one side, and the Casbah on the other: the orchestra was recorded live in full flight -- all together, in continuous takes.


ACTRESS: R.I.P. 2LP (HJR 060LP) 20.00
2013 repress; 2LP version. South London producer Darren Cunningham returns with a suite of electronic laments, tone structures and dream-time rhythms which all carry his unmistakable fingerprint. R.I.P. comprises 15 tracks painstakingly crafted by Cunningham in his London studio over recent years, with a conceptual arc taking in death, life, sleep and religion.



JAHCOUSTIX: Frequency CD (IRIE 060CD) 15.50
The album is a tribute to traditional Jamaican music from the early days: modern produced, heavyweight roots -- reggae meets Jahcoustix' signature vocals. Frequency is an authentic record with unique features. Jahcoustix's youth was a nomad's life, spending years in Mexico, Liberia, New York, Kenya, and Egypt. He discovered music in Kenya where he began writing his first songs. After returning to Germany at the age of 20, Jahcoustix fully dedicated his life to music and ever since has been on a journey that has taken him and his songs halfway around the world. Jahcoustix has released five studio albums and played 1,000 live concerts over the last decade. His musical diversity, his steady development, as well as the recognition he receives for his work are all signs of moving towards a bright future. On Frequency, Jahcoustix provides his fans with uncompromising roots reggae. The idea and approach to this album is different from all the previous records. Instead of recording the album with his band, Jahcoustix teamed up with Irievibrations Records and also worked with some other producers to get a more diversified sound. For his 10th anniversary year of 2013, Jahcoustix will be out there to reach out to the world with his new songs and a strong lyrical message. Referring to the question about the featured track with Apple Gabriel, former singer of the legendary reggae band Israel Vibration, Jahcoustix answered: "I wanted to make a pure roots reggae record with a focus on collaborations with some of my favorite singers of the past 30 years of reggae music. Making this album was my dream and a truly heartical matter."



KING TUBBY: Hometown Hi-Fi Dubplate Specials 1975-1979 CD (JRCD 051CD) 14.00
King Tubby's Hometown Hi-Fi was one the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out, enticing the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio which was in fact his home, 18 Drumilly Avenue in Kingston, Jamaica. The versions were given exclusive plays at Tubby's before some finding their way on to vinyl, as the B-side version cut to its A-side vocal, proving so popular, that the records were often bought for its version side over its vocal counterpart. King Tubby and Producer Bunny "Striker" Lee are intertwined in the birth of dub music. Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard... the remix/version cuts to an existing vocal tune. Tubby and Striker were at Treasure Isle Studios one day while Ruddy from Spanish Town was working with the engineer Byron Smith. "Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake and forgot to put in the voice. It was a two-track recording in those days. Ruddy said 'No Man! Make it stay!' And so they cut the rhythm. When I went over to Ruddy's that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we're going to play 'Part Two.' They never called it 'Version.' And then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said 'Tubbs the mistake we made was a serious joke. It mash up Spanish Town!' The people went wild. So you have to start to do that now 'cause when the man put on the 'Part Two' everyone started singing this song. It played about 20 times. I said you try Tubbs!' Well the next Saturday night now when Tubby strung up down the farm U Roy said he's going to play 'Part Two' but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.'' --Bunny "Striker" Lee. Dynamic Sounds upgraded to 16-track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. Jamaican Recordings has compiled a selection of cuts that were all tried and tested on Tubby's hometown hi-fi sound system and worked a great set of Bunny Lee's rhythms in fine style. All killer no filler.



VA: Keysound Allstars Vol. 2 12" (LDN 037EP) 11.00
This EP presents four fresh tracks from this emerging collection of new producers. Leading off the EP is the first release on Keysound from Etch. Pitched somewhere between garage and dubstep, "Scatta" draws from the elastic b-lines of mid '90s jump-up jungle, littered with touches of Metalheadz' noir city-soundscapes. Walton's "Homage" is a skippy swung funk of two-step garage with a nod to hardcore. Visionist rethinks grime from an abstracted position, and Fresh Paul's work is full of neon, synth-led color.



RODRIGUEZ: Cold Fact LP (LITA 036LP) 20.00
LP version, 2013 new repress. Deluxe 180 gram pressing, heavy jacket. "It's one of the lost classics of the '60s, a psychedelic masterpiece drenched in color and inspired by life, love, poverty, rebellion, and, of course, 'jumpers, coke, sweet mary jane.'"


LP version. "180 gram vinyl housed in gatefold, tip-on jacket with an archive replica fold-out poster, two stickers, and archive replica newsprint adverts with lyrics insert. Plus, download card for full album, non-album single B-side: 'The Cowboy Song' and an unedited October 1978 BBC audio interview with John Lydon."



MARKUS WORMSTORM: Not I, But a Friend CD (MAX 011CD) 20.00
Markus Wormstorm is a South African writer, sculptor, an app and video game designer, a composer, a cat lover, a founding member of a fantasy collective for animated short films, a producer and an electronic musician. He is also that sort of classically-educated pianist that can barely stay still. Not I, But a Friend contains 50 minutes of a musical odyssey characterized by tremendous depth and an emotional deepness rarely seen before. Filled with spooky vocals, plaintive strings, tickling basses and a Yann Tiersen-based ivories romanticism, Wormstorm's ambient electronica reenacts a world of mystical subtleties, spectral textures and acoustic details. Instead of becoming a dance album or a typical sound landscape, his music verges on an atmospheric soundscape with a rather gloomy, cinematic touch. Not I, But a Friend offers us a contrasting ride of musical textures enriched with vibraphones, clarinets, marimbas, cellos and even tweeting birds. This brings Wormstorm to a musical cornerstone that may even well be appealing to jazz, hip-hop or techno trendsetters. Modern, classic and minimalistic, Not I, But a Friend promises to be the soundtrack of the subconscious.


MM 103CD

BENJAMIN WITH DOLLAR BRAND, BEA: African Songbird CD (MM 103CD) 18.00
"Matsuli Music is proud is announce the re-issue of African Songbird, the masterpiece from South Africa's greatest jazz singer, Sathima Bea Benjamin. Originally released in 1976, African Songbird was a debut long overdue. A 1959 recording debut, which would have been South Africa's first ever LP, was shelved. Her 1963 recording with Duke Ellington and Billy Strayhorn was put aside by Reprise's then head of A&R, Frank Sinatra, for not being commercial enough. African Songbird is a tour-de-force, and arguably the most dramatic and powerful release on Rashid Vally's As-shams label. The opener, 'Africa', is the album's fulcrum, a statement of breath-taking musical, personal and political complexity. It is a song of exile, of loss, and of return: a song that is both personal and universal, speaking for a people made homeless in their own land, speaking to those whose ambivalent embrace of exile ached for a homecoming. It speaks too of hope and resolution. 'Africa' is a personally powerful declaration from a remarkable African woman: a song of deferred self and dislocated space finally resolved in an emotional homecoming. It is a song of celebration and mourning -- a heartfelt paean to her home that is shot through with the raw sorrow of lament. Sathima's voice, wholly unique in jazz singing, gradually sheds its musical supports as the programme develops. From the thickly-layered tumult of 'Africa,' through the characteristic Cape Town swing that informs 'Music,' the instrumentation is quietly reduced, then finally dispensed with. The title track is performed a capella, but for the natural sounds of the sea coast, the gulls and surf of the Cape itself. After many years of silence, two deferred albums, and over a decade of rootless exile from a home that had been made inhospitable by the inhumanity of apartheid, Sathima's voice is finally heard, alone with her song, naturally, like a bird. The CD is housed in a six panel digipak."



VAN POL, JORAN: Conscious 12" (MINMAX 003EP) 11.00
An exploration of the space between min and MAX, Joran van Pol speeds at a hypnotic pace, exploring the outer reaches of space and dimensions, returning through a wormhole of frequencies, echoes and optimism of new worlds. Pressed on 180 gram vinyl.



