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Forced Exposure New Releases for 3/31/2014

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New music is due from Jason Lescalleet, Marcus Schmickler and Julian Rohrhuber, Starwalker, The Tenses, and Khan, while old music is due from Geinoh Yamashirogumi, Charlemagne Palestine, Scanner, and Harry Smith.


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KHAN: The Enlightenment Machine CD (ALB 002CD) 15.50
In case you haven't spotted her yet, there's a nun walking around the streets of Berlin, a nun in search of enlightenment. Running his own phone sex line, Khan was a male hustler on 1-900 Get-Khan (Matador); he was a torch singer/gothic bunny on Who Never Rests (Tomlab); he was part of the Last Standing Disco Band -- Captain Comatose (Playhouse) -- circumnavigating the planet, then taking off into outer space, and now he's back as a bearded urban nun, dropping his latest album on the Berlin-based Album Label. The songs Khan recorded for The Enlightenment Machine tell intricate stories about various topics, ranging from ethics gone astray to gender-swapping, at times even offering cheap pearls of wisdom (that ultimately ring true nonetheless). Inspired by Brion Gysin's Dream Machine, The Enlightenment Machine is an album that, much like the perpetual spinning of Gysin's turntable-based device, like a helix in constant motion, keeps on drilling and working its way into the future. Based on a series of siren grooves, Khan intersperses the new tracks with dense layers of dub reverb, live percussion, lots of (sub)bass and some spectral-sounding cello recordings (contributed by Julia Kent from NYC). Once put in motion, The Enlightenment Machine works just like Gysin's Dream Machine: all you need to do is sit down in front of it, close your eyes and get illuminated. It's a simple procedure that also works for larger groups. A restless vagabond and troubadour who's currently based in Berlin, Khan's Enlightenment Machine is the second full-length release by the Album Label, a new imprint under the roof of Random Noize Musick, a renowned independent music publisher (e.g. Apparat, Oval, Raz Ohara, Phon.o) and label network comprised of various Berlin-based heavyweights including Shitkatapult. Following hot on the heels of Raz Ohara's Moksha album, Album Label's debut release, The Enlightenment Machine was created in a similar vein and thus underlines what this new label is all about: to release open-minded-yet-coherent-sounding full-length albums that are novel-like in scope, rough around the edges, scattered with ideas and recorded with passion. Recorded in this vein, both Ohara's and Khan's albums blur the boundaries between machine and emotion, instrument and human voice, song and track.


KHAN: The Enlightenment Machine LP (ALB 002LP) 18.00
LP version.



PALESTINE, CHARLEMAGNE: In Mid-Air (Golden 3) CD (NMN 047CD) 19.50
Originally released in 2003. The first electronically generated sounds that Charlemagne Palestine ever heard came from the machines he encountered in ordinary daily urban life. Machines like the refrigerator electric motor, or electrical generators; but it was especially the sounds of motion (race cars, motorcycles, war planes, rocket ships) that first excited his sonic imagination as a young teenager. Then he heard the electronic music of Tod Dockstader, Pierre Henry and Pierre Schaeffer, the famous "Podme Electronique" of Varèse, Xenakis and "Gesang der Junglinge" of Stockhausen. He immediately reacted buying a cheap reel-to-reel tape recorder, cutting and pasting recording tape and making collage sound experiments. Then, one day, Charlemagne Palestine experienced at an electronic music studio what electronically produced sound waves looked and sounded like through an oscilloscope and he began studying Helmholtz's On the Sensation of Tone. He started dreaming of an expressive, continuous, ever-moving, ever-changing sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems, the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid, ever-changing mix of adding or filtering overtones and white noise to create sonorities, constantly changing timbres, and weight. Five early electronic compositions including "Sine Tone Study" (1967); "Open Closing" (1968), created through speed alterations of "Holy 1+2"; "Seven Organism Study" (1968); "Negative Sound Study" (1969) and "Timbral for Pran Nath" (1970). Late night electronic sonorities created on the Buchlas 100 & 200 systems available at the New York University Intermedia Centre. All compositions previously-unreleased. 3-folded digipak cover with original photos and liner notes written by the composer.


POUSSEUR, HENRI: Paysages Planetaires 3CD BOX (NMN 051CD) 76.00
2004 release. In 2000, Henri Pousseur was asked by Philippe Samyn, a Brussels-based architect who liked to work in collaboration with other artforms, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus marking the hours between 6 a.m. and 10 p.m. Henri Poussuer imagined then a connection between Nivelles-time (a city 40 km south of Brussels, where this large project would be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last research in the office) correspond to the 24 hours of a complete terrestrial revolution. He then divided the globe into eight large north/south "slices," themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated three regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe. Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc., there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized as quasi-traditional music. This work once finished (realized in the studio of the composer's son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous Etudes paraboliques) in 16 Paysages Planetaires. The titles of the landscapes express by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" is a sort of play on something between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circumplanetary movement of the work. Michel Butor wrote the luminous prose-verse alternating poetic structure which accompanies these landscapes. His text is included in the 60-page documentation booklet, also featuring two long essays by Henri Pousseur: "Paysages Planetaires" and "Atmospheric and Cultural Sources for Each of the Landscapes." Finally, with this work, Henri Pousseur makes an homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvelous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life's multiplicity. All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer. Housed in a heavy cardboard slipcase with 3CDs and a 60-page booklet.


NEUHAUS, MAX: The New York School: Nine Realizations of Cage, Feldman, Brown CD (NMN 052CD) 19.50
2004 release. Previously-unreleased recordings, made 1964-1968. Different realizations than those featured on the Columbia LP Electronics and Percussion -- Five Realizations from '68. The term "New York School" refers to a circle of composers in the 1950s who orbited around John Cage: Morton Feldman, Earle Brown, Christian Wolff and David Tudor, above all. Their music paralleled the music and events of the Fluxus group, and drew its name from the New York School of mostly Abstract Expressionist painters who had got their start in the '40s: Motherwell, Pollock, de Kooning, Rothko, and Kline. What brought these artists together was a faith in the liberation of the unconscious and an excitement drawn from the street energies of Manhattan. This compact disc offers multiple realizations by the solo percussionist Max Neuhaus of scores by three key members of the New York School: Earle Brown (three realizations of "Four Systems - For Four Amplified Cymbals," recorded between 1964 and 1968), Morton Feldman (three realizations of "King of Denmark," recorded between 1965 and 1968) and John Cage (one realization '64 and two realizations '65 of "27'10.554""). All three composers conformed to the ethos of the '60s, not to the blend of hippie mysticism and pop commercialism that defined that decade towards its end, but to a broader notion of personal liberation. In this context Max Neuhaus was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the Brown performances, or in the use of a FM tuner, of a self-built electronic mini-instrument or of a tape with concrète sounds in the Cage performances) and in giddy dialogues between notated compositional intention and performed expression. Each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music. This edition includes a 16-page booklet with original photos and concert programs, Max Neuhaus' own comments on the original scores, an editorial note by John Rockwell, and reviews by Malcolm Goldstein and Theodore Strongin.


PALESTINE, CHARLEMAGNE: Sharing a Sonority (Golden 4) CD (NMN 068CD) 19.50
2008 release. Alga Marghen proudly presents a new chapter in the documentation series of Charlemagne Palestine's historical works. This CD of previously-unavailable recordings not only presents you Charlemagne Palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the New York loft scene and Cal Arts, but also features world premiere recordings of Terry Jennings and The Fundamental D Flat Group. "Short & Sweet" is the title of a breathtaking duo for piano and sax performed on April 24th by Charlemagne Palestine and Terry Jennings. The two composers happened to play together in very private concerts at Cal Arts, but never recorded those sessions, until a special day when Charlemagne happened to have a little tape recorder around. The recording was considered lost for more than 30 years, when finally a copy was found thanks to Tony Conrad. Terry Jennings' soprano sax is very elaborated and decorative. Around 1967, Charlemagne was experimenting mainly with voice and electronics. He also occasionally recorded piano and sax improvisations with his friend Bob Feldman. This CD featured a very special duo by Palestine and Feldman playing electronics and flute. The two artists met in 1961 when Bob Feldman worked in a jazz record shop in the Times Square subway station. Palestine didn't know much about jazz and Feldman guided him through the new progressive jazz styles of the times. Later at the Intermedia Center of NYU where they had a Buchla synthesizer, Charlemagne and Bob Feldman experimented with jazz raga and electronics. Very little was recorded. This is one rare duet that dates probably from around 1967. The last track on this CD is the first 30 minutes of a recording from April 22, 1974 by The Fundamental D Flat Group performing in Db. During one trip back to NYC from Cal Arts, Charlemagne Palestine was invited by Tony Conrad (together with Rhys Chatham) to Albright College in New Jersey for a Sunday afternoon concert. That was the first and last time The Fundamental D Flat Group played in public (Tony Conrad : violin, horn, string drone; Rhys Chatham: flute, organ, string drone; Charlemagne Palestine: voice, pipes, snifter). Although the piece lasted all afternoon, the first 30 minutes were the only portion recorded during the performance. The Fundamental D Flat Group invites you to listen and meditate in the mode of Db. To hear this is to enter the deepest realm of knowledge of the sound current. This CD is housed in a beautiful digipack with a full-color sleeve with photos and liner notes. The edition presents some of the best recordings ever issued by Charlemagne Palestine, a highlight in the Alga Marghen catalog and a unique chance to listen to the core of Charlemagne Palestine.


FERRARI, LUC: Éphémère I & II CD (NMN 081CD) 19.50
2010 release. Alga Marghen presents Éphémère I & II (for tape, or to be played with various instruments) -- two previously-unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalog of Luc Ferrari. Even if Ferrari's perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two works presented here is quite surprising. Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performer's intervention (a perspective he decided not to develop in future researches). "Exercises d'Improvisation," a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP to be issued on PLANAM), directly comes from the two works presented here. Éphémère I' (or "L'ordinateur ça sert à quoin?" i.e. "What's the use of computers") is a 27-minute piece for tape only, created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a sea-like continuum. "Éphémère II" (or "Lyon 75" after the only recorded realization) is a 51-minute tape piece with guitar improvisation. The electronic repetitive structure reminds of some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority, superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. The end of this long suite leads us back into more abstract and live electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. Housed in a tri-folded digipack sleeve. Please note: these two previously-unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition.


MILK FROM CHELTENHAM: Triptych of Poisoners CD (TES 057CD) 19.50
2005 release. Milk From Cheltenham is the first in a series of Alga Marghen editions documenting the activities of the It's War Boys underground label, founded by Amos (of The Homosexuals fame) in the late 1970s. The original LP was issued in an edition limited to 300 copies. The material was recorded from 1979 to 1981 but wasn't released until 1983 due to problems with the silkscreened sleeve. The band only put out this record, a real hidden gem. Lepke said that he wanted it to sound like a Beach Boys LP by using lots of different studios, but it was mostly done on a cassette machine with a primitive "surround" function. Lepke is the man who does the impossible every time he picks up a tin, carton, bottle or instrument -- the first person with enough originality to adopt "anything" to his own idiosyncratic style. Retired to an obscure basement, still without peers in the world. Lounge makes rhythms with a wallop. A mix of inestimable ability with feelings as wild as they are rare. "Salamander" has that certain something that most people can never have, even if they practice for an eternity. Most important in his influence, most endearing in his emotional impact, and most convincing in his new-found authority. If The Homosexuals were a strange prospect, then this music should fit into a similar spot as that of angry young men like Wire and Magazine, who carried their penchants for art-school angst in the midst of proto-thug posturing. Milk From Cheltenham were an even more extreme band. Not only progressive with a certain artistic notion (a reference could be found to This Heat, Family Fodder and Chris Cutler's bands Henry Cow and Art Bears) but also closer to more primitive sound experimentations of a cryptic and sinister Residential perspective. This release finally documents one of the most important projects developed in the scene explored by The Homosexuals.


N.A.D.M.A.: Paura CD (TES 060CD) 19.50
2006 release. N.A.D.M.A. was officially born between August and the beginning of September 1972 during time spent in a little village in the Tuscan-Emilian Apennines. The identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sensibilities coming from avant-garde jazz experiences liberated by post-free currents, from classical studies, or from musicians also active as visual artists who had cultivated an instrumental practice utilizing spontaneous expression. All the group members assimilated and creatively incorporated the most progressive influences from Afro-American music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-European, especially African, musical cultures. The Natural Arkestra Da Maya Alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by RCA in 1973. The group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. The concerts took place mostly in Milan during 1973-1974. The CD starting this series, Paura, is named after the first track of the N.A.D.M.A. concert at Circolo Lepetit in Milan in March 1973, presented here in its entirety. In this concert, the very first live concert preserved on tape, N.A.D.M.A. already performs a well-established repertoire, integrating and expanding upon the material of the RCA LP. Davide Mosconi himself documents the aesthetic and existential horizons of N.A.D.M.A. in a typed text and handwritten notes presented here, which also include biographical data about all members of the group. The 16-page booklet also includes an essay by Gabriele Bonomo as well as original documents and photos.


