EL-P, "FANTASTIC DAMAGE"
"Fantastic Damage" is a perfect description for this album of densely layered beats that serve as a soundtrack for El-P's tour through a dystopian urbanscape. Almost every beat on the album is so rich and evocative it seems a shame that El-P has to bark over almost every one of them. Some of his lyrical concepts work well, as on the track "Stepfather Factory" where he effectively constructs and deconstructs a company that churns out indistinguishable, abusive father figures. This is one of the few tracks where he takes his vocals down to a conversational level and it works really well. On too much of the album though, his vocals come off as monotonous yelling which undermines the power of his intelligent lyrics. El-P has an uncommon problem for an MCso much he needs to say that he is unable to fit all of his lyrics into his allotted lines of verse. This problem of too many words to go around is particularly noticeable on the verses of "Truancy". When he slows the rhymes down during the chorus, each lyric becomes more potent and fits well into the rhythm. He also uses an interesting approach at the beginning of "Dead Disnee" where he adjusts his cadence and rhyme scheme to mimic that of the early De La Soul single "Plug Tunin'". While paying respect to an earlier, more creative era of hip-hop, he also demonstrates how a varied rhyme style can compliment a song. Unfortunately, the rest of the song falls into his same abrasively monotonous pattern. Most of the album's lyrical content falls into the "conscious lyrics" categorywhich makes some of the slips into standard hip-hop homophobia all the more frustrating.
But all M.C. criticism aside, the beats are consistently varied and no loop is repeated long enough to wear out its welcome. El-P shows his strongest talent lies in production by introducing many experimental sounds and effects rarely added to the hip-hop mix. He uses lots of distorted synths and electric guitar samples and mixes them over programmed, organic sounding drums to head-nodding affect. My favorite moments in the album all occur when he turns off the vocals for a stretch and lets his instrumentals shine. DJ Abilities compliments the layered beats successfully by adding texture without showing off his speed. His best contribution is in the middle of "Delorian" where he uses his scratches as one of the instruments in the band rather than as a solo spotlight.
I will certainly be looking out for a future version of "Fantastic Damage" instrumentals because the beats are innovative and I would like to hear how each one sounds on its own. If you can get through 70 minutes worth of severe vocals, the album does go out on one of its strongest notes with the grandly cinematic final track, "Blood". And be sure to listen for that tight instrumental at the end that kicks into high gear after the vocals have faded away. - Abe Forman-Greenwald
Coil, "The Remote Viewer"
Published as a limited CD-R to be sold at their recent European appearances, Coil's latest EP is a beautiful and stunning piece of work. It consists of a nearly 20 minute instrumental piece in two versionsa "prepared" improvisation with their current tour lineup: Michael York on breton pipes, Cliff Stapleton on hurdy gurdy and a subtile, percussive groove underlayed by various electronic devices of Mr's. Balance, Christopherson and Norris. The main feeling this recording conjurs up for me is one of an unexperienced nostalgialike an unsure longing for life during an ancient time.
Danny Hyde returns to Coil's mixing desk to collaborate on "Remote Viewing 3" and the interlude, "Remote Viewing 2," which seems to be constructed mainly out of parts of the original recording session with added and altered sounds and vocal snippets. "2" works perfectly as a bridge between the two lengthy parts when listened in one go, but doesn't stand out as a strong piece when singled out. Coil have easily managed to surpass any expectations and leave me anticipating the next 'proper' release. It would be a loss, however, if the music on this release wasn't reissued in another form for more to hear.
- carsten s.