SIRIUSMO: Enthusiast CD (MONKEY 033CD) 15.50
As soon as Mosaik, Siriusmo's debut album, got released in 2010, studio-work for the sophomore album began. Unfortunately, the myth of the difficult second album became a reality and so the album changed its face again and again, got delayed various times, until finally, at the beginning of 2013, Siriusmo was happy with what he had accomplished. After beat works for Snoop Dogg and an album collaboration with Boys Noize, Siriusmo now finally presents Enthusiast, his long-anticipated second album. Enthusiast features 13 songs ranging from neo-disco house tunes, electro-pop, cutting edge hip-hop to UK bass-inspired beat constructs and various electronic listening experiments. Multifaceted and eclectic as always, Siriusmo knows how to satisfy high expectations without compromising his sound. To some, Mosaik felt less like an album and more like a compilation, with its drastic jumps from genre to genre and its wild-style, all-over-the-place attitude. Regardless of which opinion you share, Enthusiast combines the best of both worlds and makes for one of the most compelling offerings from Siriusmo in his more than a decade-long recording career. The album still shows no signs of a one-sided sound, but at the same time, it is a more homogeneous and mature piece of work. Enthusiast definitely bears the hallmarks of what we've come to expect from a great Siriusmo record.



RADICAL FACE: Ghost LP (MORR 069LP) 17.00
2013 repress, now on orange vinyl. LP version, originally released in 2007. This record started with a simple idea: what if houses had memories? What if, when we lived in them, our stories bled into the walls and became a part of the house? What if our ghosts were always going to haunt the places we've lived, a long with everyone else who's lived there? Some of these songs are from the point of view of people still living their lives in one of these houses; some are from the point of view of those dead and gone, watching over the living or haunting them; some are from people visiting home, after being away for along time, and the familiar ghosts of childhood all coming back to remind you of the way things used to be. This is a quintessential singer/songwriter album, or, rather a songwriting album, with tracks as carefully arranged interiors, chamber folk, pocket symphonies, passionate melodies. Ben Cooper recorded this album almost entirely alone, in a small shed in Jacksonville Beach, Florida: another one of those houses full of stories. He recorded the guitars and drum patterns, the banjos, organs and keyboards and sang in chorus with himself. He let the instruments take a deep breath and created a breathing record, a lively, warm Ghost. Includes a free download coupon.


ISAN: Beautronics CD (MORR 122CD) 15.50
One explanation for the '90s-fascination with Casio, Korg, and other analog synthesizers is this: The first video-game generation was coming of age and were happy to hear that their dearly-loved Space Invaders soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time -- Beautronics, the debut by UK synth-duo ISAN first released in 1998 -- has kept its appeal until today. Beautronics does not grab you immediately. You don't hum these tunes after a few listens; in fact, you might not even hum them after dozens of spins. It's not about humming -- it's about soft cushions and a cozy duvet made of sounds -- it's about aural sheets floating around like warm humidity during a hot bath. Occasionally, it's even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called "tints." So it's as much about tonal color, as it is about melodies. The "tints" form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as "Skeek" are not exactly four-to-the-floor. There's no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album's sleeve and title are straightforward about this: it's all about the human beauty in electronica. Beautronics produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen, and the 15 years since its initial release don't change a thing about this. That's why it's certain that Beautronics will win a new generation of listeners with this re-issue. Includes four previously-unreleased bonus tracks. Remastered and cut by Dubplates & Mastering.



DJ SPRINKLES: Queerifications & Ruins: Collected Remixes by DJ Sprinkles 2CD (MUSIQ 042CD) 23.00
Call it a new DJ Sprinkles album, call it a collection of his latest, most thrilling remixes -- whatever you name it: Queerifications & Ruins is a close meeting of 14 tracks that will lift your spirits. They all bring different elements into a natural flow with DJ Sprinkles' typical trippy sound signature: airy piano melodies, cool congas, echoed vocal samples, haunting chords, pounding bass lines, some hidden melancholy, some poetic spoken words as well as soft beatless ambient parts for your relaxation. Terre Thaemlitz, world-wide known and awarded writer, public speaker, multimedia producer, DJ, audio producer, and head honcho of the label Comatonse Recordings -- released under his deep house alias DJ Sprinkles the mix CD Where Dancefloors Stand Still (MUSIQ 041CD) -- a grooving house music critique on Japan's strange fuzoku law that currently is threatening Japanese clubs with a curfew. Now he spreads some timeless spiritual grooves with a collection of his own productions based on originals by artists like Kuniyuki, Ducktails, Matt Tolfrey, and Hard Ton. They are all deep as house can be and their spirit is rooted in the unique life story of the American in Japan that originally DJed in the heydays of the gay clubs of midtown Manhattan and New Jersey in the late '80s and early '90s -- a time when deep house began to take air. After the New York scene went world-wide and lost its family spirit, he embarked to Japan, where he held a three-year residency at Tokyo's Club Module from 2003-2006. In January 2009, he released his album Midtown 120 Blues (MUSIQ 009CD that was hailed as one of the most essential house albums of the last few years and was voted by Resident Advisor as the best album of the year. The 2CD Queerifications & Ruins now features almost all remixes he had done between 2010-2013. Four of the 14 reinterpretations are previously-unreleased. Two are done for the mysterious, former West-London, now Berlin-based acid house and new wave producer June, one for the queer Venice disco outsiders Hard Ton, and one for Corbie, a chilled-out newcomer from Vilnius, Lithuania. Epic reworks for such artists such as Area, Hardrock Striker, Jorge C, Oh, Yoko, Adultnapper, and Marco Bernardi have been released on such labels as Arma, Ojo De Apolo, Will Saul's Simple Records, Normal Cookie, Comatonse Recordings, and Mule Musiq. Some of them are hard to find on vinyl and now they are back on black wax and the CD edition features two more tracks full of wonderful off-kilter ideas.


NW 80740CD

PARKINS, FREDERIC RZEWSKI, JAMES TENNEY, ZEENA: Works for String Quartet and Percussion CD (NW 80740CD) 15.00
"The evolution of the string quartet repertory has accelerated during the last half of the twentieth-century and beyond as composers from both the mainstream and the avant-garde have mined its seemingly inexhaustible creative resources. This CD features the virtually unprecedented combination of string quartet and percussion. It contains three works by prominent American experimentalist composers from several generations exploring the ensemble's unique sonic resources in diverse stylistic settings, each with its own original approach to musical form. A 'whim-wham' is a 'fanciful or fantastic notion or object.' In Frederic Rzewski's 'Whimwhams' (1993) the 'fanciful' occurs within a pre-conceived formal design. The formal structure in 'Whimwhams' provides time units, 'empty containers' for the free play of the composer's imagination, which yield striking successions of musical moments, each with its own distinctive identity. In James Tenney's Cognate Canons (1993) the canons occur between the percussion and the string quartet. The durations of the two canonic 'voices' are related by a series of proportions, creating the effect of simultaneous tempi, which Nancarrow used in his player piano music. Zeena Parkins describes 's:c:a:t:t:e:r:i:n:g' (2012) thusly: 'Flickering sound and shifting colors subvert the linear. 's:c:a:t:t:e:r:i:n:g' is composed of ten movements, evolving things, and objets sonores that acquire a modulated presence through accumulation. Resonance piles up and is dispersed by the 'scatterers' as they journey within conditions of motion and stasis."