LUCA, GHERASIM: Two Poems LP (VOCSON 065LP) 25.00
2009 release. Alga Marghen proudly presents an LP edition including two experimental sound works by Gherasim Luca, created in close connection with Sten Hanson, who invited the Romanian artist to Fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. As Henri Chopin wrote some years later in his legendary Poésie Sonore Internationale book, Ghérasim Luca made a big impression at the Third Stockholm Festival in 1970. Luca was born in Bucharest in 1913. Before leaving for Israel, he had a leading role in the Romanian Surrealist group. He eventually moved to Paris where he lived until the end of his life in 1992. Gherasim Luca's work is very personal, giving his poems a very uncommon and ironic character. Again, Henri Chopin underlines that "in his recordings, which are not many, he superimposes his very warm voice, marked by his Romanian accent; it's a sound wonder. In fact, Luca is not a sound poet. He is more a speaker who managed, without complex, to enter into the Fylkingen studio vortex. On 4 tracks and with 32 loudspeakers, thanks to his superb voice and his instinctive knowledge of the electronic studio which amplifies words, he gives great pleasure to the listener, even if the latter cannot understand French." "Autres Secrets Du Vide Et Du Plein" (April 1971) and "Crimes Sens Initiales" (April 1972) were both recorded one track at a time on a 4-track tape and afterwards subjected to electronic treatments. They were recorded in Sweden at EMS and first performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Includes the reproduction of a wonderful drawing by Gherasim Luca on the front cover, a photo portrait of the author by Gilles Ehrmann from 1959 and an essay by Henri Chopin.


HEIDSIECK, BERNARD: Poème-Partition X CD/BOOK (VOCSON 074CD) 69.00
2009 release. Poème-Partition X was created by Bernard Heidsieck in 1960 and recorded in October of the same year. A few excerpts of the 1st and 4th movements were performed on November 22nd, 1960 at the Quatre Saisons Gallery in Paris, during the Festival of Avant-Garde Art. Poème-Partition X might be considered Heidsieck's first major work, whose duration (more than 40 minutes long) never allowed the author to give a public reading of it. Its destination was a record (released by Alga Marghen in 1996, starting the VocSon LP series, 36 years after its creation). Alga Marghen is proud to present this edition of Poème-Partition X, extended to the CD format and included in a luxury 96-page hardbound book. The book reproduces the complete score, a visual wonder and a major experimental printed work. Bernard Heidsieck's memories of a historic lecture at the Jean Tinguely atelier is included as an introduction, as well as his testimony on Ian Sommerville and Brion Gysin's "Dream Machine." Also on the CD is a lecture of extracts of Poème-Partition X accompanied by saxophone from the American painter Larry Rivers. This recording from 1962 was not included in the LP edition and is here presented for the first time. In August 1962, Bernard Heidsieck went with John Ashbery, the American poet, to dinner at the studio of Jean Tinguely and Niki de Saint Phalle. Larry Rivers had a studio in the same place and was also there. Tinguely prepared grilled meat, skewered on one of his rotating sculptures. After dinner Rivers returned to his studio and began to play, alone and for himself. He earned his living, at the time, by playing sax at an after-hours jazz club. So, while he was playing, Bernard Heidsieck joined him in his studio and suggested that they do an improvisation together -- domething that Heidsieck had never done before, and has never done since. Larry Rivers immediately accepted, and an appointment was set up at Heidsieck's home a few days later. August 6th, 1962. A dinner party was organized for the same guests who had been at Tinguely's place and this unique 17-minute improvisation was recorded, but until now never released. It was, however, presented at the first Fylkingen Text-Sound Composition Festival in Stockholm in 1968. Luxury hardbound edition.



VA: Mamiko Motto Presents Amada 2LP +7" (ACC1XLP) 23.00
All City presents Amada; 13 exclusive tracks (plus one bonus in the form of a 7" flexi-disc) from a selection of interesting underground producers from around the globe. Over the last few years, Mamiko Motto has built a reputation searching and unearthing some of tomorrow's best new production talent via her Hepcat show on NTS Radio and through work with Dutch label Kindred Spirits. Recording as part of Wednesday Nite, she has been mobile enough with a large Rolodex of contacts to hassle and compile the tracks for Amada. The record takes flight with the dreamy "Take It Back" by New York's hotly-tipped Obey City. The artist formerly known as Kasrave, now Young Mind, follows with "Jennifer," and we hit the dancefloor with Bobby's "Tame the Shrew." Free-form soulstress Georgia Anne Muldrew gives us a gospel diversion with "Git Thee," and James Pants comes with his unique brand of psychedelic-electro-wave on "Ritual Magick." Modern hip-hop beats from Silkersoft and Darq E Freaker deliver testosterone thrust while Fatima Yamaha's pogo-pumping "AAA" ignites a rhythmic groove. The young SCNTST comes with the hypnotic and pounding "For Forest Play Only," before Mweslee's second outing on the label with "Una 41 (In Memoriam)." DZ and Ruckazoid drop a lo-fi heartbreaker with "Shoulda Coulda." Austrian Korg wizard Dorian Concept joins to bid a melancholic farewell on "Empty Everything (But You)" and American Men's Claude Speeed closes out the LP with "Crushed Rave." A variety of beats, tempos and styles is completed with a bonus track on the 7" flexi-disc from the mysterious GMCFOSHO.


KNXWLEDGE: Kauliflower LP (ACLPK1X2) 23.00
L.A. based, Philadelphia-born beatmaker Knxwledge returns to All City with Kauliflower, a mini-LP of beats and a much-anticipated follow-up to his 2010 Klouds EP. Familiar to many for his frequent digital beat dumps, Knxwledge gives us 18 tracks -- brand-new, no second-hand, all crafted in his own unique style.



SENDAI: A Smaller Divide CD (AICD 002CD) 18.00
Sendai, the collaborative project of Yves De Mey and Peter Van Hoesen, release their second album on Archives Intérieures. Both artists are long-time friends and share a deep passion for exploring the outer limits of the electronic music spectrum. Sendai combines De Mey's skillful extraction of deep and dynamic sounds from his modular synthesizer system with Van Hoesen's keen sense of digital composition and sound design. A Smaller Divide is the result of six months of intense remote collaboration. The album presents both approaches and indicates a fresh intention to take things further. It forms a logical progression to 2012's Geotope, using different musical colors within similar structures. A Smaller Divide articulates a willingness to open up the previous sound canvas, while at the same time remaining uncompromisingly radical in terms of execution and structure.



TENSES, THE: Howard LP (AUDIOMER 012LP) 25.00
The Tenses is a duo comprised of Ju Suk Reet Meate and Jackie Oblivia, two veterans of the weirdo art collective that is known as the Los Angeles Free Music Society. They also form the core of legendary experimental juggernaut Smegma. The LAFMS have been a singular force in DIY culture ever since the early '70s and encapsulated an endless string of projects and bands that married a sort of proto-punk with trashy guitars, avant-garde music, tape manipulations, free jazz, improv, and absurd vocalizations into a hyper-original and singular form of music. They're seen by many as the originators of noise music, and have been an immense influence on bands like Sun City Girls, Merzbow, Wolf Eyes, No Neck Blues Band, etc. The Tenses is one of the latest vessels for Ju Suk and Jackie to explore the outer realms of sound and space. Compared to the mothership that is Smegma, it is a more compact and intimate project where turntables, tape collages, distorted surf guitar and coronet are used to create elaborate, haunted atmospheres. After releases on Harbinger Sound and their own Pigface Records, The Tenses now add another chapter to their history with Howard, their LP on Belgian imprint audioMER. Howard is a mind-expanding tour de force that scrambles spoken-word deconstructions and spontaneous freak-outs into a musical non-sequitur; a strange and disorienting trip. Loops of voices from long-lost instruction movies, shortwave radio dramas that get overrun with sirens, various non-instrumental sounds, and a bewildering stretch of Link Wray-like guitar riffs; Howard is a record that oozes paranoia, the perfect soundtrack for making explosives in your basement. Comes in a limited edition of 300 copies with artwork by Wouter Vandevoorde and design by Wouter Vanhaelemeesch and Jeroen Wille.


AUS 1460EP

GLIMPSE: Baretta EP 12" (AUS 1460EP) 14.00
Chris Spero has been at the cutting edge of house and techno for many years now, with landmark releases for labels such as Planet E and Hypercolour as Glimpse, while his recent reinvention as Dense & Pika (alongside Alex Jones) for Hot Flush has seen him capable of hulking, powerful techno that has won him fans from Richie Hawtin to Koze. With this new 12", he once again steers straight down the house-techno divide with a set of perfectly weighted bass lines underpinning some deliciously rough-cut percussion. Already being supported heavily by the likes of Scuba and George FitzGerald.



VA: Kiss the Sun EP 12" (BBR 006EP) 14.00
This EP is a collection of four outstanding tracks from artists that know a thing or two about genuine deepness. Featuring Ernie (Minuendo/Deep Art Sounds), Natan H (Ethereal Sound/Manmakemusic), Brian James (Unfocused) and Owen Jay & Melchior Sultana (Moods & Grooves/Underground Quality), this 12" portrays the distinct Batti Batti sound taking the listener on a warm journey of different textures.


BEC 5161791

JOAKIM: On the Beach 12" (BEC 5161791) 14.00
This is the first 12" offering from the forthcoming Tropics of Love from Joakim (featuring, among others, Luke Jenner on vocals). A split release with Tigersushi. Includes a download card. Also features a remix by Joakim and Principles Of Geometry.



SCANNER: Electronic Garden CD (BINE 031CD) 17.00
Over the last 20 years, Robin Rimbaud (aka Scanner) has traversed the experimental terrain between sound, space, image, and form, connecting a bewilderingly diverse array of genres -- a partial list would include sound design, film scores, computer music, avant-garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music, and jazz. With a catalog busy with commissions, soundtracks, and studio releases, it's extremely rare to find an official live recording, so Electronic Garden stands out by measure of this. Recorded outdoors in the small open air amphitheater in the big garden of Dresden in Germany, the set is comprised of variations on tunes as well as a significant portion of largely improvised unreleased material, performed exclusively here and never again. Opening with the epic, rhythmic "Muster" that soars with a radiant splendor, moving through the flickering, nervy, melancholic pulses of "Backwood," the organic warmth and harmonies of "The Nature of Being," and closing with the atmospheric "Singing Through Qualia," Electronic Garden captures Scanner in full live mode. Explosive, corrosive, and emotive, this release celebrates the creativity of one of the UK's most intriguing composers, hiding just beneath the surface of popular culture.



DILLON: The Unknown CD (BPC 285CD) 14.50
First a roar steadily builds, then we hear the first piano tone of The Unknown -- along with the voice of Dominique Dillon de Byington. There it is again, the unique timbre of the young Berlin-based artist who captivated the music press and arts critics alike with her 2011 debut album on BPitch Control, This Silence Kills (BPC 244CD/LP). This Silence Kills was sweet and enticing enough to establish itself as a pop record with singer-songwriter passion and experimental enough to be taken seriously as an art project. It was described as chanson-pop, sensuous electronic music featuring a voice comparable to Feist, Björk, or Joanna Newsom. There followed two sold-out tours and numerous festival gigs all over the world -- a life on the road. For Dillon this was completely unexplored territory. "The Unknown" is not only the first song she wrote for her eponymous second album, it is how Dillon evokes that thing in life that has no name, no description, no boundaries. The unknown can be anything: longing, love, loss, transience, fear or desire. In keeping with the cover art for The Unknown, the 12 new tracks have a more direct, natural and candid feel: "The lyrics are a lot more abstract and open, although they are just as personal and introverted," says Dillon. Tracks like "In Silence" and "4ever" are sometimes pensive, they exude this profound contemplation which must not always be characterized as melancholy. Whereas the majority of the debut album, with all its melodies and arrangements, had been written before it was recorded, The Unknown came about more as a conceptual work. Yet despite the new approach, it should still be understood as a sequel to This Silence Kills. The foundation for album number two was laid within three weeks at the same studio and even in the same room of Clouds Hill Recordings in Hamburg. Once more she worked with Thies Mynther (Phantom/Ghost) and Tamer Fahri Özgönenc (Mit), and the result of these creative exchanges is a narrative gem that is eager to retain some malaise around the edges. From the ballad-like lead single "A Matter of Time" to the chamber music style "Forward" -- Dillon's impressive voice comes even more to the fore on The Unknown. The piano is not only present on almost every song, it also conveys an incredible depth that complements the playful naivety of the debut album. Although the bass drum makes its presence felt as a silhouette on "Into the Deep" and the club-infused "Nowhere" develops this electronic substructure further, The Unknown is more puristic, more enigmatic and certainly not a dance album. The Unknown is a dense, compact work from an extraordinary artist whose journey has only just begun.