CHRIS BROKAW, "RED CITIES"
Chris Brokaw should be familiar as guitarist from Come and Pullman and drummer for the New Year, Codeine and Consonant, not to mention all the other groups and collectives he's been playing out with recently - check out www.chrisbrokaw.com for the lowdown. And if his name isn't familiar then you have got some serious record buying to do! 'Red Cities' is his first solo album following a split single with Spanish band Viva Las Vegas. Chris played everything (guitar and percussion) on these atmospheric instrumentals. There's a western-noir feel to most of it and the most effective tracks build in emotional intensity just like Come, every note heavy with mysterious longing and deep enough to flip your stomach over. After a short intro, the longest track "The Fields (Part II)" takes a trip deep into the city night where events are unfolding outside the upstairs window, each note delivering ever more irreversible immanence. Chris really knows how to pack a sledge full of raw emotion into every note, and this is a stunningly dense dark cinematic ride. Only lighter track is the more playful "Topsfield State Fair," which perhaps skirts closer to Pullman campfire folkiness than the deeper Come shadows the rest of the album so satisfyingly evokes. I'm not sure if the title of the album was in any way inspired by the W.S. Burroughs classic 'Cities of the Red Night' but if anyone was ever ambitious enough to try to make a film of that book, this would make a perfect soundtrack. - Graeme Rowland
TIM BOWNESS / PETER CHILVERS, "CALIFORNIA, NORFOLK"
Deviating from their usual medium of on-demand CD-Rs, the Burning Shed online label debuts their first Red Book disc in a good old fashioned jewel case. Peter Chilvers (Alias Grace) and Tim Bowness (No-Man, Centrozoon) also collaborate in Samuel Smiles and Henry Fool. 'California, Norfolk' is a sort of extension of the former's 'World Of Bright Futures' album, the title track in particular. Bowness' ruminations on lost love and fading memories are fairly simple, but his rich tone and breathy delivery brings the inherent sadness and muted joys within them to life. The vocals are very forward in the mix but deftly framed by minor beats, sampled auras and tender piano, keyboard, guitar and bass melodies and textures. It's beautifully stark - part balladry, part ambient, part soundscape - think of Nick Drake's 'Pink Moon' spirit as processed by Brian Eno. It's strange how quickly this album floats by despite its 45 minute running time. And although good beginning to end and back again, "Hostage" and "Winter With You" are my personal favorites. For the former, sweeping orchestral synth and background giggling help tell the short story of "the girl you never forgot, was never happy with her lot ... walked around a hostage to her fright". And in the latter, the crunch of trodden snow drifts in and out of its 10 plus minutes. Chilvers subtlety steals the limelight by breaking up an instrumental passage with a delicate piano refrain. 'California, Norfolk' is another great addition to the ever growing Chilvers and Bowness related pile. - Mark Weddle
Lambchop, "Is a Woman"
Oh, how far the Lambchop has come. This Nashville-based band, once believed to be another alt-country creation, has created a fine summer album for you to listen to on those hot days when you just want to sit on your porch and sip some lemonade. Except that it really doesn't belong in that setting. The country is further away from their sound now than it's ever been. "Is a Woman" is actually a fine neo-lounge type album, where singer and main songwriter Kurt Wagner has embraced the piano as the main instrument. His voice hasn't changed, still like a higher pitched Leonard Cohen blended with Belle and Sebastian's Stuart Murdoch. This is lazy music, where you can listen without any real commitment or strain. Even the song titles evoke summer - "Caterpillar," "Bugs," "The Old Matchbook Trick," and "The New Cobweb Summer," for example - and the lyrics tell tales of old friends, dogs, and the mischief of youth. Lambchop is born anew in this sound, as there's more energy in this release, more groove, more feeling, and more beauty than they've ever produced. Pretty amazing considering that the majority of songs are over the five-minute mark and of a slower temp. Wagner's lyrics conjure fantastic images - "Once I had a friend/who had the knack of tossing/his mind around geography/boy you think you have problems?/The hunter is asleep/at least that's what I call him" on "The New Cobweb of Summer" - and the instumentation is playful with gently strummed guitar, faded organ, and flashes of horns here and there joining the piano. The only complaint is that it's not a "whole listen" record. I cannot, after listening to it once, listen to it straight through again. It causes the sound to be near montonous, as each song has a similar structure. Perhaps that's actually a backhanded compliment, however. It's a complete work, and if you allow it to, it will suck you in. Lambchop sound like this is finally fun for them, and the listener is encouraged to join the festivities. What are you waiting for? Let's go catch some lightning bugs... - Rob Devlin