NW 80741CD

MOE, ERIC: Meanwhile Back at the Ranch CD (NW 80741CD) 15.00
Performed by Firebird Ensemble. "The five works on this disc tap into a wide and deep current of sources and ideas, a microcosm of Eric Moe's (b. 1954) fascinations, with references to Goethe and Richard Wilbur, among others. The compositional craft by which Moe achieves his expressive purposes is as varied as his musical moods, though we can detect certain trends toward process and pattern, such as cycling pitch and rhythmic collections. Also pointedly informing Moe's music is its performer-centricity: as a performing pianist himself he knows what it is to enjoy what one is playing, whether a syncopated, dancing texture or a long, lyrical melodic line. A story might be told more appropriately as a comedy than as a tragedy, or might better fit a cartoon than a painting; a prayer and a joke can both convey a basic truth. In Eric Moe's work the cosmic distance between Goethe and mud wrestling is agreeably small. There's really little telling how title or source might reflect the music of a given piece, nor is there any way to assess the effect of these apparently widely diverging moments except cumulatively, after hearing the whole. The far-flung, ground-covering referentiality of Moe's ostensible subjects, as well as the music itself, aim at an aggregate density of experience, echoing life in its odd juxtapositions and weird coincidences, its intellectual and poetic richness, its intricacy, intimacy, and avoidance of easy answers."



BENEATH: Strike a Pose 12" (NNB 002EP) 11.00
Beneath presents three tracks of "Anti-Masonic ritual music." "Strike a Pose" records evidence of an organ-harvesting program in the UK. Time is shifted by one half-phase, marked in a four-on-the-ceiling rhythm. For their remix of "Bellz," Swing Ting separated the master tapes using a magnet attached to a high-impact masonry device. Part of Beneath's original was synthesized from interference captured on a short-wave radio device. The signals, heard as a bell-tone when transposed, are supposed to originate from NATO's Airborne Early Warning and Control System (AWACS).



oOoOO: Without Your Love CD (NIHJGT 001CD) 17.00
Without Your Love is the long-awaited debut LP from the mysterious oOoOO. The LP further develops -- in sometimes very unexpected ways -- the sounds oOoOO has become known for through previous releases with Tri Angle Records. The LP will be the first release from oOoOO's own label Nihjgt Feelings.


oOoOO: Without Your Love LP (NIHJGT 001LP) 17.00
LP version.


NA 5046LP

VA: Forge Your Own Chains 2LP (NA 5046LP) 19.00
Subtitled: Heavy Psychedelic Ballads And Dirges 1968-1974. 2013 repress, originally released 2009. 2LP version. "Deluxe gatefold jacket containing extensive and detailed liner notes and annotation by Egon, rare photos and other ephemera." Artists: Top Drawer, Sensational Saints, East Of Underground, D. R. Hooker, Shin Jung Hyun & The Men feat. Jang Hyun, T. Zchiew & The Johnny, The Strangers, Damon, Ellison, Morly Grey, Shadrack Chameleon, Ofege, Ana Y Jaime, Kourosh Yaghmaei, Baby Grandmothers.



JOHANNSSON, JOHANN: Fordlandia 2LP (NTOV 007LP) 23.00
"Double vinyl, gatefold sleeve reissue of Johannsson's 4AD album on Johann's own NTOV label." On clear vinyl.



BOMB THE BASS: In the Sun CD (CATSOLO 104CD) 17.00
In the Sun, the heat-soaked album from Bomb The Bass, is a slow-burning night-time record to tantalize the senses. Never ones to stand still, Tim Simenon and Paul Conboy hone their sound to nine dreamy, hypnotic songs that retain their urban edge, with strong rhythmic input from drummer Christian Eigner. "Time Falls Apart" and the single "Wandering Star" are prime examples; the former's woozy mood complemented by urgent brass stabs, the latter featuring a powerful and affirming vocal. The album's pulse beats strongly in "All Alone," where held background textures collide with quick percussion to give nervous energy, and the gritty, backs-to-the-wall approach of "We Are All Lost." "Where Better," meanwhile, charms with a warm-hearted and catchy chorus loop, the widescreen production especially rewarding on headphones. With In the Sun, Simenon and Conboy open another new door in the Bomb The Bass story, the equal of anything they've produced so far.



THOUGHT BROADCAST: Thought Broadcast LP (OESB 060LP) 20.00
2012 release. "Debut vinyl full-length by Daly City, California based isolationist Thought Broadcast. Limited edition of 400 copies. 12" black vinyl - heavy duty covers silkscreened by Monoroid."



ELLIOTT, RYAN: Stepmode EP 12" (OSTGUT 068EP) 12.50
Ryan Elliott presents his second 12" EP for Ostgut Ton. The Stepmode EP builds a bridge between euphoria and darkish club moments. The title track begins with flowing hi-hats and scratched shakers as Ryan prepares the audience for his groove. The following combination of tender synths and funky vocals are merely touched upon and sent through the echoes just at the right point in time. "Stillsteppin" feels darker with hypnotic strings, delay-infused strokes, haunted stabs and driving bass line.



MOLE, THE: History of Dates/Lockdown Party 12" (PERL 094EP) 14.00
Two original versions plus a remix by Terre Thaemlitz aka DJ Sprinkles.



SHAHRAM: Shahram CD (PHS 011CD) 17.00
You know how record nerds are. They'll gladly tell you that a dawdling Moldovian choir of 70 year-old grandmothers is the next brick in your psych-funksplosion journey. But Shahram Shabpareh is the real thing. Colorful arrangements of blurting horns, evil bass grooves, cheesy organs, and thick strata of overlapping percussion instruments going off like microwave popcorn. As the leader of an Iranian '60s garage band, The Rebels, and later a '70s solo singer, Shabpareh was never happy just tossing a few moves from Abba in front of whatever was on the local charts already. He wrote and recorded hard rock and funky piano riffs that were built bulldozer-tough and would've stuck out in an American trailer park or a London pub just as easily as they did in Tehran. Not that he wasn't afraid to put someone else's idea to good use, as he certainly makes superb use of The Kinks' chords from "You Really Got Me." It's more that Shahram's rock cojones have caused him to make blistering music again and again over the years, with little regard for where it comes from. Here's a well-deserved compilation of his best tracks, with booklet with liner notes.


SHAHRAM: Shahram LP (PHS 011LP) 25.50
LP version. On 180 gram vinyl with insert.


Turkish Bar or Bengi folk dancing requires approximately 100 people to do properly, and it helps if a lot of them are eating wedding cake. You put your arms around the shoulders of the people on either side of you, and then stomp around in a circle, facing in and kicking the air, until everybody is exhausted and happy. Far away from any folklore festivals, Derdiyoklar Ikilisi hand-built the soundtrack to this dancing as it was drunkenly executed by luckless German-Turkish immigrants in the fashion-insensitive '80s. And though the band had only two members, they decided electric saz, synthesized drums, cimbalom, and sheep sound effects were all needed to get the job done. Who could argue? This tinkly and psychoactive album, full of uniquely odd overdubs and buzzy, flanged-out guitar solos, can now be yours. First time-ever reissue. Sound taken from master tapes, booklet with liner notes.


LP version on 180 gram vinyl with liner notes insert.



POPNONAME: Change Remixes 12" (PNN 001EP) 12.00
Popnoname's "Change" is the perfect pop-song to sing along to and soundtrack a change in you. David Hasert creates pop for the dancefloor, and his remix is like a dreamliner in the Balearic sea. Hasert curates the NICE parties in Cologne and runs the label, Like. Matt Karmil's remix is sensitive and cool, capturing the essence of the track while leaving out all pop themes. The solitary beat splattered with white noise creates an eternal space to drift away to in the club.



DEEP MAGIC: Reflections of Most Forgotten Love CD (PRE 037CD) 15.50
The Preservation label presents Reflections of Most Forgotten Love, the third album from Los Angeles' Deep Magic. The solo project for current Sun Araw live band member Alex Gray, Deep Magic's work has tended towards a meditative ambient realm, crafting a cosmic sound described by Uncut as having "a sort of calm and organic grandeur that recalls Popol Vuh." Indeed like Popol Vuh, pursuit of a kind of spiritual grace has proven to be the measure at the heart of Deep Magic. Reflections of Most Forgotten Love finds a new urgency, an ever-shifting puzzle of sound that breathes vital new life into Gray's lyrical vision. Dynamic and unrelenting, yet somehow beautifully spacious and patient in its unfolding, this epic work thrives on equal parts pulse and poise, an essence held within a thrilling multiplicity of ideas. Skittish techno, rolling pianos, warm pedal steel, foggy dub drifts and microscopic sonics play out a hypnotic movement of moods with magnetic compulsion. Throughout its stirring, blissful way, intimacy is its keynote. As the title suggests, this is an album of emotively raw presence with a singular take on solitude as a many-splendored thing.