BD 018CD

FOOTSIE: King Original Vol. 3 - Grime, Trap & Dubstep CD (BD 018CD) 12.00
Third installment in the King Original series. Thirteen brand-new and exclusive Footsie instrumentals. Includes Lord Of The Beats track "War Dub 4 (Send for Everyone)" and iTunes smash "Spookfest." Having demolished the likes of Wiley, Rude Kid and Jammer in the epic Lord Of The Beats producer-war in late 2013, all eyes and ears are on Footsie -- a trend that's set to continue with the release of the much-anticipated King Original Vol. 3. Already looking like one of the grime CDs of the year, King Original Vol. 3 is a heady mixture of grime, trap and dubstep style that Footsie has been steadily pushing over the airwaves and in clubs for the past 12 months, channeling raw, uncompromising Newham Generals energy throughout. Opening with the vibrant and funky "Bubblers," KO3 swiftly moves into darker territory. The brooding "Very Alarming" and "Traps" (a track featured on Footsie's SBTV "Producers House") bring drama to the fore, with Footsie utilizing 808s and vocal stabs to devastating effect. But its stand-out tracks "Newham Tribes," "Tekky," "Spookfest," and the anthemic "Cold Winter" raise the temperature and bring real dancefloor vibes, with gurgling acid lines, booming drums and euphoric pianos. It's a new dimension to Footsie's sound that's never been heard before. "To me, this is my most important release thus far," says the veteran producer. "This volume brings me back up to date in terms of my catalog and contains, what I think, is some of my best work so far." Indeed, 2013 saw Footsie ignite the underground with King Original Vol. 1 and 2, helping spawn a wave of nostalgia for the sounds of old that shows no sign of dissipating. For Vol. 3 however, he's presenting the future -- showcasing vital new sounds and textures.


BB 161LP

AUTOMAT: Automat LP+CD (BB 161LP) 22.00
LP version. Pressed on 180 gram vinyl. Includes a CD copy of the album. Three pilots. A recipe. A construction manual. Machine. Apparatus. Jochen Arbeit, Achim Färber, zeitblom = Automat. Arbeit, Färber, zeitblom have been collaborating under the name Automat since the end of 2011. Their debut album features Lydia Lunch, Genesis Breyer P-Orridge & Blixa Bargeld. A Berlin Affair. Just to untangle the threads: Jochen Arbeit, the guitarist who came to world prominence with Die Haut and Einstürzende Neubauten; Achim Färber, a sought-after drummer with the likes of Project Pitchfork, Prag and Phillip Boa; and finally, the bassist zeitblom, known from Sovetskoe Foto and through his award-winning radio-play works, especially in collaboration with author/publisher Michael Farin, with whom the piece "Kyffhäuser/Unternehmen Barbarossa/Träume vom Tod!" was musically adapted by Automat for the Berlin Volksbühne in 2012. Automat, a constant groooove. An album, as you would imagine flying to if you have never flown: a steady glide from leaving the apartment to reaching the destination. No waiting, no queuing, no turbulence; a smooth check-in, easy border controls, unhindered boarding. Take a seat and take off. Automat tells of Berlin, once a city with four airports. "Tempelhof" makes the start: reverberating cowbells, an urgent bass sequence, chopped meanderings, an evil recollection that reminds of THF in its heyday. "Schönefeld," where the guitars flange and the delays bounce. "Gatow" swings to the Ebow. And "Tegel." No question. "Tegel" grooves most elegantly. Three narratives -- of a lake with a menacing name, of an enchanted mountain, of strange roads -- feature within Automat's otherwise instrumental epic. Three guests, three additional voices and storytellers to speak to us: Lydia Lunch, Genesis Breyer P-Orridge and Blixa Bargeld. Guests, yes, but actually they are much more: old acquaintances, good friends, trusted colleagues. You can hear how they work their way into the pieces without taking them over, but lending that certain something and thus contributing to the idea of a band. Lighthouses. Automat is naturally the sum of its parts, and all of them have learned and taught during the post-punk era. One may recall the time during the mid-1980s, when the UK industrial-oriented artists discovered dance music. Automat docks onto that -- sawing, ringing guitars and dub-reggae bass lines meet in empty hangars with harsh, slow breakbeat rhythms garnished by ticking percussion instruments from the most exciting and remote places on earth -- and takes the dance into the present day.



RHYTHM & SOUND: W/ The Artists LP (BMLP 002LP) 15.50
2014 repress, originally released in 2004. "Since the early '90s, with projects b/w on labels like Basic Channel, Maurizio (M Series) or Main Street Records, Berlin-based producer team Rhythm & Sound (Mark Ernestus and Moritz von Oswald) have originated a style between electronic club music and dub/reggae long before it became a genre of its own and have since inspired and influenced several generations of producers. Their current album Rhythm & Sound W/ The artists on the Burial Mix label showcases the series of heavily reggae-oriented tunes that were created throughout the past three years -- starting with the landmark 'King In My Empire' w/ Cornel Campbell -- and that so far has only been available on 10" vinyl format. After the previous Burial Mix album Showcase, exclusively with vocals by Paul St. Hilaire (at that time performing as Tikiman), the present release features eight tunes, voiced in Berlin, New York and Jamaica by seven artists, some of them living legends; Cornel Campbell, Paul St. Hilaire, Shalom, The Chosen Brothers, Love Joy, Jennifer Lara and Jah Batta."



LUCIANO & FRIENDS: Into the Aether (Part One) 12" (CADENZA 093EP) 14.00
Cadenza head-honcho, Luciano, often collaborates with many other artists. On "Into the Aether" we get the first part of a two-part series of tracks composed with various other Cadenza personnel. "Arizona Green Song" sees Luciano and Marlowe (aka Digitaline) get together for a vibrant and busy freak-out. A plethora of rattling and sharp percussion cuts through a simple melody line and low-slung groove. A collaboration with Dani Casarano results in "Bell's & Tonic," a slower paced vibe here, but with plenty of funk, from its bending bass line and hand claps to the deft organ touches and shuffling shakers.


CF 009LP

BROTZMANN TRIO, PETER: For Adolphe Sax LP (CF 009LP) 29.00
"This is the one that started it all -- German tenor saxophonist Peter Brötzmann's first album in a long career that would spawn many, many more recordings in the years to come. Recorded with the rhythm section of bassist Peter Kowald and drummer Sven-Åke Johansson, this is intense, unrelenting free-jazz with little in the way of clear structure or melody... this is music that gets by on force and pure energy, rather than polite tunes or other musical decorum. Apart from a few brief moments of quiet during 'Sanity,' the second track, this stuff just doesn't quit, with Brötzmann's consistently abrasive, high-pitched wailing leading the charge and the other two members stirring up a pretty good ruckus themselves (Kowald, especially, gets in a good sting-sawing bass solo on 'Morning Glory')." --All Music Guide; pressed on 180 gram vinyl. Recorded by Günter Schütte, 1967, in Wuppertal. Peter Brötzmann (tenor & baritone saxophone); Peter Kowald (double bass); Sven-Åke Johansson (drums).



ALICANTE, ILARIO: Wax Weapon EP 12" (COR 115EP) 14.00
The Tuscan techno-wunderkind Ilario Alicante has made an amazing progression from an insider's tip to one of the most wanted Italian tech-house-DJs at the moment. Alicante tracks are fully focused on their floor potential, however, with just the right musical spice. Elements of house, techno and various influences from all the good productions out of Chicago, Berlin, Detroit or Frankfurt -- you will find it here. "Wax Weapon" is a great weapon for all those open-air floors and is based on a mystic sawtooth synth-line. In contrast, "XYXY" is built on a nice and fat house chord. Includes remixes by Rødhåd and Ryan Elliott.



COIL/NINE INCH NAILS: Recoiled LP (CSR 193LP) 26.50
LP version. Recoiled is a rambunctious alchemy of magikal Coil sensibilities and hi-tech home circa '90s mixing technique, all fused in the cave-like early studios of Danny Hyde/Peter Christopherson. These were the unrestrained PRE-BIG studio-mix-downs of four songs which long-time Coil admirer/collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde/Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. Recoiled includes a fuller, more opulent version of the track "Closer," which eventually made it onto the opening credits of the movie SE7EN. These five lengthy compositions (just under 40 minutes) are pre-Ableton/laptop generation-type priest-song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumored to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Four of the tracks were released on the download-only Uncoiled. A bonus, previously-unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation. Beautifully remastered.



Christian Prommer releases his first solo album on the Compost Black Label. These 16 songs are a reflection on his musical journey for the past 12 months. This record was written and produced all over the world -- at concerts, studio sessions and DJ shows. Improvisation is the main mantra of Prommer's creative process. Playing with the various instruments, drum machines, sequencers and records, Christian is on a mission and travels through all of his musical interests, from classical, jazz, electronic soundscapes, folk and soul music, to deep house music. The rhythm and the improvisation are very distinctive elements in Prommer's music and he played many of the instruments on this record himself, also reaching out to some fine collaborators to get the extra input he was looking for. This album features seasoned jazz musicians such as Kelvin Sholar, Florian Riedl, Raoul Walton and Jan Krause, as well as vocalists and co-writers such as Simon Jinadu, Kim Sanders, Tommy Hien, Adriano Prestel and Lew Stoi. Some new names and some old friends. Christian Prommer is an American producer, DJ, drummer and musician who has produced and composed genre-defining and award-winning dance music for two decades. He has been a founding member of Fauna Flash, Trby Trio and Voom:Voom, a producer and co-writer for Kruder & Dorfmeister, DJ Hell, Kim Sanders, The Dining Rooms, Incognito and with his own projects Prommer & Barck and most notably, Christian Prommer's Drumlesson.



VA: Correspondant Compilation 02 CD (CORR 002CD) 17.00
Correspondant's sophomore compilation features new and unreleased tracks from the label's artist coterie, plus some new recruits. Compilation 02 develops its own unique breed of retro-futurism, offering idiosyncratic, dancefloor-driven sound inspired by nu and cosmic disco, '80s wave, Roland-303 acid, and dark atmospherics. Sexy Lazer is Copenhagen-based DJ and producer Jón Atli Helgason, who partners with Iceland's Oculus (Fridfinnur Sigurdsson) in "Dogs of BKK" to filter hazy Tropicalia through retro modular synths. Notoriously elusive DJ and producer Man Power submits "Hula," a characteristically off-kilter slow-builder with corrosive electric guitar chords, while "Synced Below" channels Massimiliano Pagliara's obsession with analog synths and techno futurism. The languorous vocal sample intoning le passé, le présent, le futur (the past, the present, the future) in "One Night at Nuba" may well be a personal declaration of style and legacy for Kasper Bjørke. Kompakt veteran Geoffroy Mugwump & DC Salas deliver hard-hitting, EBM/industrial funk and modern disco in "Caltrops," and Hardway Bros Sean Johnston explores a galactic vernacular of beeping machines in "14.06.13." French producer Antoine Harispuru aka Golden Bug counters with his own "Fax, Flipper and Cigarettes" (feat. Lady Maru), loaded with acid and Italo-influenced bass line funk, and Israeli duo Red Axes deploy the saturnine electric guitar riffs of their 2013 EP for the label Caminho De Dreyfus in "This Is X" (feat. Jen). The Asphodells is a dub- and disco-based collaboration between Timothy J. Fairplay and Andrew Weatherall and "Prejoy (Barbaric SplendourVersion)" is a scheming assassin. Javi Redondo steps up to both diffuse and build new tension with "Insight," a track adaptable to placement anywhere in a set with its low-slung opening groove cut with cosmic synths. Andre Bratten updates the idiosyncratic sounds of '80s synth-pop pioneers into contemporary dayglo analog dance music with "Trommer og Bass," and Paresse makes a predatory first appearance with "Hunters in the Snow."



SPARE: 1BLT 12" (COY 007EP) 12.50
Spare's 1BLT EP links together four tracks that sit somewhere between the vividly melodic and nuanced instrumentals you might hear the Boxed lot playing, and some of the classic war-path riddims from grime's nascent movement. "1BLT" and "Boss Hog" feature that up-front, dance-wrecking energy with whirlwinds of hard-as-nails percussion clattering crisply around tough bass lines. The subtle melodic elements of both are explored more fully on the EP's other two tracks, with "Venom" and "Glide" building off thick low-end, and developing colorful, synth-heavy layers that demonstrate Spare's knack for full and rich compositions. With support from: Martelo, Mumdance, Sam Binga, Strict Face, OH91, Slackk, and Glacial Sound.



FULL CIRCLE: Some Bizarre/Wicked Time 12" (CRWDSPCR 001X) 12.50
Full Circle is a project initiated by Alexis Le Tan in collaboration with Joakim (who helped with the recording and editing) and Ill Studio (who are in charge of the graphic universe of Full Circle). Alexis Le Tan has been collecting rare records for more than a decade, and recently he uncovered some of those forgotten records from that era, buried in his record collection and accidentally played them at 33rpm. Revelation. That's when he called Joakim to propose a series of re-edits of those psychedelic slow techno tunes.



VAN HOESEN, PETER: Outlands EP 12" (CURLE 047EP) 12.50
This is the first Curle release of 2014, after a lengthy but refreshing hibernation. First up is Berlin-based compatriot Peter Van Hoesen, who has been a good friend of the label for more than 10 years. He already did a remix for Curle, a split EP together with Donato Dozzy, and a mix, but this is Peter's first full EP on the label.