YVES BEAUPRÉ, "HUMEUR DE FACTEUR"
Yves Beupré beavers away in his workshop building a hundred harpsichords. As he hammers and strings and flexes the things he records the sounds of the instruments' birth pangs. Lucky for our ears, he stitches the recordings into acousmatic soundscapes that are mysterious, evocative and plain beautiful. Any clot who thinks electroacoustic music has become irredeemably entrenched in the same old gestures and routines should open their ears to this stunning debut from a composer possessed of genius who is going to have a (sur)real challenge surpassing such a masterpiece. This is a richly transporting transparent journey into the guts of the creation process. Images pour from the darkened room into the minds eye of wood and varnish and nails and strings swirling about in a void and accreting magically into a heavenly harpsichord which looms ever larger as I shrink to dust mote size. Boxed inside the vintage contraption, rhythmic structures unfold and coalesce and drone visions of eighteenth century time locks emerge. Historic and modern worlds collide in the computer as small planks become dense forests. And all this without the aid of hallucinogens! - Graeme Rowland
Nina Nastasia, "The Blackened Air"
Touch and Go
And I still have chills up and down my spine over this one. Nina Nastasia makes music that compromises nothing. It is aggressive in its pursuit of your soul, it is passionate in its creation, it is unforgiving and somewhat brutal. But it is rather lovely. This is music that combines the hoedowns of the early part of the 20th century with elements of a modern rock orchestra, a little Dylan influence, and all piped through the voice of a true chanteuse. Nastasia's voice is clear, distinct, gorgeous. With a basis of acoustic guitar and her voice, there's nowhere to go but up. And it certainly does, with little holding it back. Steel guitar haunts the tracks in places, gentle and competent drumming providing a solid backbone. The strings soar, with cello and viola vying for attention, but never outdoing one another. There's even accordion, which adds atmosphere as well as an authenticity that cannot be denied. Things move along at a nice pace, with occasional jarring moments that could easily give you a heart attack - the moment on the first track, 'Run, All You...', where the full band comes in almost killed me. And ultimately, everything seems to be destined to remain in your dreams and nightmares for years to come. Luckily, Nastasia's lyrics are those of a poet, so these songs also have a lot to say without sounding highfalutin or cheap. They create the backdrop of a barren wasteland, a dirt town where none are forgiven for their transgressions, and suffering is king. "Someone told me that I should visit you in the graveyard/pull out all the weeds; but I'm still lonely and I'm not ready/You scared me when you hid behind the trees" says it all, and that's just one example. Most songs last around two minutes, and normally I'd feel cheated. Sometimes here, I still do, wanting the songs to continue. But who knows what might happen then? It might get old, lose it's lustre. It might change direction, morph into something else. But it's best just as Nina Nastasia left it. Trust her: she knows what she's doing. - Rob Devlin
Stephan Mathieu and Ekkehard Ehlers, "Heroin"
According to the liner notes, Brombron is "a joint project by extrapool and staalplaat and receives financial support from mondriaan stichting." Quite what all that means, I don't know, but apparently the boys got some studio time to work on this record specifically. And it was money well spent for their patrons because this is an excellent exposition of the more musical end of microsound-style laptop composition, a subgenre put decisively on the map by Christian Fennesz's low-bitrate eye-opener 'Endless Summer.'
As on Mathieu's equally pleasing 'frequencyLib' album, much of the album is about processing samples from hinted-at sources and giving them a new identity, but there's also nice use of a field recording and outright, er, covers, you might say. Unlike many records in the microsound genre, no harsh noise pieces are found here. Instead there are thirteen subtle tracks, starting with the straight fireworks-field-recording-and-organ of "New Years Eve". (Clearly Jim O'Rourke didn't exhaust the potential of recorded fireworks on Gastr Del Sol's 'Camofleur'.)