IVVVO: Future EP 12" (PUBINF 009EP) 20.00
"The first in a series of limited edition 12" aimed at the dancefloor. IVVVO, a young producer from Portugal with previous form on Opal Tapes and is closely affiliated with the Photonz crew - The Future EP presents his most exciting work yet. Six transmissions long - vinyl scarred, abrasive, and heartbroken, IVVVO reaches into early UK rave music for inspiration, but twists the end-game. The yearning vocal, the minor key whisper, the shuffling breakbeat, the bleep, the bloop, and the seeping tape-bleed all present. Yet IVVVO mangles these core elements of dance music past into something that sizzles headfirst into 2013. Opening cut 'Darkness in My Soul' kicks off the record in a sad glare of tone bursts, aching lead lines and throbbing kicks. Elsewhere he reaches into his bag for stinging hats and nagging hooks. All tracks clock in shy of five minutes. IVVVO's way is the quick release, the instant blast, the cute melodic touch... smoldering in warehouse black. No time for bloated dance formulas here. And then, the piano. Bookending either side sits a pair of devastating miniatures, played on his grandma's piano, prepared, cloaked in hiss and ending these plates with a kiss of forlorn ambience. A funereal flourish to the death of rave... to the future."



ATOM TM & JACEK SIENKIEWICZ: Wagner-zwei abhandlungen 12" (RECOG 032EP) 14.00
Produced together with the Goethe Institut in Warsaw, this record celebrates 200th anniversary of the birth of Richard Wagner. Label-boss Jacek Sienkiewicz invited his companion Uwe Schmidt (known also as Atom TM, Atom Heart, Señor Coconut, etc.) to take a look at Wagner's work -- and here we are, with two totally different, but equally challenging variations on a theme. Atom TM's tune is a majestic, classically-composed ambient piece, and Sienkiewicz goes all deep-techno. Neo-classical approach to modern club rhythms? Stripped-down Romantic machine music?


RW 1-01-008CD

The second studio album release by Nurse With Wound and Graham Bowers delves into the multiple manifestations of the human form and psyche. The music is an audio sketch-pad, capturing a Commedia dell'Arte-type procession of the extremes and banalities of what we are and what we do on this bizarre and indefinable one-way trip to oblivion. The CD features original artworks by Babs Santini and Graham Bowers.



DETHSCALATOR: Racial Golf Course, No Bitches LP (REPOSE 035LP) 22.00
Dethscalator, after five years of pummeling underground venues in the UK and Europe, finally release a full-length on the notorious Riot Season imprint. Slow, angry, psychedelic and gigantic, Dethscalator move at their own pace. Road hardened and tightened the band have shrugged off their looser, sludge-blasted origins to reconnect with their American 80s post hardcore, pig fuck roots, with riffs n hooks worthy of Killdozer, Jesus Lizard, Unsane, Butthole Surfers and Fudge Tunnel but have mixed this up with giant slabs of monolithic doom, coruscating beams of white noise and whirling vortices of space rock. However it is the deep, dub influenced production job; the way that layers and layers of feedback have been marshaled into a horrific orchestral wall of sonic horror and the brightly fizzing lysergic sheen to the whole shebang that will bestow a blessing on your ears. This is guaranteed to tweak your brain s long dormant and atavistic proto-human god nodules and have you punching your walls like William Hurt as the multi-colored amoeba man at the end of Altered States after he s spent an afternoon in a floatation tank on Ayahuasca and seen a goat with 13 eyes nailed to a crucifix. Limited edition vinyl LP, 500 copies for the world. 140 gram virgin bubblegum pink vinyl.


RLP 3145LP

LAST HURRAH!!, THE: The Beauty of Fake LP+CD (RLP 3145LP) 22.00
The Last Hurrah!! is the project of Norwegian guitarist HP Gundersen plus a jamboree of international players and singers. Based in Bergen in western Norway, Gundersen has a long history in Norwegian music and beyond. As a producer he discovered and nurtured the career of Sondre Lerche, one of Norway's most successful international exports. As well as Madrugada's mega-hit "Lift Me" with Ane Brun, he has produced over 50 albums -- including Tim Rose's final album American Son. An encounter with a Gambian kora-playing folk musician a few years ago was life-altering and, in his own words, took him to a new level of musical understanding. n 2011, his cover of Pink Floyd's "The Great Gig in the Sky" on the free Mojo tribute CD Return to the Dark Side of the Moon drew high praise from readers. His previous album, Spiritual Non-Believers, was voted album of the year in VG, Norway's most popular newspaper; The Wire called it "maddeningly well executed." HP Gundersen grew up in the 1960s, tuning in to European radio stations and having his mind blown by the sparkling melodies of the decade's pop music, like The Byrds and The Beatles. Notably, these two groups were among the first to absorb Eastern influences, as Gundersen has done in The Last Hurrah!!. Chinese guzheng (zither) resonates with pastoral flutes, Hawaiian guitars and the plangent tones of the Scandinavian Hardanger fiddle. Listening to the repetitive pluckings of the opener, "The Rush," you can't help but think of Steve Reich's solo guitar trance-out Electric Counterpoint; elsewhere you'll hear echoes of Don Cherry's multicultural visions, the soaring harmonies of Rubber Soul-era Beatles, and the magical open tunings of folk-rockers like David Crosby and Stephen Stills and Davy Graham. Country music meets raga meets psychedelic sugar-rush. For Gundersen, the concept of universal music is a truth older than entertainment. Jamming on one chord is a highly democratic way of music-making: anyone can take part. And they do: a dozen extra musicians are involved on various tracks, including jazz-trained vocalist and long-time collaborator Heidi Goodbye, and the remarkable guzheng (zither) played by Yuyue Zheng. There's even an appearance from U.S. saxophonist Jon Irabagon, leader of tumultuous ensemble Mostly Other People Do The Killing. Paradoxically, being restricted to a one-chord drone opens the music up wider than ever. Includes CD version.


LAST HURRAH!!, THE: The Beauty of Fake 2LP (RLP 3145LTD-LP) 26.50
Special limited double LP version with bonus live album; edition of 300 copies.



DESTO: Emptier Streets LP (RWINA 002LP) 23.00
After five years of releasing EPs and singles across a raft of labels including Argon, Ramp, and his own Signal Life, Finnish producer Desto returns to Rwina to deliver his first full-length album, Emptier Streets. As with his previous releases on the Dutch label, Desto strips the music back to its bare-bones essentials, fulfilling the album's title with a sound that's spacious and eerie, bleak and punishing, yet still offers warmth in its apparent coldness. Stylistically, the album is most obviously aligned with the aesthetics of Dirty South hip-hop and the dubstep diaspora, deploying booming drums, rolling hats, cold synthetic melodies, and voices inside cavernous sonic landscapes. You can feel a cinematic quality on "Dislocated City," where a simple interplay between pitched kick drums and modulated melodies is all it takes to create a hypnotic vibe. The title-track features a rare use of vocals, stuttered and effected into something alien, set against icy melodies on a solid bed of bass kicks and syncopated snares. "Glottal Stops" plays with a slightly disturbing melody made of guttural sounds over a relentless kick assault while "4 A.M." starts old school before switching into one of the album's most anthemic productions. "Drainpipe" shows off Desto's ability to pull emotions from the listener even without any drums, winding things down before "Healing" closes the album with one last energetic run through the city. Emptier Streets takes the sound Desto has been building for the past few years to its logical conclusion.