O'BRIEN, MATT: Patience EP 12" (CURLE 048EP) 12.50
Matt O'Brien first came to Curle Recordings' attention in 2005 with his Off-Key Industries releases Hidden High and Serotone, which would later get a license on Rekids. His first contribution for Curle was back in 2007 when he remixed Efdemin's "Acid Bells." In 2010, he made up the flipside to Dozzy & Van Hoesen's track on Curle 024. After "Starting Over" in 2011, Matt is back on Curle for his second full EP. Don't forget your scuba glasses, it's deep.



MIRANDA, GUILLERMO: Legal in Uruguay EP 12" (CYN 098EP) 12.50
Uruguayan Guillermo Miranda delivers a bomb combination of chunky house groove and futurist techno sound design with this EP for Cynosure. Guille doesn't waste time and bangs the box with style on "My Doin." Some very punchy drums served up with a tasty synth hook makes a mean techno house meal. "Legal in Uruguay" is a slick, shuffled, bong-influenced, techno burner. Some additional production from Mike Shannon shines in a few familiar areas while Guille comes with a massively catchy hook that drops at about three minutes in. "Dragones y otro cosas" has a slinky groove that leads to a mind puzzle of a breakdown.



FANGO: Tei 12" (DEGU 014EP) 12.50
Virtuous perfectionist, obsessed with mixing bass drums, recording percussion, and sampling drummers, Fango never fails to surprise. It doesn't matter if it's a drum machine, a gong from an orchestra or simply a voice (like in this case), he will make it sound right. Degustibus Music delivers his new weapon of mass destruction -- use at your own risk.



DU MOSCH, MARK: Bay 25 12" (DKMNTL 014EP) 12.50
Mark du Mosch is a Rotterdam-based producer and DJ who has earned the highest amount of respect in the Dutch alternative music scene. Expect perfectly-executed analog bliss from a craftsman who is slowly yet steadily making his way into the record-bags of global house and techno connoisseurs. The title-track is a quirky display of what du Mosch has to offer. Complex but catchy melody lines meet a highly-effective get-in-high gear bass line, bridging the gap between analog roughness and subtle chords. If this bass-inflicted breakdown doesn't tear up some early morning dancefloors, nothing else will. Remix by Gesloten Cirkel.



PRIMITIVE CALCULATORS: Primitive Calculators LP (DESIRE 061LP) 23.50
2014 repress. The Holy Grail of the '70s punk/synth-punk Australian scene is now reissued in its original form for the first time on vinyl. Desire is proud to release the very first Primitive Calculators debut album. Originally out in 1982 in a very limited edition vinyl including a postcard, the eponymous album was recorded live in 1979 at Hearts, North Carlton, supporting the Boys Next Door. Often described as the "Australian Screamers," Primitive Calculators were one of the few Aussie bands to mix minimal synth, bass, scratchy guitars, repetitive drum machine beats reminiscent of their California cousins and also touches of Cabaret Voltaire. This impossibly hard-to-find item is now available on vinyl for the first time since 1982 and this second pressing includes an exact replica of the sleeve -- black vinyl with black labels, and a postcard. Limited edition of 210 copies. Last pressing with the postcard.


ZEX MODEL: Mind Slaughter LP (DESIRE 092LP) 23.50
Zex Model is the project (started in September 2012) of Paul Von Aphid, a young Russian musician who re-imagines and re-models the classic sound of 80's Wax Trax and Antler's bands by adding a personal twist of his own experience living in urban dystopia. After his debut EP First Mutation (released digitally in May 2013 and soon to be reissued with bonus material on Desire), this is his full-length LP. Work on Mind Slaughter took about 10 months in a few home studios, with the strong help of hallucinogens and herbal dopings, and constant re-watching of old '80s horror animes for sampling and personal hell as influence, to establish the new/old sound of EBM dance paranoia. Recommended if you like Skinny Puppy, Ganzheit, GRUMH, The Klinik, etc. First pressing on grey vinyl. Limited edition of 300 copies. Includes a 12"x12" insert and download coupon.


IKE YARD: Remix EP 3 12" (DESIRE 100EP) 14.00
Ike Yard was a product of the New York no wave scene, but also stood very much apart from it, then as now. Propulsive, paranoid, aggressive electro minimalism, with as much attention paid to the mixing board and effects processors as to vocals, guitar and synth. The line-up for this third remix EP includes Powell doing a great beat-driven rework of "Half a God," mastered by Matt Colton at Alchemy. The KVB does a post-punk rendition of "Cherish 8," also remixed by Vessel. The last remix is by UK industrial/dubstep enigmas Bandshell. Limited to 500 copies. Grey vinyl, black inner-sleeve. Artwork by Stephen Americh, inspired by the Factory America design for Ike Yard.



EFDEMIN: Decay CD (DIAL 030CD) 17.00
Efdemin is back on Dial Records with his third full-length album, Decay, following his self-titled debut in 2007 (DIAL 010CD/LP) and Chicago (DIAL 021CD/LP) in 2010. Once again he offers a stunningly seductive stream of music written in his very own hand. After three years of extensive touring as a DJ, Phillip Sollmann took the chance to compose his third album under his Efdemin moniker while spending three months in an artist residency in Kyoto, Japan. Living next to the Kamo River, surrounded by temples, shrines and the ever-present blue mountains, he started working in the late summer, facing typhoons and intensive heat, and finished the album in the early mild days of winter. Thus mainly assembled in autumn, his favorite season of year, the 10 tracks on Decay express the paradoxical relationship between beauty and decay. The production procedure was a dichotomous one. Recording was done in his recently finished new Berlin-Wedding studio, "The Meadow," mostly on analog equipment, while the final production took place in Japan. The result is an album of intriguing rigor and a certain beauty hidden within. It marks a big step towards the deeper side of techno and lets many of his early influences in '90s techno shine through (from early Cologne minimalism, M-plant and Axis to Terrence Dixon) as well as his love for drone music. Although at a first glance it might seem that this album is a somehow more distant and less melodic than the previous output, it provides the full unique range of Efdemin's vocabulary, which he is known and loved for. Decay sounds in certain parts like a process of correction, revaluation, and re-alignment, making room for new things to come. There is beauty within decay.



DETROIT SWINDLE: Boxed Out CD (DIRT 006CD) 17.00
Dirt Crew presents a the debut album from Detroit Swindle aka Lars Dales and Maarten Smeets. Their tremendous rise in the house scene was noted in DJ Mag's "Making a splash in 2013" section and from there it just went off. They have been laying it down across the UK, Ireland and the European mainland every weekend for the past two years, gaining much respect with both their DJ and Live sets. 2014 is going to be even busier, with tours planned in the USA, Australia, Asia and South Africa, where they have an exceptionally large fan base. After some very successful EPs on Freerange, Tsuba, their own label Heist and of course Dirt Crew Recordings, plus numerous remixes on labels like Greco Roman, Club Mod, Jalapeno and Room With A View, Dirt Crew felt that now is the time for the Detroit Swindle debut album. So here it is: a 13-track symphony of DS flavors. It has everything you would expect from the Swindles, some slow-burners with a hint of disco, some deep house, some banging club monsters and hey, even some leftfield hip-hop jams. The album opens with "B.Y.O.," a track that balances nicely between the DS shuffle and an old school New York-style block party. The track is a taste of things to come for the rest of the album, hinting towards a big party vibe, but mellow enough to make it a really interesting listen. The one thing Detroit Swindle are known for best is their knack for picking the right vocals. For Boxed Out, they came up with some perfect partnerships. They recorded "64 Ways" with none other than one of America's finest soul singers: Mayer Hawthorne. The track has a lazy shuffle, a bunch of catchy Rhodes chords and a few well-placed layers of synths that give this track a hint of "Detroit Experiment," wrapped up in an almost poppy house jam. One of the other vocal tracks is "Thoughts of She," that effortlessly samples the voice of UK soul singer Alice Russell from the track "Pushing On" by The Quantic Soul Orchestra. There's also the gorgeous track "Center of Gravity" that has Berlin-based, Ghanese-Canadian soul singer Sandra Amarie on vocals. It's particularly this track that reflects the true spirit of Detroit Swindle's music, a mixture of soul and UK garage meets Detroit house slowed down to a sexy groove with some of their trademark pads and stabs. They pushed themselves to explore different tempos as well, which not only resulted in some slow house burners, but also in two hip-hop tracks. "For the Love of..." is a homage to the old school sounds of J. Dilla, A Tribe Called Quest and The Pharcyde, combining off-beat shuffles, a gritty bass line and a warm cut-up soul sample. "You, Me, Here, Now" is almost a love song, disguised in a s(w)ing-a-long downtempo type of track. "Huh, What!," "Shotgun," "The Fat Rat" and "He's Just This Guy, You Know?" are all relentless dancefloor monsters, pushing the tempo to match old school Chicago and New York house cuts from the late '80s and early '90s. The album has a little bit of everything in exactly the right dose, making it both a good listen, and an extremely infectious club album.


DP 003CD

LA FEMME: Psycho Tropical Berlin (Deluxe Edition) 2CD (DP 003CD) 22.00
Disque Pointu presents a 2CD deluxe edition of the debut album by French indie-rock/lo-fi surf band La Femme, featuring a bonus CD that includes unreleased tracks. Despite their geographically-challenged location, here is a collective of French surf-pop connoisseurs. Their chic, retro-futurist take on the genre skews expectations. Since hitting the West Coast, the gang's reputation for finely-tuned, taut, stark anthems has spread like sea spray. No sooner than their debut album was released, it hit No.1 on the French digital charts and La Femme became the cover photo darlings for Magic, praised by Le Monde and Les InRocks (playing the magazine's Les InRocks Festival). This adoration sees a strong follow-through with La Femme making crowds dance from Les Eurockeennes to Rock En Seine Festival, with shows all around Europe and the UK, including support for James Blake. They have been accosted by and overwhelmed with praise from directors like Jacques Audiard and Romain Gavras, to legends Jean Michel Jarre and Hedi Slimane -- who used La Femme's version of "Oh Baby Doll" in his Saint Laurent campaign featuring Cara Delevingne. Guitarist Sacha Got was joined by Marlon Magnée (keyboard player) in coastal town Biarritz before the pair moved to Paris, soon meeting up with Sam Lefevre (bass guitarist), Nunez Ritter (percussion) and Noé Delmas (drummer), also seekers of teenage kicks. Nodding towards '60s yé-yé stars France Gall and Françoise Hardy, vocalists Clémence Quélennec, Clara Luciani, Jane Peynot, and Marilou Chollet have also moonlighted, adding to the enigma and elegance that is La Femme. From La Femme's fluid line-up and travels comes Psycho Tropical Berlin, a mixture of psychedelia, rockabilly, electro, and punk-infused surf. Inspired by a love of vintage sounds made by Gene Vincent, The Velvet Underground and Kraftwerk, what has emerged is a grim-meets-glam genre of its own; like a new-wave rave filtered through The Ventures' back catalog. While the song "Sur la planche" (trans. "On the Board") hurls down gigantic waves of surf guitar with ease and style, "Hypsoline" is a monster mash-up of trembling synths and deadpan vocals -- like an Addams Family luau floor-filler. A more stripped-back Stereolab sweetness is offered by the erotic Bauhaus rococo of "It's Time to Wake Up (2023)" and "Nous étions deux." At times synthetic, always hypnotic, and turning on a dime from aggressively dark to flippantly light-hearted.



SANTOS: Macroscope EP 12" (DISS 021EP) 12.50
Santos returns to Dissonant to deliver another three tracks, laying down detailed rhythms that shimmer with the infectious energy in which the man has made his 20-year career on. "Garlic" is a roving thrill-ride that hangs on to the commanding groove as it whips through a dense landscape of sound. That leaves it to "Invisible" to get deep in the dub, letting masterfully-handled delay and reverb pulse out a spiritually enriching techno mantra. "Cable" takes a different approach, weaving some color into the mix.



NTFO & KARMON: Composit EP 12" (DIYNAMIC 069EP) 14.00
NTFO & Karmon team up once again on Diynamic for a pair of tracks that are sure to soundtrack dancefloors for a long time to come. The EP is the result of five days in the studio together and the resulting music is fresh, deep and arresting. "Metropolis" is a deep and sublime bit of house music. A wavy groove is fleshed out with odd synth sounds and a killer, bobbling bass line. "Composit" is bigger and bolder and is more suited to the main room. It takes time to get there, though, thanks to a sensuous and lush build-up of washing chords and dumpy kick drums.


DG 10006EP

J.A.N.: The Weather EP 12" (DG 10006EP) 12.50
Kid Sublime's protégé J.A.N. drops his brand-new 12" debut. Amsterdam-based J.A.N. got inspired by local DJs in the Amsterdam nightlife scene at an early age. Soon he started DJ'ing, and hooked up with fellow "Amsterdammer" and DJ/producer Kid Sublime, who showed him the ropes of rocking a sampler. He describes his fusion style as B-boy house, and incorporated this right back into his DJ sets. Kid Sublime: "Nice basement B-boy house music, deep and soulful, a very promising future lies ahead for this young buck." For fans of that Amsterdam/Detroit sound, think the early works of Aardvarck/Rick Wade and you won't be disappointed.