Other highlights are the processed warble of "Turkey Song"a revivalist take on Peanuts which clearly influenced the soundtrack picks in 'The Royal Tenenbaums', and which, along with "Vinnie's Theme", punctuates the album with a sense of humour. A further bonus is the special card packaging, unique to the Brombron series, which holds the CD in place without a spot of plastic, glue, or even one of those annoying Mort Aux Vaches fold-out clips. The record's been out the best part of a year, and is apparently limited, so seek out a copy while you can. - Andrew Shires
The Fantomas + Melvins Big Band, "millenium monsterwork 2000"
It sounds like a joke for indie music hipsters: what do you get when you mix The Melvins, Fantomas and a crowd for a live show? This live recording from December 31st, 2000 is the best answer, and it's not bad. Despite the fact that all seven musicians from the two bands are credited, the songs don't often demand that all of them bang away at once, but when the all of them come down and pound the music out, they do a really good job of staying out of each other's way and keeping the recording relatively unmuddled. For the most part, Patton does the vocals, although Melvins' Dale Crover and King Buzzo are also credited with vocals. A lot of the music sounds -- not surprisingly -- like a melding between the recent Melvins' buzzing sludginess and the more ethereal moments of Fantomas' vignettes. If you've heard the recent offerings from Melvins or fantomas, there's no big surprises here, just more quality noise. Some pieces are clearly derived from one or the other groups (Fantomas' cover of the themes from the films "The Omen" and "Cape Fear" or "Ol' Black Stooges" an assaulting drum jam which appears in a much more abbreviated form on the Melvins' new album Hostile Ambient Takeover" as that album's opener.) A few pieces and moments throughout can be isolated to one musician -- like Patton's signature squeals and screams from Fantomas' albums, or Dunn's bass pluckings in "Terpulative Guns & Drugs", but in general, the music and musicians complement each other well enough that it stops being about one or the other and becomes an entity in it's own right. Some of the more ambient noise pieces remind me nothing so much as the early noise of Nurse With Wound, and "Skin Horse" features a hysterical Ween-esque vocal line that's a real treat, but not representative of the rest of the album. So if you're a fan of NWW's older noise pieces or a fan of either Fantomas or the Melvins' recent output, you shouldn't be disappointed with this 40 minute set (even if it isn't the full show,) from the Melvins and Fantomas. - David Piniella
The Melvins, "Hostile Ambient Takeover"
After the brief 30-second drum intro of "black stooges", the Melvins' new album starts off with a barrage of guitar riffing and drum accents on the untitled second track. The title of this record is a bit misleading especially if you're a stoned raver, since it's not what people usually mean when they say "ambient" nowawadays: don't expect any soothing synth pads or mellow chill-out beats, the key word in the title is "Hostile" not "Ambient". The majority of the tracks seem to have more of a precision riffing than the grinding assaults that the Melvins have been known for in the past, like the almost rockabilly "Dr. Geek". At moments the guitar and bass staccatto unison riffs recall nothing so much as a really slowed down, more menacing and brutish Black Sabbath ("foaming") and other times the wailing screech of guitars slowly segueing into a slow repeated riff gives the vocals an added menace before a brief jaunt into some perverted disco ("the fool, the meddling idiot" which ends with a reprise of the opening "black stooges"). The grand finale is the fantastic 15-minute album closer, "the anti-vermin seed" which has some electronic noises (courtesy of Tool's Adam Jones, who also collaborated on the Melvins' previous effort, Collusus of Destiny,) blended along side the precise, plodding riffing and often sparse sonic landscape laid down by drummer Dale Crover and bassist Kevin Rutmanis, which justifies the 'ambient' part of the title. The result is a suitably dark ending to a dark album. The bright contrasting colors of the album art and cover aside, this is a beautifully dark album. If dark slow pounding sounds good to you, so will this album. - David Piniella
A SMALL GOOD THING, "SLIM WESTERNS VOL II"