JAMESZOO: Jheronimus 10" (RWINA 022EP) 16.50
Dutch producer Jameszoo returns to Rwina with the Jheronimus EP. Once more he delivers a selection of productions that seem custom-made to squeegee your third eye. Jheronimus continues Jameszoo's experimental work, fitting somewhere between broken hip-hop, electronics and folk -- a trip for the headphone listen that still has some, albeit strange, dancefloor potential.



MUNGO'S HI FI (FEAT. KENNY KNOTS): Brand New Bangarang CD (SCOB 003CD) 16.50
Scotch Bonnet presents an album from Mungo's Hi Fi, featuring Kenny Knots. Knots comes flying in, streaming positive lyrics delivered with rasta fire, while Mungo's Hi Fi provide immaculate production steeped in soundsystem heritage. Chock-full of smash singles and brand-new dub slates born in the heat of the dance, every track is a tried and tested killer. Kenny Knots has developed his unique and versatile style, nicing up dances worldwide for the last 30 years. He is a songwriter and performer at the pinnacle of his talent. Mungo's Hi Fi are ploughing a new furrow through the dry earth of the modern musical landscape. Their fresh take on reggae and dancehall music is sweeping the globe, gathering millions of hits despite being under the radar of mainstream culture.



SLICES: The Electronic Music Magazine Issue 2-13 DVD (SLICES 213DVD) 0.01
Slices is a free DVD magazine out of Germany, focusing on the contemporary electronic music scene. It can be added to orders at no cost. Features: Robag Wruhme, Rone Stefan Goldmann, Synkro; Tech Talk: Leaf Audio; Club Special: Trouw Amsterdam; New Faces: Sandrow M; EB Live & Rare: Nicolas Jaar "Time For Us"; Hundreds "Grab The Sunset"; Karin Park "Thousands Loaded Guns." Format: PAL 16:9. Running time: 99 minutes. Language: English. Dolby Digital 2.0.



TSEE MUD: LSD Bacro CD (SHAD 142CD) 17.00
It may be possible that, until this release, these three names no longer sound familiar to lovers of South American underground music, but for any fan of good Venezuelan hard psych rock of the '60s and '70s, Bacro, Tsee Mud, and LSD are really special, well-known bands. Besides the other great album from Venezuela, Ladies WC, this release is as good and as important. The band only released a couple of singles and played a lot of great live concerts. These bands, with José Romero on guitar, changed names from LSD to Tsee Mud and to Bacro. In-between those bands, José lived in the USA and was part of The Del-Vikings, who played a concert at Madison Square Garden. José went back to Venezuela and continued playing with Bacro. All the tracks presented on this album here are extra-strong and heavy psychedelic with amazing fuzz guitar, vocals and lots of acid moves. A really wild album, all the way.


DREAM: Get Dreamy CD (SHAD 151CD) 17.00
Get Dreamy is perhaps the most fantastic and unique underground album from Scandinavia. Recorded in 1967, it was the LP with legendary guitarist Terje Rypdal after the two albums he made with The Vanguards. A year later Terje recorded his first solo album also for Polydor. Get Dreamy has great original songs full of wild fuzz guitar, swirling Hammond organ, sound effects, and strong vocals. The musical influences could be Cream and Jimi Hendrix, with the lyrical touch of Procol Harum. All songs very well-produced and recorded in Stockholm. Dream started straight away with a full album, which was not common in the musical world in 1967 -- most bands produced singles first. With a lot of enthusiastic help from Norway, including Terje Rypdal, plus the cooperation of many photographers, we are happy to put this album out with a big poster insert including a great band story and many, many unseen photos. The album was mastered 24-bit direct from the original master tapes. So the sound is really good and you can hear it in full stereo.


ATKINSON, STEVE: Small Boats CD (SHAD 152CD) 17.00
There are not many underground folk albums Shadoks are keen on putting out. Steve Atkinson's Small Boats was one the label loved immediately. Steve was just not easy to find. So, with some help from a student (Steve was a teacher) Shadoks were able to locate him. If you think the early Mick Stevens albums are cool, Tony Caro And John is a killer group, and you love the tradition of British underground folk music, you will really like this album. Very well composed electric and acoustic songs with beautiful vocals, guitar, violin, recorder, cello, bass, chimes, and clarinet, this album is a little masterpiece. Recorded between 1980 and 1981. Steve said: "My musical education came from the folk clubs of Bedfordshire, Fairport Convention, John Peel, West Coast bands like Love, Jefferson Airplane, and The Doors, punk, The Beach Boys, and of course The Beatles." A very beautiful album which deserves a good spot as a shiny star in the folk music universe.



MATERIA: Atlas CD (SLM 070CD) 16.50
Slime reaches a new milestone for the label with the launch of its first physical release. To celebrate, they welcome the return of Swedish producer Materia, who has crafted Atlas, a debut full-length album that extrapolates the fundamentals of house, garage, dubstep, and techno -- then fuses them into a listening experience full of warmth and texture which reveals further depths through every repeated play. "Otherland" is the opening statement of intent. Windswept and widescreen, its cinematic qualities are pushed to the fore from the outset with melancholy chords drenched over skeletal percussion. The mood intensifies as the ice-cold beat drops and the track draws you slowly under its spell. "Clouds" sees a collaboration with NYC vocalist Winter and UK lyricist Koast. Over a narcotic half-step rhythm, Koast delivers a heartfelt paean to hedonism taking its toll, while Winter adds her gossamer voice to proceedings, elevating the track into something solemn yet beautiful. "Grounded" evokes hazy summer nights spent in a neon-soaked metropolis, as live strings, guitar and brass coalesce into a laidback groove that exudes a rich sensuality. "Shallow Waters" goes south of the equator and turns the tempo up for a rolling house cut with live Rhodes and flute in a playful interchange. "Shadows" finds cavernous space in dubwise rhythms, with a booming sub-bass strapped to skittering beats and emotive chords. "Headspace" combines dub and techno textures with startling results, offering up an expansive galaxy of spectral sound to drift into. "Skylight" sees the return of songstress Winter to add sugar-sweet vocal textures over a gorgeous drum 'n' bass rhythm that is full to the brim with sunshine. "Downstream" draws the listener down deep into a seductive house groove with live saxophone played with a mischievous touch by Startslow. "Ruins" is a joint composition between Materia and the highly-regarded Bristol producer Forsaken, who combine for an atmospheric slow-house jam with a moody energy all its own. "Synthesis" completes the journey with a grand flourish, delving into tech-house territory for an epic nine-minute excursion into interstellar rhythms that takes you off the edge of the world into ecstasy.



COULTRAIN: Jungle Mumbo Jumbo LP (SDGPLG 146LP) 18.50
Released in collaboration with Plug Research. St. Louis soul meets L.A. beat scene. Coultrain (aka Aaron Michael Frison aka Seymour Liberty) continues the story started on his previous self-released album The Adventures of Seymour Liberty, which received an 89/100 on Okayplayer and made's best of 2008 list. Coultrain is a purist. Self-described as "not for these times," "a revivalist," and a "futurist," his spiritual, soulful, conscious R&B owes credit to Lonnie Liston Smith, Patrice Rushen, Miles Davis, and Stevie Wonder, also not of these times. For fans of Platinum Pied Pipers, Waajeed, DJ Spinna, Black Spade, Onra, and Bilal, this smooth, synth-laced and beat-rich album also recalls the ballads from the immediate post-Purple Rain Prince albums, updated with a progressive soul posture. Coultrain has been featured on releases by Sureshot Symphony Solution (Nature Sounds), Hawthorne Headhunters (Plug Research), and Platinum Pied Pipers (Ubiquity), and has an unreleased full-length collaboration with Detroit legend Waajeed. From the artist bio: "he is an era-less figure -- equal parts king and fool, a performer who may not know where he is, but yet can still reveal the now to his audience like no other magician before."