DC 535CD

DEAD RIDER: Chills On Glass CD (DC 535CD) 13.50
"The goal for Dead Rider, always: super-heavy, super-driving, more 'up' moments than ever before. An album experience; listening, you're put through some changes. Illusions radiating out from the real. You're rocked into submission, but asked to participate on the listening level. Rebuilt, regrooved, with favorable upgrades. Chills On Glass moves forward in this tradition, juxtaposing high and low values -- serious playing, danceablity, controlled-outcomes experimentation, don't-givea- fuck rad-itude. Shocks don't surprise the band -- it was the effect that they were looking for, just what the song needed. All the sounds in the songs -- the shouts, croons and whispers -- draw you into the fantasy of Dead Rider, the spectacle of a night on the town, gliding through the darkness while thrust up, out of the limousine's sunroof. Scribble, confetti and other sonic details rain down like snow, providing an exquisite dressing for thick and thrashing rhythms and expertly maneuvered tight corners. Todd Rittmann, infamous from his daze in U.S. Maple, is a guitar warrior with intensive craft at his fingertips."

DC 535LP

DEAD RIDER: Chills On Glass LP (DC 535LP) 17.00
LP version.

DC 571CD

CALLAHAN, BILL: Have Fun with God CD (DC 571CD) 13.00
"Dub is a spiritual, abstract, visceral, mystical thing. Finite and infinite at the same time. Deeply rooted in the earth and embracing outer space. Don't be fooled by names, dub has come and gone. Dub is a ghost, a duppy. A duppy of a childhood guppy. Flushed and thriving in the sewers and the swamps. Here you will find versions of the Dream River songs that have been killed and resurrected, spilling tales of the other side of life in a language conceivable only if you let yourself be taken there."

DC 582EP

DEATH: North Street/We're Gonna Make It 7" (DC 582EP) 5.50
"In advance of the release of even more previously unreleased recordings from the vaults of Death, the two songs here represent the album in showcasing two different eras following For the Whole World to See. 'North Street' was recorded in 1980, as Death was transitioning into their next incarnation as The Fourth Movement. The song was part of a studio session in their new home base in Vermont, capturing the Hackney brothers' full-bodied sound with the same fidelity of their 1975 recordings that made up For the Whole World to See. Just a few years later, Dannis' surging rhythm and David's acid-guitar leads are still holding strong, while Bobby's shout of protest is in full flight, with lyrics that focus on the darkness in the Detroit streets. It is representative of the more spiritual, introspective side of Death."

DC 584CD

WOO: When The Past Arrives CD (DC 584CD) 13.50
"WOO is brothers Mark and Clive Ives. Emboldened by the success of the recent reissue of It's Cosy Inside, Mark and Clive had a listen to hundreds of previously unreleased tracks recorded in the 70s and 80s to assemble their first new record in two decades, When The Past Arrives. With comparisons to Penguin Cafe Orchestra, Animal Collective, Cluster, and Brian Eno, WOO's profile in the world of atemporal music has been growing for years. For the lucky few who know, like Fela, or Neu!, WOO has their own instantly recognizable vibrantly pulsing sound, a quiet sound of comfort and contentment."

DC 584LP

WOO: When The Past Arrives LP (DC 584LP) 18.00
LP version.


313 004CD

CV313: Dimensional Space 2CD (313 004CD) 22.00
"There's been a world of hurt in regard to this album, the original masters recorded from 1996-2010 were submerged underwater due to the flood in our home studio where boxes of old reels were never to be recovered again. Finally, years of restructure on live recordings and painstaking undulation in the restoration process have lead us to finally accomplish what so many expected wouldn't happen: an awakening of sagacious spirit. With that being said, it's our distinct honor to present the sonic world of Dimensional Space -- the highly-anticipated debut album from cv313. This album has taken a cosmic eclipse where two events collide for unison. The culmination of this project led to synergy, creative experience re-invented and re-imagined -- the flow of an astral vortex." --Echospace; The second CD includes mixes of track "Subtraktive" from artists such as The Sight Below, Reference, Deepchord Presents: Echospace, King Midas Sound, Instrusion, and Bvdub.


VAN WEY, BROCK: Home 2CD (AIR-3) 22.00
It's been nearly 5 years since Brock's highly-acclaimed White Clouds Drift On and On debuted on Echospace earning a plethora of critical acclaim, including many coveted top albums of the year list from Resident Advisor to The Wire. Brock returns in beautiful form with what he's said to Echospace is his most personal and self-defining moment in his fruitful musical career. This album, however, strikes a very different chord from the last; rather than find contentment in repeating himself, he's sculpted a unique sound slightly out of focus from his previous work, a sound one could only say is like drifting in and out of consciousness. A place where early LSD experiments reveal third dimensions of the mind and evoke emotions so powerful they haunt you forever. Here we see Brock's true dedication to vision, maturity and growth, the reason why so many people have gravitated to his heart-tugging productions. On, Home he paints a near 3-hour exploration so beautiful and hypnotic, the listener feels as if only moments passed by, a second to forever. This is a welcome return to form in the one place Brock refers to as, "home" here on Echospace. If Burial were to meet Eno in the studio of a BBC radio workshop session with tape masters sent to Steve Roach for further deconstruction, this might be the unique result, residing somewhere in the ether. Brock has truly blown us away yet again with another stunning masterpiece.


CV313: Live at Primary CD (LIVE 002CD) 15.00
Full album release which features an epic live set from cv313, culled from a performance at Primary in Chicago, USA. Featuring unreleased tracks, versions of classics & plenty of unreleased cv313 content. The "live" element is more present here than in past live performances, recorded utilizing a myriad of analog circuitry filled with lo-fi warmth and sonic soul; the trademark of echospace. Highly Recommended!


CV313: Live Excursions CD (LIVE 003CD) 15.00
Full album release which features live excursions from cv313, culled from a performance at the 2001 Detroit Electronic Music Festival. Previously unreleased "live" extracts from cv313's performance at the Glass City Record Store release party in Detroit, USA. Recorded from a 16-channel Mackie mixer, performed entirely on analog/digital hardware, samplers and sequencers. NO COMPUTER INVOLVED. Recorded in May 2001 @ a warehouse somewhere in Detroit.


BEC 5161764

BUSY P: Reworking Is Not a Crime 12" (BEC 5161764) 14.00
From the Mixmag UK review: "The first release of 2014 on Busy P's Ed Banger imprint comes from the head man himself and he's served up a solid set of remixes. Breakbot turns his hand at reworking 'This Song,' and although it features those dreamy synths and quintessential guitar licks, it displays a slightly deeper feel for the disco producer. Desirre and Djedjotronic also remix 'This Song' with very positive results,, and there's even a wild and erratic Bok Bok remix of 'Procrastinator.' The stand-out, however, comes in the form of 'Rainbow Man 2.0,' which sees the cracking original get a shiny and more outrageous makeover.



ATOM TM & MARC BEHRENS: Bauteile CD (EMEGO 184CD) 15.50
The over 70 minutes of "Bauteile" (German for "construction parts") were recorded from 1987 through 2013 and edited into a continuous flow over the last three years. Atom TM and Marc Behrens met during the heyday of the German techno movement and have ever since pursued extensive trend research in all areas of contemporary music. Their findings, a sonification of their research, which spans effectively two centuries of musical development, are now released as an album for the first time by Editions Mego. Produced, assembled, edited, mixed and mastered at Bowman Suite, Santiago, Chile. Violin: Carlos Zingaro.


SCHMICKLER & JULIAN ROHRHUBER, MARCUS: Politiken der Frequenz LP (EMEGO 191LP) 20.00
LP version. Following a hypothesis according to which "Music and Economics share a fundamental object: number," Marcus Schmickler and Julian Rohrhuber's project Politiken der Frequenz circles around the acoustic rendering of number concepts. Inspired by Alain Badiou's Le Nombre et les Nombres, and accompanied by mixed choir, the piece attempts to question the apparent immediacy of numbers that allows calculation to govern today's economy, social sciences and everyday life. "Change, flexibility, and movement are considered desirable today, while the static, rigid, and unchanging tends to be met with reservation or is implicitly opposed. Movement, perhaps even chaotic movement, or some form of change of the change of the change, appears promising: it suggests the invention of the new, rather than the discovery of the already-there, it is taken as the core of the revolutionary, or at least of the progressive. The unchanging, then, is only a brittle ladder to be used and then thrown away, a dead tool that merely points to life, or even a conservative prison of standardization. By consequence, what seems to exist in movement and nothing more, indeed appears in a favorable light: sound. Be that as it may, such a positive evaluation of the potential of change mirrors a contemporary economic understanding of change and/or growth, where it is precisely what constitutes value as such. For algorithmic trading, success means the appropriate bet on a trend, for the employer, flexibilization and casualization of labor. And even though the appropriation of change as surplus value implies the arrest of its movement, this capture is only an intermediate unproductive precondition of investment in the expected dynamical behavior of free agents. The commenting chorus in Politiken der Frequenz (trans. "Politics of Frequency") is an attempt at exposing this mutual ideological support, by introducing a third element, namely the concept of number. A number and its properties can be considered either as an outcome of a dynamic process, like measurement or counting, or (and) as something that exists independently, and is a precondition necessary for such operations in the first place. From both perspectives, however, the numerical is outside the frame of variation, something unchanging and infinitely resistant. It is in this role that it can serve as a middle and common ground of sound and economy, excluded, but necessary as a mere tool applied to provide external stabilization. What if number is taken as an object of investigation instead, an object of sound, one of mathematics? Can there be an alternative to the eternalized value of change, an alternative to the false dialectics of movement and arrest? Certainly, drawing from the history of mathematics, a sonification of number brings to light something fundamentally different, namely its acoustic shimmer, its glint." Another version of the piece was commissioned by WDR3 Studio Akustische Kunst. Premiered November 2011. A joint release between Editions Mego & Tochnit Aleph.



HIELE: Essential Oils LP (EKSTER 004LP) 25.00
Ekster presents the second album from the very talented Hiele -- more dope shit from this highly-skilled young whipper-snapper. Limited to 500 copies. Behavioral scientists discovered why watching a forest relaxes the mind while the sight of an urban jungle, no matter how intricate, stresses us out. A forest contains so many lines, triangles, etc., that our mind immediately gives up on trying to see it all. This giving up is the relaxing effect. In the city our eyes and mind keep on trying to see every line, square, rectangle, etc. Impossible of course, and thus: stressing. The same goes for Hiele's music, which is a true aural forest of all electronic music. There's simply too much to hear: ambient, 808 jack, '90s IDM, Chicago footstep, glitchy bits, etc. So, there are only two cerebral reactions possible. First, if not accustomed with electronic music, is to put the needle off the record after a few seconds into the first track, and to never give it a second try. Secondly, to sit back and let the ingenious compositions wash over you. By the time you've been able to pinpoint a certain recognizable sound, Essential Oils, even more so than its predecessor, has already moved on so much that it leaves you wondering if a new track has already begun or not. (This wondering, again, makes you lose the pace.) Most electronic artists would be able to make a full-length album with the material that Hiele uses in only one track. Yet, amidst all his frantic compositions, Hiele never loses his keen sense for sweet melodies and, yes, even danceable beats. The album comes in a full-color printed sleeve, with a cover photo by Hildegard Hanssen and graphic work by Victor Robyn. All tracks produced and mixed by Roman Hiele. Mastered at Dubplates & Mastering, Berlin.



BLACK ASTEROID: Metal 12" (EDLX 036EP) 15.50
Bryan Black aka Black Asteroid returns to Electric Deluxe with his most precise and daring invention yet. "Metal" picks up from where the Black Acid EP left off with more sonic alchemies sounding unlike anything else. The former Prince engineer turned Motor front man turned galvanic techno DJ, producer and performer has had an incredible run in his latest guise. Black gets even more contained on the masterfully metronomic "Turbine." Luis Flores and Pinion (Bobby Dowell) then split "Metal" off into its opposing sectors. Flores takes things straight the dancefloor, while Pinion ramps up the noise.


ESK 506373

FREEFORM FIVE (FEAT. ROISIN MURPHY): Leviathan 12" (ESK 506373) 12.50
On "Leviathan" Freeform Five teams up with the legendary Róisín Murphy for an exercise in irresistible vocal power and anthemic, feel-good appeal. Tom Trago delivers an incarnation of "Leviathan" that highlights the shimmering synths and melodies and puts the funk-edge and drumbeats center stage. Cage & Aviary provide a slice of dirty electro tech in their remix teeming with solid claps and bleeps and FX.