A Small Good Thing have unveiled the follow up to an 'imaginary soundtrack' for a movie we're supposed to run in our heads for the adventurous benefit of fictional outlaw Gerry Melody. Not having heard the first part, originally released in 1994, I can't compare, but if you rush out and buy the limited edition it's included as a double CD or triple album. 'Slim Westerns' are very much in a spaghetti style and although there's a relaxing dust swept ambience and some good ol' cowboy guitar twang that Calexico might be at home with, a certain Britishness peaks through and mars the illusion. Dogs barking on the last track just sound like English dogs (not the old 'punk' band) and the repeated vocal refrain, "Hey Mister, is this train headin' south?" sounds so put on and false it muddies up the widescreen desert feel the music effectively evokes. These are perhaps minor quibbles with an otherwise enjoyable but inessential recording that mixes up slow dusty guitar twang with creeping dusk ambience. May this trio of former O Yuki Conjugaters sleep well undisturbed by English dogs (punk or canine). - Graeme Rowland
Ribbon Effect, "ep98"
Chicago's Ribbon Effect released their debut album, "Slip", last year, and now this EP of the band's first recordings is one of two debut releases from False Walls Recordings. The group is a three-piece whose music is based largely on group improvisation and a mix of the electronic and the organic. Keyboards and synthesizers mix with the drums and accordion to make a truly interesting sound. It sounds oddly like the soundtrack to robots in factories, welding cars together. In fact, if those robots liked music, I bet they'd like Ribbon Effect. The songs have a very simple structure, and move right along with a few fills and breaks. Over time, it's easy for the listener to lose interest, though not entirely. It's just that the use of the instruments is so consistent, so unmoving, that tracks seem to go on far longer than they should. That and the fact that the music is instrumental in nature adds up to a good first listen, but novelty doesn't make you return to the well for more. The first two tracks suffer from this affliction, but the third and fourth tracks, "Cast Away" and "Sweet William's Catchfly", are just plain good. Beeps that echo, harmonics and programmed beats mix and meld, moving towards a climax at the end of the former that eventually you are begging for. Finally, real drums come in, and the track melds into the latter, building with accordion to the big finish. It was enough to make me want to hear more from Ribbon Effect and this label, so as an initial release it serves its purpose. I, however, hope that Ribbon Effect have learned some lessons from this first release and have more substance on their full-length. - Rob Devlin
PETER MURPHY, "DUST"
With the aid of co-producer Mercan Dede and a small cadre of Eastern and Western musicians, Peter Murphy has immersed himself within a new sound. 'Dust' picks up where 2000's stripped down "Just For Love" tour left off by retaining classically trained violinist Hugh Marsh. Then the sound is fleshed out with the ancient ones of and near Murphy's adopted homeland of Turkey - percussion, kanun, ud, cumbus, etc. - plus additional programming and keyboard and guitar atmospheres. The majority of the nine songs are sprawled out between seven and nine minutes, thus flowing like molasses and/or indulging in instrumental passages. To these Western ears there is a perfectly tasteful balance between East and West, old and new, electronic and acoustic, in a genuinely spiritual way. The environment lends itself to the voice and vice versa (certainly far better than the KMFDM backed 'Recall' EP) and the voice and lyrics are as strong as ever. This is the album that should have been entitled 'Deep'. If you're looking for upbeat pop like past gems "Cuts You Up" and "The Scarlet Thing In You" you won't find anything remotely like that here. You also won't find any obvious singles as the album is undoubtedly meant for listening to in its entirety. Murphy's message is poetic but clear, reminding us to "love anything", that "there is no place like just for love" and "let love begin". The midsection of "Just For Love" and "Girlchild Aglow" is the apex. The next couple songs slightly dip in quality but are rescued by the striking vocal of "My Last Two Weeks" and then 1995's "Subway" is revisited, extended and successfully 'Dust'-ed off. This is a really lovely album. By my third listen it all made perfect sense. Murphy is currently on tour in North America through June. - Mark Weddle
We know that sometimes these CDs are somewhat challenging to find, which is why we have a community section which can be used to obtain nearly everything available on this site.
WEEK OF MAY 26-JUNE 1
This is simply this week's highlights from the NEW RELEASES provided by Greg and Feedback Monitor.
Adam F featuring MOP - Stand Clear 12"/CDEP [12" available as limited picture disc and regular vinyl edition] (Kaos, UK)