AMIINA: The Lighthouse Project 12" (SHAKE 017EP) 18.00
Limited vinyl edition. 500 copies with printed inner sleeves. Includes download code. Originally a string quartet formed by four girls at the Reykjavík College of Music just before the turn of the century, Amiina went on to cut its teeth as Sigur Rós' string collaborators for the next decade. After releasing debut album Kurr and several EPs, the group's sonic palette was broadened by the contributions of drummer Magnús Trygvason Eliassen and electronic artist Kippi Kaninus, who have been permanent members of the group since late 2009. They released their second full-length album, Puzzle (SHAKE 011CD/LP), in 2010. About four years ago Amiina, then a four-piece band, set out on a journey across Iceland performing in lighthouses and other unusual locations. The music had been written especially for performances in small spaces, and in great proximity to the audience. The inspiration behind the journey came the first time the band performed in a lighthouse. A man in the audience described how he had experienced the music in those surroundings. Standing on the top floor of the lighthouse, he had felt the music travel up through the structure and out across the ocean, as if the lighthouse were now projecting music instead of light. The group set off in a big van packed with instruments, accompanied by a photographer, one spouse, one newborn baby and another about to be born, and together they drove over rugged roads, seemingly to the end of the world, to perform music. The songs were a mix of old and new, little nocturnes in simple arrangements. Among them was a cover of Lee Hazlewood's "Leather and Lace." Amiina had previously collaborated with Lee only weeks before he passed away, on a song that ended up being his last recording. On the flip-side was Amiina's arrangement, and cover, of "Leather and Lace." The simple arrangement of the song fit perfectly with the other songs and the spirit of The Lighthouse Project. In late 2012, Amiina decided to revisit The Lighthouse Project -- to record these songs in their original arrangements, and give the music the prospect to travel out and across forever. The band felt it was important to convey the intimacy of the original performances, so the songs were recorded "live" in the studio, as if at a concert.



DIRT DAUBERS, THE: Wake Up Sinners 10" (STAGO 039LP) 16.50
As a harmonica player, the Kentucky-based Colonel J.D. Wilkes has recorded his raw, country-blues style for everyone from Merle Haggard to Mike Patton, Hank Williams III to his own band the Legendary Shack Shakers. Mixing acoustic rockabilly, blues, jazz, and country into a thrilling Frankenstein hybrid, Wilkes and the Dirt Daubers (named after the southern slang term for a stingless wasp that builds mud-clumps in the corners of old barns) are proud to debut their new album Wake Up Sinners, a collection of raw originals and covers, recorded together in real time: in a big, live, open room, the real man way. This is ornery, full-throated American music sung from the gut and shot from the hip. The Dirt Daubers are: Col. J.D. Wilkes (vocals, banjo, french harp, piano, accordion, kazoo, thunder sheet), Jessica Wilkes (vocals, tenor guitar, mandolin, tenor banjo), Mark Robertson (background vocals, upright bass) with special guest Steve Latanation (drums and percussion).


SR 300CD

VA: An Anthology of Noise & Electronic Music Volume 7 3CD (SR 300CD) 20.00
Sub Rosa presents the seventh and final volume in their An Anthology of Noise & Electronic Music series. These seven volumes represent a strong listening base, as incomplete as it may be -- the basis for a near-infinite exploration through one's self, in the present tense. All in all, there are 176 tracks, created between 1921 and 2012, for a total of almost 18 hours of music. The sphere of geographical propagation was kind of programmed at the start (between 1952 and 1970 there have been over 100 national studios, mostly tied to radio, on all five continents), but it accelerated exponentially with the appearance of the first home studios, and later with the advent of the laptop computer. Following the spread with each surge of emerging creators, 42 nations are represented. In Europe: United Kingdom, Ireland, France, Belgium, The Netherlands, Germany, Austria, Switzerland, Greece, Italy, Spain, Sweden, Norway, Finland, Denmark, Poland, Hungary, Czech Republic, Slovakia, Slovenia, Bulgaria, Lithuania, Russia. In the Americas: United States, Canada, Mexico, Argentina, Peru, Chili, Brazil. In the Middle East: Israel, Iran, Turkey. In the Far East Asia: Japan, China, Hong Kong, South Korea, Thailand, Indonesia. In Africa: Egypt. In Oceania: Australia, New Zealand. This triple CD of concrete, destructured and electronic music contains rare or unpublished works by Henry Jacobs, Tziga Vertov, Bebe & Louis, Luciano Berio, Bülent Arel, Don Preston, Slawek Kwi + Siobhan McDonald, Benjamin Thigpen, Helmut Schäfer, Novi_sad, Saule, Bebe & Louis Barron, E-L Scott de Martinville, John Oswald, Sin:Net, Israel Quellet, Alan Courtis, Fausto Romitelli, Justin K. Broadrick, Storm Bugs, E.A.R., Henry Cow, Osso Exotico, Eugeniusz Rudnik, Eduardo Polonio, Cabaret Voltaire, Mika Vainio, Alma Laprida + Juan Jose Calarco, Klangkrieg, Gintas Kraptavicius, Warong Rachapreecha, The New Blockaders, The Haters, The Rita, To Die, Agro, Jamka, Erin Sexton, Gustavo Serpa , and Anonymous Noise. It also includes a 84-page booklet of critical and biographical notes.


SF 033LP

VA: Molam: Thai Country Groove from Isan Vol. 2 2LP (SF 033LP) 25.50
Molam is a multi-faceted folk country music native to Laos and the collection of rural Northeastern Thai provinces called Isan. Molam is an umbrella term used for numerous Lam styles. It literally translates into "expert singer" or "expert song." Featured here on volume two of this series are Lam Phun, Lam Thuy, Lam Plern, Lam Dern, and Lam Sing styles of Molam recordings from the 1970s and 1980s. All of these forms are built from a tradition that is centuries-old. A few examples of Molam/Luk Thung (Thailand's national country music) hybrids are also featured here. In the late 1960s, at the onset of Molam's modern genesis, electric guitars and organs were introduced alongside the extant folk sounds of the khaen (bamboo mouth-organ) and Phin (Thai lute). Hybrid styles were formed with an electrified sound that jived with tradition while creating something entirely new. Much of the music relies on stock formulas, designed primarily to showcase the stylings of various singers from the region. But, as this brilliant collection demonstrates, the rules tend to bend a bit as more adventurous groups experiment with the genre and the production. Sound effects, flamboyant vamping, odd vocal styles, and trick intros and finales based on popular rock themes show up now and then, among other playful and dynamic shifts, making for some exceptional listening. So join us now in our perpetual and confounding love affair with Thai Isan Molam. Enjoy this rarely-heard music, culled from vintage cassette and vinyl recordings, rescued from the silent places in which they've rested for the past decades. Compiled by Mark Gergis and Alan Bishop. Beautiful 2LP limited edition vinyl release in a full-color heavy-duty gatefold jacket of the long out-of-print CD from 2007.



VOORN, ORLANDO: Divine Intervention 2LP (SUBWAXEXC 001LP) 20.00
2LP version. Subwax Excursions proudly presents a brand-new album from Orlando Voorn. Orlando is a highly-respected living legend, and one of the true pioneers of European electronic music. He started off in the early '90s releasing on classic labels such as KMS, R&S, Fragile, Buzz, International Gigolo Recordings, ESP, Spiritual, and Nightvision under multiple aliases such as Fix, Baruka, Format, The Nightripper, etc. Special artwork by Abdul Haqq from Third Earth Visual Arts.