ESK 506384

KLEIJN, EELKE: Lovely Sweet Divine/A Tale of Two Lovers 12" (ESK 506384) 12.50
With most DJs barely getting their teeth in to 2014 yet, Rotterdam-based composer and producer Eelke Kleijn is already back, teasing more huge tracks. "Lovely Sweet Divine" is a slice of space-disco heaven. This otherworldly tune is drenched in expansive reverb, disco rhythms and infectious arpeggiated bass lines. Typically brooding with an uplifting inflection, "A Tale of Two Lovers" combines fluid violins, drums and his typical bass rumble. This track is also featured on The Blue Collection, the second installment in a new compilation series on Eskimo based around colors.



JACK BEATS: FabricLive.74 CD (FABRIC 148CD) 16.00
Jack Beats' longstanding relationship with Fabric has infiltrated a long and hugely successful career for the duo. Individually known as Plus One of the Scratch Perverts and Beni G of The Mixologists, and recognized as being some of the most technically gifted DJs around, on Fabriclive.74, Jack Beats keep the energy high as they swing with consummate ease from bouncing house through crunching bass lines to full-blown main-stage mania. Artists include: Ten Walls, Duke Dumont, Sure Thing, GotSome, Dusky, A-Trak (feat. GTA), UZ, Lxury, Taiki & Nulight (feat. AC Slater), P Money, Cause & Affect, GTA (feat. DJ Funk), Major Lazer, Will Sparks, Panteros666, Breach, Rudimental (feat. Emeli Sandé), Destructo, Tommy Trash, Flux Pavilion (feat. Example), Feed Me, and BASECAMP.



WORLD DOMINATION: Solar System Domination 2012 LP (FTR 123LP) 15.00
Anthony Pasquarosa is one of era's most mutable performers. His first solo LP, recorded under the soubriquet Crystalline Roses, is an ingenious post-volk blend of acoustic feverings. But he has been equally active as a member of the hardcore trio Aerosols, the post-form fuck-duo SQRM, and Josh Burkett's trad-folk unit, Frozen Corn. A regular customer at the Feeding Tube record store, Tony walked in with this demo one day back in 2013, and they were immediately smitten. His sonic vision included weird science fiction and a thug brevity worthy of Mick Farren's Deviants or Michael Moorcock's Deep Fix. The music was brutal space metal and the lyrics were the same. It had been a long time since Feeding Tube had heard their like, and they immediately signed them up for an LP. This issue -- with all its glitches -- is what they were struck with that day. In the meantime, Tony has assembled an actual World Domination band, with Andy Crespo on bass, Andrew McCarthy on drums, Jeremy Pisani on guitar, Todd Schmeling on chaos and Pasquarosa on guitar/vocals. They have blown down faithful fans at several shows already, including a spot opening for Hawkwind's Nik Turner, and one can only hope their blast expands from here. Edition of 210. Includes a download code.


EGGS, EGGS: Taste of Sundress LP (FTR 137LP) 15.00
The doors to the clown car open once again, and we are faced with a new release by Egg Eggs. David Russell's stream-of-vom lyrical inventions are as crafty as always, and Vanessa Brewster's vocals provide a nice balance to them on the first side's suite, "Dairy Farm Days." Balance and contrast on the flip, "Inside the Mountains" is provided by Klyd Watkins (of Poetry Out Loud fame) and Jenifer Gelineau's reborn-hillbilly fiddle. The contrast between these approaches emphasizes the theoretical hook of this album's construction. Just as The School (1972) LP by People's Victory Orchestra And Chorus was broken into the Boy's Side and the Girls' Side, so Taste of Sundress has its fluidity defined by the Mason-Dixon Line. Indeed, the first side is a session of Northern origin and texture, recorded in Massachusetts by Justin Pizzoferrato, featuring such doughty Yankees as John Moloney and Sam Gas Can. The Southern side was done in the Nashville area with Bob and Klyd Watkins at the helm. And the difference between them is palpable, if not as easily pegged as it might be. The reason for this form-smudge is the constant irreality provided by Mr. Russell's always stunning vocalese. Singing about cows and clowns for the North and about caves and crisis for the South, David's philosophical stance generally appears as an engine of nada, and the music everyone creates in reaction to this flows like black bubbly lava. There are no slaves on this record. And the price of their freedom is your cost to bear. Edition of 200.


GENDRON, MYRIAM: Not So Deep as a Well LP (FTR 146LP) 15.00
The debut LP by Montreal's Myriam Gendron is one of this year's signature releases. Feeding Tube had previously been made aware of Myriam when she performed at the Michael Hurley cover tune showcase at the Casa del Popolo. That event, tied to l'Oie de Cravan's publication of The Words to the Songs of Michael Hurley, introduced Myriam as a wonderful if spectral guitarist and singer, whose signature sound was as light as it was intoxicating. Her next performance was an event including the American poet Charles Plymell, and she debuted a set of material based on the poems of Dorothy Parker. Everyone was blown away. Plymell and Gerard Malanga were effusive in their praise of her work, and when a tape fell into the hands of Richard Meltzer, he agreed that Myriam's approach to the material attained a singularity of loss that had not yet been approached. The set was a stun gun, set on its highest possible notch. It blew away anything similar, and achieved a wordy beauty that both buggered description and celebrated itself. Parker's poetry -- though little-known in comparison to her prose -- offers many possibilities of both beauty and humor. Myriam grabs every edge availed to her, and does so beautifully. This album glows with holism and is one of the most beautiful evocations of times past and present and future you will hear this year. Includes a download code. Edition of 300.



SUCKUT, MARKUS: Figure SPC S 12" (FIGSPC S) 12.50
Markus Suckut always delivers with his trademark reduced style, designed for heavyweight soundsystems and heavyweight DJs. This new four-tracker from the central Figure artist finds him in deep exploratory mode, working subtle, hypnotic hooks with a fresh and robust sound palette. "District" introduces the EP, with its bold bass rumble and minimalist attitude. The haunting electrostatic of "Rays" sets the geiger-counter off in an ultra-reduced tool for bass line-loving DJs. A rolling synth attack follows with "Mutation" -- inspired and controlled peak energy for the deeper techno crew. Finally, the hypnosis of "Decontamination" winds up this excellent EP with its technoid soul and killer bass-end.


FD 086CD

KAKOFONIKT: Kaktuus CD (FD 086CD) 16.50
kakofoNIKT is an audio-visual group from Pozna?, Poland, exploring the borders of industrial music, noise, free improvisation, sound installations, and performance. The group uses such instruments as metal garbage, damaged electronic devices, toy instruments, electronically processed hurdy-gurdy, saxophone, field recordings and concrète sounds, objects of everyday use, and sine wave generators. The band aims to calibrate the listeners' perception into a channel of different consciousness -- experimenting with the time of concerts, as was witnessed with the Respondorium project that started at 5 am; or literally asking the audience to lay down in a series of concerts for dreaming: Dream Machine. Sound becomes the borderline point of experience. The album Kaktuus is an interpretation and translation of an experience with cactus into the language of sounds. The compositions are arranged as consecutive stages of the contact with the cactus, starting from the preparations, such as peeling off the skin and spines, and going through all the stages of the sensations up to the extreme effects.



VA: Angel Dust Psychedelia 1968-1972 LP (LIAC 2013LP) 27.00
"Non-hippie, devastating guitar-psych and PCP induced hard-rock: Angel Dust Psychedelia is a '100% killers, no fillers' compilation featuring obscure and unknown 45s and unreleased acetates from the US, most of them released on private labels. Many local underground bands of the late 1960s and early 1970s lacked the money and/or material needed to make a full-length album, and would put out a self-released 45s instead. Record collectors and writers have been slow to understand this treasure of vintage private press singles, with music that is every bit as good as hallowed underground LPs like Mystic Siva or Boa. Fourteen tracks including the monster acid-punker 'Time Gone to Waste' by Local Traffic, post-Stereo Shoestring band Red House with an unreleased track, the mega rare acetate by Matchbox from Houston, tremendous acid-psych by Dick St John and Ragweed Patch, raw hard-rock by Masque and Zoo and more. The perfect companion to those legendary '80s psych comps like Brain Shadows, Acid Dreams, and Endless Journey. Remastered sound for a stunning in-your-face heavy guitar experience. Limited to 500 copies."


GET 51267LP

GHOSTFACE KILLAH: Ironman 2LP (GET 51267LP) 20.00
"Sony Music and Get On Down proudly present the official reissue of the debut solo album from Wu-Tang Clans's Ghostface Killah. Ironman pieces together Al Green and Jackson 5 samples, gospel choruses, kung fu soundbites and piano vamps into something unpredictable and vital-sounding. Arguably the best of the group's solo albums to date, the record is filled with inventive production and rhymes, and ranks as another solid entry in the Wu-Tang legacy. Housed in a full-color gatefold jacket, this special double vinyl edition includes an 18" x 24" replica of the original retail poster. A classic piece of Wu-Tang artistry is reborn again for music lovers and MC's alike."

GET 51302LP

BOOGIE DOWN PRODUCTIONS: By All Means Necessary LP (GET 51302LP) 23.00
"In its history Hip Hop has had a handful of stand-out years. And for many true fans there is little debate that 1988 was the true 'Golden Era'. Countless classic albums came out that year and Boogie Down Productions' By Any Means Necessary ranks high atop that list. Following the fatal shooting of the groups DJ/Producer Scott La Rock in 1987, KRS One was determined to continue BDP despite the tragedy. Taking the group in a slightly different direction, adopting the moniker 'Teacher' and taking on social issues, KRS crafted an album that to this day still sounds fresh and exciting. From the moment the album starts with the infectious saxophone sample on 'My Philosophy' or the Reggae influenced 'Stop the Violence' to the straight up braggadocios 'I'm Still #1', By Any Means Necessary proves why it's one of the most important and classic albums ever recorded. Other stand out tracks include 'Illegal Business' which is a look at how the drug trade corrupts the police and government, while 'Jimmy' warns us to the pit falls of a 'big butt and a smile.'" Includes 18"x24" poster.



CHARRIER, CHARLES-ERIC: Petite Soeur LP (GZH 052LP) 23.50
Charles-Eric Charrier is a French bassist and pianist mining the remote seams of music between post-classical, jazz, acoustic blues and ambient. Hidden or distant those seams may be, but all the richer for those who take the time to seek them out. Echoes of innovative artists like Earth, Anouar Brahem, Bohren und der Club of Gore, Chet Baker or even Malian musicians such as Ali Farka Touré and Tinariwen sometimes appear on the horizon, only to disappear at the next turn. Charrier's music as band-leader on Petite Soeur, his first release for Gizeh Records, is endlessly yearning and searching, pushing and pulling at the basic fabric of bass, piano, drums and guitar. Repetition, space and a sublime understanding of how instruments speak with each other are the key fundamentals in this album. Witness the patient guitar that opens "No Closed to Be," taking its own sweet time before first acoustic bass and then percussion fall into line behind. And the narcotic, late-night jazz of the title-track with drums, piano and Fender Rhodes slurring around Charrier's steady bass pulse. Or the gradual build of "Instant/Moment" into a sustained, pulse-like drive before pausing, exhausted by the sun on the plains, and then collapsing into a mesmerizing swirl of woodwind, organ, piano and bowed drones. Petite Soeur may be all instrumental, but we can hear Charrier's voice as clear as a bell. It is defined by empathy and clarity. In its own way, this is soul music. Limited edition 180 gram vinyl; includes a download of the full album and bonus tracks.


GB 011CD

DIRTMUSIC: Lion City CD (GB 011CD) 17.00
Dirtmusic's previous album Troubles (GB 005CD/LP) was recorded in Bamako, Mali in the dark days of the 2012 political upheaval. A propulsive collection of cinematic Afro-rock, Troubles for the most part rose out of improvisational sessions involving Hugo Race (Fatalists, Bad Seeds) and Chris Eckman (The Walkabouts) of Dirtmusic and the nimble, balafon-driven Ben Zabo band. Malian luminaries like Samba Touré, Zoumana Tereta, Aminata Wassidjé Traoré, and Virginie Dembelé from the Rokia Traore band, brought exhilarating vocal and instrumental contributions to the collective. Troubles was not a mere construct or hybrid, but rather something deeply collaborative and genre-busting. Louder Than War wrote: "an incisive and unique journey in sound... this album is rock, it's roll, its funk, it's African, it's an aural delight." Lion City, the new Dirtmusic album, is culled from the same Bamako sessions as Troubles but offers a decidedly different atmosphere and ambiance. While the Ben Zabo band is still the core collaborator, the textures and tempos are slower and more opaque. Organics and electronics intertwine and unfold unpredictably. There are less guitars and more liquid sounds. The outward frustration and fear documented on the previous album has given way to something more insular and pensive. The echoing space between the notes is emphasized and subsequently so are the voices and the texts. Samba Touré provides a vocal and lyric for "Red Dust," a song that enshrines the contemplative mood of the album. Over a swirling dubscape he intones: "How can we reconcile and forgive? How can we bring peace to those that hate us? Yet we have no choice. We need to stop fighting." While Samba Touré, Ben Zabo and his band, and Aminata Wassidjé Traoré previously appeared on Troubles, Lion City also features an inspired team of new collaborators: Tamikrest members Ousmane Ag Mossa (guitar), Cheikhe Ag Tiglia (bass) and Aghaly Ag Mohamedine (percussion) appear on the bluesy and meditative "Movin' Careful." This is the first time the two groups have collaborated since Dirtmusic's BKO album from 2010. The iconic Takamba band Super 11, from northern Mali, exchange thorn-like trance sounds with Hugo and Chris on the album's opening number "Stars of Gao." MC Jazz, an up and coming Bamako hip-hop artist adds a fiery incantation to the mostly instrumental "Day the Grid Went Down." Ibrahima Douf, a young singer from Senegal, provides a stunning vocal on the album's final track "September 12." The 21st century claims to be borderless. A world of hyper-communication and instant nostalgia that is both celebrated and feared. On Lion City Dirtmusic stayed clear of such theorizing and just got on with the practice. The collective joy they found in making this music is what mattered most.