Aquasky vs Masterblaster - Beat The System 2xCD (Botchit & Scarper, UK)
Alex Amoon - I'm The Virus! 12" (Bpitch Control, Germany)
Atjazz - Lab Results CD [remix album with mixes by Dzihan & Kamien, Chateau Flight, King Britt, Dixon and more] (Mantis, UK)
Band Of Holy Joy - Love Never Fails CD (Rough Trade, UK)
Bauri/Novel 23 - split 7" (Awkward Silence, UK)
John Beltran/Fantasista - Bota Foga/Offside Trap 12" (Ubiquity, US)
Black Faction - Manchestique Concrete 12" (Dalriada, UK)
Boom Bip - Mannequin Hand Trapdoor I Reminder 12" (Lex, UK)
* Boom Bip & DoseOne - Circle CD/2xLP (Leaf, UK)
Danny Breaks - Vibrations CD/2xLP (Droppin' Science, UK)
* Broadway Project - Compassion 2xCD [reissue with bonus disc] (Memphis Industries, UK)
Buckfunk 3000/Tipper - Sound Off Sampler 1 12" (Fuel, UK)
* Burning Rome - Chaos Theory in Practice CD [reissue with new packaging] (Circumvent/Mad Monkey, US)
Cinematic Orchestra - Everyday CD/LP (Ninja Tune, Canada/US)
Clubsessel - Clubsessel CD (K2O, Germany)
* Coldcut/Various - Journeys By DJ: 70 Minutes Of Madness CD [reissue of this classic DJ mix] (Journeys By DJ, US/UK)
Das Ich - Anti-Christ CD (Metropolis, US)
* Delarosa+Asora - Crush The Sight-seers 12"/CDEP [reissue with bonus track on CDEP] (Pearineel/Hefty, US)
Depeche Mode - One Night In Paris DVD/VHS [live concert film] (Mute, UK)
Digital - Dubzilla CD (Function, UK)
Dillinja & Lemon D - Big Bad Bass 2xCD/5xLP (Valve, UK)
* Golden Boy with Miss Kittin - Or CD/2xLP (Illustrious, UK)
Guided By Voices - Cheyenne 7" (Fading Captain, US)
Lowfish - Maintain the Tension 12"/CDEP (Suction, Canada)
Lucky Pierre - Angels On Your Body 7" (Melodic, UK)
Maps and Diagrams/Broca - split 7" (Cactus Island, UK)
Robert Miles - Connections 12" [mixes by Punk A Fro & 2nd Gen] (Salt, UK)
Mina - Expander LP+7" [remix album with mixes by Rechenzentrum, Schneider TM, Sitcom Warriors and more] (Bungalow, UK)
morceaux_de_machines - liberum arbitrium CD (No Type, Canada)
Mr. Scruff - Shrimp 12"/CDEP (Ninja Tune, UK)
Múm - Loksins erum vid engin CD [same music as Finally We Are No One with vocals in Icelandic] (Bad Taste, Iceland)
Phill Niblock - G2,44+/x2 CD/LP (Drag City/Moikai, US)
Orbital - Rest CDEP (London, UK)
Orbital - Play CDEP (London, UK)
Orbital - Rest & Play 12" (London, UK)
* Pluxus - European Union CD/LP (Rocket Girl, UK)
Primordial Nature - Magnetik 12" (Audio Beyond, Sweden)
Psychick Warriors of Gaia - The Key 2xLP (Terminal Antwerp, Belgium)
Relaxo Abstracto - Inflatable Scream 12" (Music for Speakers, Netherlands)
Anthony Rother - Die Macht 12" (Planet Vision, Germany)
Q-Burns Abstract Message - Re-Routed: The Invisible Airline Remixes CD [with mixes by Hakan Lidbo, Thunderball, King Britt and more] (Eighth Dimension, US)
Kevin Shea/Adam Sonderberg/Dan Warburton - Folktales No. 3 3xCD3" [ltd to 300 copies] (Crouton, US)
Sie - Lost Control 12" (Pussyfoot, UK)
Sierpinski - This Geography Of Ours CD (Jonathon Whiskey, UK)
Sonar Lodge - Interior Backgrounds 12" (Music for Speakers, Netherlands)
Steroid Maximus - Ectopia CD (Ipecac, US)
The Suntanama - The Suntanama CD/LP (Drag City, US)
Super_Collider - Raw Digits CD/2xLP (Rise Robots Rise, UK)
Swayzak - Make Up Your Mind 12" (K7, Germany)
David Sylvian - Camphor CD/2xCD [anthology of instrumental tracks and collaborations with many new mixes] (Virgin, UK)
John Tejada - Music For Doubles 12" [with Daniel Bell mix] (Palette, US)
Thug/Various - Thug Remixed CD [remix album with mixes by Boulderdash, Lackluster, Sense, Quark Kent, Telafonica, Southern Outpost, Kettle, Jeff Shoemaker, Groovescooter, Pimmon and more] (Aural Industries, Australia)
Timtim Snowflake 7" (Spielwiese/Bpitch Control, Germany)
Tricky - A Ruff Guide CD [best of collection] (Island, UK)
RJ Valeo/Acustic - split LP (Hobby Industries, Denmark)
Various - Machine Funk Specialists Part 1 12" (Rotter's Golf Club, UK)
Various - Machine Funk Specialists Part 2 12" (Rotter's Golf Club, UK)
Various - Machine Funk Specialists CD [with Radioactive Man, Klart, Rude Solo, Craig Walsh and more] (Rotter's Golf Club, UK)
Various - Misery Loves Company CD/2xLP [with Solvent & Skanfrom, Lowfish, Adult., Gold Chains, Magas and more] (Ersatz Audio, US)
Venetian Snares - Higgins Ultra Low Track Glue Funk Hits 1972-2006 CD/2xLP (Planet µ, UK)
V/Vm - Sometimes, Good Things Happen version 1.1 CD (V/Vm, UK)
V/Vm - Sometimes, Good Things Happen version 1.2 CD (V/Vm, UK)
Zion Train - Original Sounds Of The Zion CD (Universal Egg, UK)
* Zoffy - Zo Zo Zo Zo Zoffy!!! LP [reissue of precious CD release on pink, blue and black vinyl, limited to 200 copies of each colour] (Synesthetic Recordings, Norway)
For a more detailed schedule stretching into the future, please check out the site,
since release dates can and will often change.