CHASING KURT: From the Inside CD (SUOL 006CD) 15.50
Chasing Kurt are Pascal Blanché, Wojtek Kutschke, and Lukas Poloczek: two long-time deep house lovers, plus one rogue funk 'n' soul man. It can all be traced back to a fateful night in Giessen, Germany -- where the boys call home. Like most modern day coincidental trysts, it took place in a bar: DJ spun long into the night, while barkeep kept the drinks flowing. As both wound up their respective shifts, barkeep let slip a vocal tune or two. DJ couldn't help but notice. He invited barkeep back to a jam session; at a third's humble home studio. Barkeep was delighted. Though house wasn't really his thing, he had been jamming and gigging for years, and accepted immediately. "Daydream" was the result: a lush, gentle, sultry little ballad -- so good a brand new label was conceived for its release. Finally, Wojtek and Pascal had found their missing link in Lukas' lyrical touch -- a poignant third dimension and invaluable human stamp that would continue to color the nascent Chasing Kurt project on follow-ups "Money" (featured on Maya Jane Cole's widely-touted DJ-Kicks mix) and "Into the City," as well as a second outing on Carry On entitled "In the Air" and "One Day." In a short space of time, the trio has made long, arching strides in the climb up to a dance path of their very own, leaving warm, billowy, velveteen trails behind them saturated with Lukas' soulful pop tones that has helped set Chasing Kurt apart from blancher contemporaries. From the Inside is their debut full-length, and first release for Berlin's Suol Music institution. Expect languid beats and hazy dancefloor-ready rhythms, matched beautifully all the while to seductive tales of love lost and battles fought and won.


TR 260CD

HERO & LEANDER: Tumble CD (TR 260CD) 17.00
Pop music should be honest, should have melodies that linger, and lyrics that don't read like bad poems. Hero & Leander try to follow these rules, and it seems to be working. The band has attracted comparisons to Belle And Sebastian, Squeeze, Camera Obscura, The xx and Arcade Fire. Their lyrics range in topic from philosophy to snogging, particle accelerators to police tactics, beauty, to life being a pain in the rump. It started online, in 2010. All of them from Essex, four of Hero & Leander's six members had written songs together for a while, and wanted a pianist, because pianos are lush. So they posted an advert. Along came Andrew, from Reading. The band's indie-pop became more "musical" and better crafted. Then, they wanted a female singer, because female singers are lush. So they posted an advert. Along came Emily, from Liverpool. Initially, she thought the band might be internet killers, and she would only meet them in public places. Over two years they played gigs and had fun, self-released an EP and got their hands round the baton of great British pop music. The band has countless influences, but it's worth mentioning that they borrowed a Beatles song-title for their debut record, Tumble. So they must like the Beatles a lot. "Here Comes the Sun," along with the rest of the album, was largely recorded in band members' bedrooms, in London and Essex. Tumble's songs were designed to sound good no matter who performs them. It's about the personality of the song, not the personality of the band. Substance over style.



VA: Tectonic Plates Volume 4 CD (TEC 016CD) 16.50
Since starting low frequency operations in 2005, Bristol's Tectonic Recordings has been a landmark for dubstep, bass and progressive electronic music fans. Compiling exclusive tracks, the Tectonic Plates series showcases a selection of electronic music's leading and breaking artists. Familiar names to the series on this edition include daddy of Bristolian crew H.E.N.C.H. Jakes kicking off with "Rounds," Kryptic Minds, Guido and Armour. The U.S. represents with multi-talented Pursuit Grooves, Atlanta's Distal -- both who have released LPs with Tectonic -- and a new hook-up with Sinistarr and Texel teaming for "Decebell." D 'n' B producer Steve Digital brings added dub vibes on the incredibly-titled "Larry Shite" while Mumdance & Logos and Beneath explore post-grime influenced sonics at new tempos. Finally, there is room still for a debut track from Mancunian-based producer Acre, taking an uncompromising techno-garage crossover stance.


DECIBEL: Falchion EP 12" (TEC 072EP) 11.00
Jay Fontaine aka DECiBEL comes correct with a powerhouse duo of techno-infused 140 bpm cuts. "Whirl" takes a giddying tone from the offset as its fast, percussive drum machine builds pace to militant and forceful effect like a turbo-charged, mid-'90s Richie Hawtin cut, re-imagined by fresh ears. "Poke" retains the techno-retro themes of "Whirl," layering up the percussive parts to dramatic effect as acid lines flit and flirt around them. Both sides are wonky, woozy techno cuts bursting with strange energy.



KR!Z: Token Introspective CD (TOKEN 001CD) 17.00
First label compilation from Belgian techno imprint Token, mixed by founder and A&R Kr!z. This mix brings together label highlights such as Inigo Kennedy's devastating "Obsidian," Phase's massive "Binary Opposition" and Mark Broom's "Two" alongside remixes by techno figureheads Surgeon, James Ruskin, Ben Klock and Oscar Mulero while also nurturing new global techno talent such as Xhin, Ctrls, Makaton, and Go Hiyama. Narrowing down the track selection from over 100 productions meant that some tough decisions had to be made -- a few of Kr!z's favorites wouldn't fit the flow or just wouldn't fit the format but ultimately what you have is an unfolding story of a label presenting a sound that stands clear of music fashion with an uncompromising statement of intent. Other artists include: Dimitri Andreas, Rødhåd, and Grovskopa.


TSQ 2912CD

VA: Let Me Play This For You: Rare Cajun Recordings CD (TSQ 2912CD) 15.00
"This latest installment in the Long Gone Sound series features some of the rarest, most compelling tunes and heart-breaking songs from Southwest Louisiana. Most of the performances on this collection have not been heard since they were originally recorded on 78 rpm disc and yet they serve as a discrete Rosetta Stone for the traditional Cajun and Creole repertoire that exists today. Not to be understated, this collection features some of the most vexingly rare and valuable Cajun 78s ever recorded. Cajun discs such as those found in this release are valued not only for their magnificent artistry but also because of their desperate scarcity. In the isolated back-water bayous and prairies of South-West Louisiana a profoundly unique and powerful form of indigenous music developed among the French speaking white Cajuns and black Creoles. Drawing from a rich range of cultural sounds, this music was first recorded in the 1920s and 1930s and featured such luminaries as Amede Ardoin, Dennis McGee and Joe & Cleoma Falcon. This special collection includes all of Percy Babineaux & Bixy Guidry's 1929 recordings and most of Angelas Le Jeune's 1929-1930 recordings with Denus McGee & Ernest Fruge. Found within is also the newly discovered 78 of Blind Uncle Gaspard & Delma Lachney. Respectfully crafted by Christopher King, Susan Archie, and Ron Brown for Tompkins Square."



ATKINS AND MORITZ VON OSWALD, JUAN: Borderland 2/3 12" (TRESOR 262B-EP) 14.00
Second of three limited 12" records, 500 only, 180 gram vinyl, heavy sleeve. "Footprints" was the second work to be produced in the Borderland studio sessions. A robust groove reminiscent of earlier collaboration between Juan Atkins and Moritz Von Oswald. On the B-side, "Mars Garden" returns to the "Electric Garden" theme with a high dose of ultra-deep, gritty funk. Together with a live show being debuted in May 2013 at the MUTEK festival, the record gives common voice to two independent yet mutually-supporting musical journeys.