CULTURE FIRES: 106 Ways 12" (HAKT 008EP) 14.00
Producer Chris Manik presents 106 Ways, the new EP by Culture Fires. Complete with a rousing, gripping bass line, the release kicks off with "Combination," a hedonistic track that speaks to Manik's musical bilingualism, creating soundscapes that work both on and off the dancefloor. "Moon and Back" offers a more raw, uninhibited approach compared to the EP's preceding track. Handclaps weave between spacey production work as the track gradually picks up steam before drawing to a minimally short close. "106 Ways" uplifts with flickering synths and potent percussion -- altogether a slice of music magic.



HAUNTED BY HALLUCINATIONS: Haunted by Hallucinations CD (HRKL 002CD) 17.00
Guitarist Petri Toikkanen, who graces the liner-notes of nearly all the Soul Investigators releases as one of the group's formidable composers, debuts his project Haunted By Hallucinations on Jimi Tenor and Nicole Willis' Herakles Records. The group was founded by Toikkanen and drummer Laura Könönen, and they composed their songs through hypnotic jam sessions with bass player Jussi Oskari. Jussi Oskari is best-known for his contribution to the project, Tuvalu, a progressive rock ensemble. The genre that sets the tone for Haunted by Hallucinations is the psychedelic cousin to that of post-metal and post rock/doom. Toikkanen cites Pink Floyd, Venom, Uriah Heep, and Dio as his childhood staples. While direct influences are denied, Haunted By Hallucinations might sit well next to Earth and Goblin. That the phasers and flangers of stoner doom would be replaced with heavy doses of delay on Toikkanen's personal genre of neo-psychedelia. Toikkanen's playing has textures of surf, harking the legend of surf, Dick Dale, together with a prototype of rock & roll. Toikkanen's main instrument is a Fender Jazzmaster. Oskari also plays Moog Taurus bass pedal synthesizer. Laura Könönen is also a visual artist whose main medium is sculpture, and she has supplied the LP cover artwork of one of her paintings and drawings. The album is produced by Jimi Tenor & Nicole Willis. Petri Toikkanen was born in 1978 and raised in Espoo's Matinkylä, Finland, and is said to be a genius. His elusiveness may be one of the trappings of hyper-intelligence, although it might be determined otherwise. Listening to this LP, one will come to appreciate the artist and his vision. Although the project attributes the composition-work of band-mates Könönen & Oskari, it seems that the band is most heavily driven by Toikkanen, himself. The track "Winter" expresses the full brutality of the long Finnish winters that begin in the darkness of November and linger until the final remnants of snow melt slowly in May. Tracks like "Haunting" do as the title describes -- both grim and melodic, these tracks are the pillars of the album, while the other tracks serve as lintel beams, creating their own genre with full competence.



A DIFFERENT JIMI: Hi5/Sweet Fancy Moses 12" (HITS 001EP) 14.00
"Hi5" is the latest prank from A Different Jimi aka Jimi Siebels. It's a bitchy Chicago house smasher in a surprisingly refreshing kinship to New York's hard bop of the 1960s, without ever being in danger of becoming acid-jazz. Because in order to create his own definition of jazz-infected-house, Jimi makes no use of already overstrained rare groove samples, but a classic range of instruments and musical friends who he invites to recording sessions in his studio. So we hear RVDS at the piano, Hayo Doin on drums and DJ Björnski on guitar.



THROWING SNOW: Pathfinder EP 12" (HTH 017EP) 14.00
London-based migrant Ross Tones makes music under the pertinent moniker, Throwing Snow. Drawing influence from a vast array of genres, his production work possesses consistent and comforting warmth, while still glistening with a serene kind of steely coldness. The Pathfinder EP is a route into a greater portion of work, its journey through wistful, far-flung melodies -- full of unexpected rhythmic twists and propelled by bass -- giving a sense of what is to come. The 12" is strictly-limited to 300 copies and is cut to heavyweight 180 gram vinyl by mastering engineer of the year, Matt Colton.



JANIS: Parental Advisory House EP 12" (HIOK 004EP) 12.50
Janis makes music for high-budget commercials and German art films, and also spends his time constructing highly-infectious house grooves. On the Parental Advisory House EP Janis gets to demonstrate his wide range of talents. Driven by a heavy bass line and filled with a funky chord sequence, the lead track will easily be implanted in your brain. "Fitzefu Pumpkin" breaks the groove in a massive two-step pumper. "Ensoniq Youth" features a strong rhythm section, dreamy synth pads and funny vocal chops. The EP closes with a remix by Kornél Kovacs, who takes the elements of the funky original and turns it into a driving dub.



VA: Huntleys + Palmers Chapter 1 12" (HUNTLEYS 010EP) 15.50
Huntleys + Palmers presents a 4-track EP of absolute belters. The release features a crazy, banging track by Carisma, a deep recording by Prophets Of The South, and two bonafide nailers from Cruffy and rRoxymore. Cruffy's "Subculture" is a difficult one to categorize -- it's an interesting concoction of melodic house, giving way to an almost Kwaito-esque kick. The pummeling "Pamela Two" by Carisma is primed to absolutely terrorize dancefloors. "Ministry of Silly Talks" has featured prominently in rRoxymore's live sets, and Prophets Of The South's "District 6" has a deep Afro house vibe like no other.



VA: Black Jerusalem EP 12" (IRC 123EP) 14.50
A brazen, complex 4-tracker to launch Ibadan Records into 2014. Sophisticated tech-house expedition "Black Jerusalem" is a broiling example of the beats, rhythms and pace to be expected from this dynamic duo. Jerome Sydenham teams up with Rebecca Rotlicht for dissection duties and the result is a dark, dubbed-out techno-vigorated, all-purpose refurbishment of Robag Wruhme's remix of Brendon Moeller's classic "Mainline." DJ Karizma's remix of DJ Spen's "Heavenly" gets an exuberant touch by Jerome Sydenham and "X-Ova" brings back together the team of Aschka and Jerome Sydenham, infusing the rhythmic spirits of Detroit with a groovy electronica over-tone.



TINGS, ROLAND: Who U Love 12" (INT 027EP) 14.00
Roland Tings presents "Who U Love (12" Version)" with "Tiger in a Tropical Storm" and "Floating on a Salt Lake (12" Version)."


IMB 6022CD

SINCLAIR, JOHN: Mohawk CD (IMB 6022CD) 16.50
John Sinclair, the renegade poet, scholar and cultural revolutionary, releases his new album on Iron Man Records. John has been described as an archetype of the 1960s art, music and literary synthesis, and today, is still kicking with both feet on his trajectory for cultural transformation. His new record features 10 tracks from his book of verse: Always Know: A Book of Monk. Twenty poems planted firmly in a single-shot session, and carefully trimmed down to 10 exhibits for this album. Beatnik poems, great odes and personal reflections of the be-bop jazz persuasion, all flowering together. First conceived of in Detroit City, spring 1982, and developed throughout the 1980s with streaks of fresh edits leading right up to the session itself, John navigates some of these texts for the first time in over 20 years, free-styling his energized sincerity and attention to every word, transforming the text on the page into his unique unmistakable spoken-word. The music was written and arranged by Steve Fly who mirrored John's poems in the music by initially combing the tempo of the original songs recorded by John "Dizzy" Gillespie, Charlie "Bird" Parker and Thelonious Monk. Steve The Fly is a native of Stourbridge UK, now an Amsterdam resident who plays drums, spins vinyl, writes novels and literary and cultural commentary. His other music projects have included New Flesh, Garaj Mahal, Temple Dragon Band, and of course, he is now full-time with John Sinclair. These songs are further utilized by John's poetic method, so that each title and the rhythm of his poetry can piggy-back upon the same song-title, and rhythm, of an original composition set in history, for extra rooting. Steve put down drums, turntables, cello-bass, flute, and glockenspiel, shooting to play around the vocal lead lines and diverse expressions from John. All artwork was cradled and visualized by the post-industrial imagination of CHU. CHU's work has included projects with Banksy and Jamie Hewlett, among many others, and he has been described as the "Escher of UK street art" and is a founder of Graffiti Bastards. The album is beautifully packaged in a double gatefold CD wallet with full-color artwork by CHU and a 10-page booklet. Mohawk illustrates the kind of care and attention a John Sinclair record deserves. After all, he kinda helped start this underground art explosion.



CAIADO, JORGE: The Remix EP 12" (JDR 006EP) 14.00
JD Records proudly presents four new dope remixes of previous JD Records/Subwax Excursions releases. The artists in question are Terrence Parker, Orlando Voorn, Clip! and Lay-far. For the honorable remix work, JD Records have chosen Portugal's fastest-rising underground house producers, Jorge Caiado. The result is four perfect and classy house productions and with his releases on labels such as Balance and Groovement, he has proven he definitely is a name to watch in the future.



VA: Trenollttre 12" (KAFTEN 005EP) 14.00
A new split 12" from towLie's Käften label. 303 is in the house. Artists include: Klorex 55, Egyptian Eyeliner, towLie, and Empfänger.



KENT, AL: Love & Care 12" (KKS 002EP) 14.00
Kalakuta Soul Records come back with another deep set of disco gems, touched by Glasgow's disco godfather, the almighty Al Kent, who delivers three eclectic masterpieces. The A-side keeps every imaginable sound-system busy with a drifty percussive harvester adorned with eclectic instrumentation. "Colder Than Cold" features a thick bass drum, a bass slapped by the fingers of a giant, keys and chords from heaven, and horns hailing from the utmost depth of Kalakuta's soul. "Gee Wiz" closes this opus with an orchestral beauty that once gathered all the souls behind what we call music today. Limited to 500 copies.


KR 001LP

LASWELL VS SUBMERGED, BILL: Brutal Calling LP (KR 001LP) 14.50
2007 release. The first collaboration of legendary producer and bass player Bill Laswell (Material, Praxis, Painkiller, and countless many more projects) and drum and bass producer Submerged (OHM Resistance) brings together the mighty bass of Laswell in all his virtuoso aspects and the nervous breakcore-patterns of Submerged. This angry and aggressive album was conceived as a reaction to the terror attacks of 9/11 and explains the dark atmosphere on the album, which is perfectly reflected by the new artwork for the vinyl created by longtime Laswellian John Brown. Originally released in 2004 on John Zorn's Avant label, in Japan only. Vinyl-only release limited to 1,000 LPs worldwide.

KR 013EP

The Laurent de Schepper Trio concentrate the progressive now-jazz of Nils Petter Molvaer, the ethereal art pop of Talk Talk and the structural freedom of Sonic Youth into multi-faceted, rapidly-moving compositions that embrace cinematic soundscapes as well as emancipated instrumental dialogues. "Kryptos" offers all the qualities of this Leipzig-based band, and guest vocalist Paula Akinsinde blends excellently into the sound cosmos of this tight trio. The Kammerflimmer Kollektief remix of "The Crypt" triggers ecstatic moments and is exclusively available on this limited edition of 300 hand-numbered 7" singles, including a postcard.

KR 014LP

SUBOTNICK, MORTON: Silver Apples of the Moon LP (KR 014LP) 20.00
As composer, musician and initiator of the San Francisco Tape Music Center which he cofounded with Pauline Oliveros and Ramon Sender in 1961, Morton Subotnick (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with Don Buchla on the development of the early synthesizer Buchla Series 100 before moving to New York where the artist-in-residence at the newly established Tisch School of the Arts of New York University was enabled to set up his own studio. That's where Subotnick's most popular work Silver Apples of the Moon was commissioned by DECCA as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Until the current day, this seminal album has not lost its visionary power and has long been considered one of the essential milestones in electronic music with a great impact on later generations of artists, starting from the cult formation Silver Apples to Laika, who titled their debut Silver Apples of the Moon, too. Now for the first time since its original 1967 release, Subotnick's masterpiece (which was selected for the Library of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180 gram LP that was carefully remastered for vinyl. Limited to 500 copies worldwide.


KH 9010CD

QUICKSILVER MESSENGER SERVICE: Live at the Fillmore West, 3 July 1971 2CD (KH 9010CD) 23.00
The Dino Valenti-fronted Quicksilver Messenger Service were on fire during the penultimate night of rock's spiritual home in San Francisco, The Fillmore West. On this memorable night in July 1971, QMS performed several of the better tracks from their two Hawaiian albums as well as older choice material from Happy Trails and Shady Grove. QMS fans will be delighted to discover a wealth of rarely-performed material here -- some songs destined for their next two albums, and some that would never be officially released. Digitally remastered for the first time.