ORFF/GUNILD KEETMAN, CARL: Music for Children (Schulwerk) CD (JBH 048CD) 15.50
This is quite simply some of the most beautiful children's music ever made, with simple melodies and forgotten rhymes building gradually into more complex roundels and speech exercises. Performed by children in the late 1950s, this wonderful recording is educational, darkly nostalgic, and enchanting. History: This is the first time these important recordings have been in print since 1957. Their origins go back to the 1920s and the Günterschule in Munich, a progressive educational academy that specialized in music and exercise. Carl Orff was a teacher there, and worked on a new method of introducing children to music. Over the next few decades the "Orff Method" was developed and enhanced with the help of one of his former students Gunild Keetman. By the late 1950s the term "schulwerk" (literally "schooling" or "school work") had been adopted and with the inclusion of nursery rhymes and street cries it had spread across Europe as a popular education technique. A two LP recording was issued in Germany in 1957 to demonstrate some of the musical results -- this was followed by a pair of LPs issued in the UK, that were to include the music as well as early English nursery rhymes, songs and sayings. It is these recordings that are being issued here, along with the original and rare sleevenotes. The music is performed on what has since become known as "the Orff instruments": glockenspiels, xylophones, metallophones, drinking glasses, violoncello, bells, cymbals, drums, and the triangle. Rhythmic exercises are executed by hand-clapping, knee-slapping, feet-stamping, as well as using drums, whips, sand-rattles, and other percussion instruments. The spoken word is used for its meaning, its tone-color and rhythmic significance. Nursery rhymes familiar to most of us form a strong base to the album, but there are some here that you may have never come across before. Many of these date back to the 18th century, and Trunk also includes here the oldest song of all -- "Sumer Is Icumen In." Not only is the music absolutely captivating for adults and children alike, the CD comes with extensive 16-page sleeve notes explaining the origins of the songs and sayings. These are magical, rarely heard (and occasionally scary) recordings from the 1950s that highlight just how beautiful the simplest of all music can be. But the release also shows how incredible children's musical education once was. Performers: Chorus of the Children's Opera Group, Speech Ensemble from the Italia Conti School, and The Instrumental Ensemble.



WAGNER, TY: Misery Train/Soul Exercise 7" (UTS 074EP) 10.00
"Ty Wagner cut his first single, 'I'm a No-Count' in late 1965 at Gold Star Studios in Hollywood. The record was not a hit, but Ty's gloriously snarling vocal and the song's rebellious lyrics assured that decades later it would become a garage-punk anthem: 'Ain't had a haircut in four years / You can't even see my ears.' His 1966 single, 'Slander,' also found a new generation of fans via its appearance on Back from the Grave. Those two sought-after singles were Ty Wagner's only musical legacy -- until now. UT Records is proud to present two previously unreleased Ty Wagner tracks recorded in 1967. 'Misery Train' is a dark and moody thriller with a killer string-bending guitar riff -- imagine the Seeds jamming with Link Wray. The flipside, 'Soul Exercise,' is a sexy, hard-grooved dance number with a dynamic lead vocal and lots of atmospheric percussion -- destined to full the floor at hip happenings from this point forth. Limited to just 800 copies, Misery Train/Soul Exercise comes in cool picture sleeve with rare pics and liner notes by Ugly Things' Mike Stax."


VM 014LP

CIRCUS 2000: Circus 2000 LP (VM 014LP) 37.00
"A band from the Turin area, Circus 2000 debuted in 1970 on RiFi label with an eponymous LP that, although it did not represent a new level of sound, it fell like a bolt from the blue on an Italian scene still anchored to the beat schemes of the '60s. Circus 2000 was not a real progressive album, since it derived from the psychedelic and west-coast scenes from the USA, but it's still considered one of the LPs that opened to the florid Italian 'pop season,' which would explode just a couple of years later. The album cover artwork, the English lyrics, the psychedelic sound supporting the beautiful voice of singer Silvana Aliotta, all these ingredients made Circus 2000 an unique phenomenon in the musical Italian panorama, and many believed that the band was actually American. The album is one of the rarest items in its original version, and it's here reprinted in a perfect 180 gram black vinyl replica."

VM 016LP

ODISSEA: Odissea LP (VM 016LP) 37.00
"Born as Pow-Pow and coming from the town of Biella (Piedmont, Italy), the band then changed their name in Odissea in 1972. The same year, even before releasing an official album, they luckily opened for Genesis, Banco del Mutuo Soccorso, and Rocky's Filj. Their eponymous debut was then released in 1973 on the RiFi record label, enclosed in a great gatefold cover and an inside LP envelope with lyrics. Musically it's very melodic progressive rock, with a strong acoustic component, over which rises the charismatic singer Roberto Zola's voice, reminiscing of the particular timbre of Jumbo's Alvaro Fella. Odissea split up in 1974 when the same Zola left the band to pursue, without success, a solo career. As it usually happens, Odissea remains the only LP from the band, a little Italian prog gem. 180 gram black vinyl edition, a replica of the original 1973 release." Gatefold with printed innersleeve.



MOUNT KIMBIE: Cold Spring Fault Less Youth 2LP (WARP 237LP) 23.50
Double LP version. Comes in a gatefold sleeve and includes a download code for the album. "Since 2009, Dominic Maker and his partner in Mount Kimbie, Kai Campos, have played a central role in forging a new form for electronic music. Their influence stretches far beyond the corner of the dance music underground that birthed them. They have repeatedly confounded expectations, transforming themselves from bedroom-studio producers to creators of one of the most fully realized electronic album-length statements of recent years and refining their live show to incorporate live drums, bass, guitar and vocals. With their second album Cold Spring Fault Less Youth finally completed, the perception of Mount Kimbie looks set to expand again."


WG 011EP

HAGELSTEIN, RUEDE: Mr. Parrotfish EP 12" (WG 011EP) 12.50
The parrotfish is a colorful thalassian, who is as much skilled at submerging in mystical depths as Ruede Hagelstein's light-footed producer-style. The grooves on the first side feature collaborations between Hagelstein and Emerson Todd, with a remix Ian Pooley. On "Addicted,"paranoid synth-lines wind through technoid beat-patterns until they lose themselves in an orgy of white noise, vocal shreds and sirens. "Solitude" was offered for free download by Mixmag and reached 23,000 clicks within a month -- the club-version delivers a perfect ending.



VA: Folkets Hus EP 12" (WMWL 001EP) 14.00
Some 100 years ago, Sweden was a miserable, dark and damp habitat. This record is a story about the Sweden you might not know, in which you need a special permit to dance. On Folkets Hus (Swedish for "People's House") are gathered four of Sweden's most forward-thinking and talented artists. They represent varied styles and motions, all united in the shared sound of the woods and the lakes in Sweden. Artists include: Andycap, KAB, Özgür Can, and Jesper Aubin.



GLASS, JAMES: Under the Influence Volume Three: A Collection of Rare Soul and Disco 2CD (ZEDD 029CD) 17.00
Following on from the likes of Backstreet Brit Funk, Destination Boogie and the ever-popular Soul of Disco series, Z Records continues to release high-quality compilations filled with lesser-known disco, funk and boogie. After the universally well-received Under the Influence Vol. 1 compiled by Red Greg (ZEDD 024CD) and Vol. 2 compiled by Paul Phillips (ZEDD 027CD/LP), ZR returns with Vol.3, this time compiled by James Glass. James Glass grew up in London and was exposed to Top of the Pops and John Peel's venerable radio shows, both of which turned him onto the fresh sounds of punk and new wave. His affinity for soul, jazz funk and disco, however, came from listening to the rapidly-growing pirate radio stations such as LWR and Horizon. These influences were heightened further when he decided to move to New York in the late '80s, an area long associated with limitless possibilities for anyone with a passion for underground dance music. For the last 20 years, though, he's called the San Francisco Bay Area home where the rock/dance hybrid has once again captivated his ears. During his time in San Francisco, James Glass has been instrumental in helping to define the uniquely eclectic sounds of the early '90s club scene. He provided a more soulful, grounded alternative to thump-thump rave beats and inadvertently exposed dancers to the origins of '90s club music. His intricately-assembled DJ sets are mixed with rare '70s soul, disco and early house -- the gritty, raw sounds that inspire his production style and obsessive dedication to genuine music that has no expiration date. In addition to playing West Coast gigs, he also runs two record labels, Golden Goose and Grimy. Glass and partner DJ Garth of the legendary Wicked parties have been releasing their own left-field and cosmic rock edits on Golden Goose since 2005 under the name King & Hound. The Grimy label, which he runs with partner Zernell Gillie, a highly revered Chicago DJ, focuses on underground disco edits. As always with Z Records, the masters sound as good as possible, so if you're a fan of compilations from BBE or Dimitri From Paris and Z Records' Soul of Disco CDs, then this will not disappoint.


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