KH 9011CD

SCAGGS, BOZ: Live at the Fillmore West, 30th June 1971 2CD (KH 9011CD) 23.00
Featuring the entire opening night from "The Closing Week of The Fillmore West" Boz Scaggs concert, which included the best material from his first two albums and The Steve Miller Band's early rocker "Stepping Stone." Scaggs would achieve worldwide fame in 1976 with the glossy, adult rock-oriented Silk Degrees, but back in '71, he was finding his footing as a visceral, soulful blues singer. This staggering concert is testament to his early brilliance.



WEN: Signals CD (LDN 044CD) 16.50
Meet Wen, the 22 year-old production prodigy with his own bass-heavy sound built on a pulsing rhythmic backbone, a nuanced sense of environmental texture, and coded vocal samples that interject like pulses. You could call the latter "signals." The album begins by building a space, setting the mood; settling into the kind of textures and temperament not often heard since the very earliest era of dubstep -- long before Wen's time. "Galactic," resurrected from a corrupted Fruity Loops file on a lost hard drive, is ethereal Blade Runner grime. "Lunar," which features Keysound label boss Blackdown, is a Detroit-style night drive through Babylon. Like a breaking storm, the album builds in power and intensity. At almost exactly the mid-point -- during the bouncy but otherwise warm 4x4 garage relick of "Swingin'" -- the calm is punctured. Often sampled from dense London slang and live pirate radio, these are Wen's heavy signals; weighed down with coded nuance. Power, locale, identity, intent, inequality, sexuality, gender, diversity, energy: all are regular themes of these encoded pirate transmissions. "Vampin'" leads you into a hot afterhours club scene full of complex, interpersonal power dynamics of those living for the weekend.



Jealousy is the first of the three solo albums by Tony Allen produced by Fela Kuti. In 1975 Tony Allen, the band-leader of Afrika 70, got an opportunity to rehearse his compositions together with rest of Afrika 70. This ended up on his first record which was initially released on the private imprint Soundworkshop Records. Jealousy is, according to many, still the highlight of his four solo albums, featuring two Afro-beat gems "Jealousy" and "Hustler." Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for Afro-beat fans around the globe.


ALLEN PLAYS WITH AFRIKA 70, TONY: No Accommodation for Lagos LP (KSTA 002LP) 27.50
1978 was without a doubt one of the most disturbing years in the history of Fela and the Afrika 70. Just a year before, the army had raided Fela's compound, destroying his house, his club, his brother's free medical clinic and fatally injuring his mother. With their houses destroyed, they had to squat at the former Decca offices. Somewhere in between the madness they managed to record Fela's Suffering and Smiling album and Tony Allen's third solo project No Accomodation for Lagos -- without a doubt his most politically-oriented record of all. After the record came out, Tony Allen dropped from the Afrika 70 band, as he felt that too many people were sapping Fela of his creative mind. Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for Afro-beat fans around the globe.


ALLEN AND AFRO MESSENGERS, TONY: No Discrimination LP (KSTA 003LP) 27.50
After 14 years of close collaboration, Tony Allen stopped working with Fela Anikulapo Kuti. After breaking from the band during the gigs at Berlin's festival in 1978, Tony Allen returned to Lagos to start working on new compositions. His independence inspired him to break away from his regular routine of putting two tracks on every single album. The tracks on No Discrimination are also focused more towards subjects of tolerance, brotherhood and peace. This was his final work during the '70s, after which he started to move beyond the border of Nigeria by collaborating with artists worldwide. Until this day he remains one of the greatest kit drummers alive. Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for Afro-beat fans around the globe.


In 1976, Fela Anikulapo Kuti and Afrika 70 released a total of eight albums including the hit Zombie. At the time of their height, Tony Allen, Fela's drummer, decided to release a follow-up album to Jealousy. Progress was the result of a series of studio sessions, featuring Fela himself with a tenor solo on the title-track. The B-side contains the dancefloor filler "Afro Disco Beat." Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for Afro-beat fans around the globe.


ALLEN & AFROBEAT 2000, TONY: N.E.P.A. LP (KSTA 005LP) 27.50
Huge Tony Allen album originally released in 1984. This officially licensed reissue holds an extra track previously-unreleased on vinyl, called "Olokun." Never Expect Power Always (aka N.E.P.A.) is largely a biting criticism and mocking of the Nigerian Electrical Power Authority, rife with corruption and poor service. It starts out with the title-track, with a definite Afro-beat punch and a tighter arrangement than would normally be expected from Fela. Electro-claps stand as part of the percussion line, adding to a more modern look at what Afro-beat was becoming. This is followed by an even further modernized piece of Afro-beat, as the title-track is given a dub mix. "When One Road Close" has a similar pace, and is similarly followed by a dub remix, complete with the necessary space-effects reverb. And to make this reissue extra special the track "Olokun" was never released on vinyl before. This is the peak of electronic Afro-beat. If you didn't pick the album up the first time around, this is a good time to get it.



ZUKIE, TAPPER: The Man from Bozrah CD (KSCD 049CD) 14.00
Tapper Zukie's Man from Bozrah (1978) album still stands up today many years after its initial release, as only great music seems to do. Tapper was one of the few Jamaican artists in the late 1970s that crossed over with the emerging punk/new wave audience. Punk poet Patti Smith had practiced her poetry over the rhythms from Tapper Zukie's Man Ah Warrior album before reworking them as songs with her band. Acknowledging this influence, she brought Tapper on stage with her at the Hammersmith Odeon, October 23, 1976 and introduced Tapper to a whole new audience -- an audience that accepted reggae as a music that also dealt with struggle and oppression. The great cover shot shows Tapper standing at the back gates of the school yard in Trench Town, which was opposite his own yard, so sit back and hear what was happening back then that made this such a time-defining album. CD version includes two bonus tracks.



TERRANOVA: Headache EP 12" (KOM 296EP) 14.50
Terranova returns to the fore with the Headache EP, another impressive assortment of floor-ready house weaponry. The new material shoves the pendulum back into more rugged club territory, showcasing the sort of sonic urgency and rawness the legendary project has become known for in the first place. "Headache," (featuring Stereo MCs vocalist and Tricky collaborator Cath Coffey) a cover of a song from The Au Pairs, as well as its instrumental sequel "Headlock" are both fuelled by propulsive beats and upscale hooks. "Tourette" is a full-blown thrill ride, brimming with jittery sampling, arresting percussion and some pretty rad bass line abrasiveness.



LESCALLEET, JASON: Much To My Demise LP (KYE 027LP) 18.00
"Kye is proud to present Much To My Demise, the brand new solo LP by Jason Lescalleet. Since establishing himself as a preeminent voice in contemporary electro-acoustic study, Jason Lescalleet has, through his solo work and in collaboration, exploded the notion of what is possible within the realm of tape-based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, on through to digital sampling and computer generated composition. Lescalleet's live actions further expand his ouevre to include work with video, dance, performance art and multi-media concerns. In recent years Lescalleet's work has done much to explore the theme of loss and decay as sound - Another Example Of Parkinson's Law (2001), Ineinandergreifen and Untitled (from Mattresslessness) (2002) and The Pilgrim (2006) all hold the concept of senescence at heart. Much To My Demise carries the motif of decomposition further still. Recorded and constructed solely with analog sources, Much To My Demise showcases the result of a three month process in which pre-recorded reels of tape were transported outdoors, buried in soil and encouraged to corrode. The reels were then excavated, and their resultant signals transferred and edited to form an apparitional triptych of faded gesture and mood. Much To My Demise shows Lescalleet at a new creative peak, crafting a music that is equal parts comforting and haunting, and allowing us access to secret world of sound hidden in plain sight. Expertly mastered at Glistening Labs, Berwick, ME, Much To My Demise arrives in a Lescalleet designed monochromatic reverse board sleeve, with card stock insert, on white vinyl, in an edition of 500 copies."


JAWORZYN, STEFAN: The Annihilating Light LP (KYE 028LP) 17.00
"Kye is proud to present The Annihilating Light, the brand new LP by Stefan Jaworzyn. For over three decades Jaworzyn has colored the varied waters of underground practice with his unique and darkly acerbic hue. His tenure in such genre-defining units as Skullflower; Whitehouse and Ascension/Descension, and his scholarly position on extreme cinema have awarded Jaworzyn his reputation as a counter-cultural impresario. He is equally regarded for his solo work, which has taken in everything from D.I.Y. cassette noise, rhythm box processions, to free guitar barbarism and beyond. Returning from a period of self-imposed exile Jaworzyn has re-organized his delivery into a synthesized charge of hard patterned electronics. The first rewards of this resurgence came last year via a pair of 12" EP's released through Jaworzyn's revived Shock label. The Annihilating Light continues the story by showcasing two brand new long-form compositions. 'Oasis Of Filth' unveils a brooding synthetic wasteland, percolating with malevolence and spite; 'Cast Out', by contrast, offers a head-crushing impasse of electronic stasis, fully flushed with classic anti-social potential. Expertly mastered by Jason Lescalleet at Glistening Labs The Annihilating Light arrives in a full color, high gloss sleeve, with black matte inners, in an edition of 500 copies."


GOOD AREA: Cubic Zirconia/Bad Karlshafen 7" (KYE 707EP) 10.00
"Kye is proud to present a new 7" coupling from Philadelphia's Good Area, expanding and refining the signature sound first heard on 2013's French Antarctica LP. 'Cubic Zirconia' offers a coarse instrumental homage to the cubic crystalline form of zirconium dioxide, whereas 'Bad Karlshafen' delivers a stark, text-based rumination on the breakfast habits of the Huguenots, collapsing ice-rinks and astral photography, bundled together in a viper's nest of non sequiturs. Cubic Zirconia/Bad Karlshafen arrives in a pro-printed full color sleeve, with numbered insert that replicates exactly the Golden Fish Market receipt of 10/12/13. Edition of 300 copies."


LF 004LP

VANDERMARK/NILSSEN-LOVE DUO: Lightning Over Water 2LP +7" (LF 004LP) 44.00
This double LP + 7" is a result of two nights of live performance at the Dragon Club in Pozna?, Poland in October 2011. The recording captures the duo at the peak of their tour and the result is mindblowing. Ninety-five minutes of playing-time spread out onto 2 LPs and a 7" single. Total running time of the concerts was 200 minutes, so this is only a snippet of the two evenings. The LPs and 7" come in a specially-designed cardboard box. Paal Nilssen-Love (drums) and Ken Vandermark (reeds) started their collaboration in 2000 when the group School Days was formed. Since that time, they have worked together in many other groups, including FME, the Peter Brötzmann Chicago Tentet, Lean Left (with Terrie Ex and Andy Moor), iTi (with Thomas Lehn and Johannes Bauer), Fire Room (with Lasse Marhaug) and with Vandermark as a guest in The Thing (which includes Mats Gustafsson and Ingebrigt Håker Flaten). Despite all of this activity, from early on it seemed like a natural idea for them to also pursue a duo format as a vehicle for performance. This work began during the summer of 2002, when they recorded the album, Dual Pleasure for the label Smalltown Supersound. Since then, the duo has toured the USA, Canada, Europe and Japan several times. Their musical approach to playing in the duo context is ferocious in its intensity, a stylistic maelstrom that combines extreme rhythmic velocity with formal deconstruction and re-assembly. In many ways, Nilssen-Love and Vandermark are more unleashed in this setting than any of their other playing situations, creating an environment for improvised music that is riveting for both its ideas and execution.


LL 013CD

SUBS, THE: Hologram CD (LL 013CD) 17.00
For their third full-length release, Belgian dance act The Subs decided to make a pop album with heartfelt soul, filmic French retro-futurism and crisp beats. Hologram is an album that displays many moods and styles and sees The Subs working together with both renowned international vocalists and underground singers and rappers: Colonel Abrams, Selah Sue, Jean-Pierre Castaldi, Jay Brown and Danny Greene. With two albums under their belt, Jeroen De Pessemier (David Newtron) and Wiebe Loccufier (DJ Tonic) have been touring around the world -- London, Barcelona or Sydney, Tomorrowland, Bestival, Lowlands, Les Eurockéennes -- you name it. Some major changes took place within the band over the past years. In 2012, songwriter/frontman Jeroen De Pessemier moved to London, absorbing new musical influences there like the UK garage and house revival. After the release of their second album Decontrol (LL 009CD), Wiebe Loccufier started producing beats and evolved from DJ into producer. Finally, by recruiting Hadrien Lavogez, The Subs got themselves a genuine multi-instrumentalist with an incredible knack for melody. This whole new dynamic pushed The Subs towards a more pop-based sound for Hologram. "Trapped" is a rendition of the 1985 street-smart R&B hit by Colonel Abrams. Urged by that other colonel, their good friend Mon Colonel of the Liège-based squad The Party Harders, The Subs invited the legendary American singer to Belgium to re-record his vocals. In the end, the original acapella got cleared after all, but Colonel Abram's visit to Belgium wasn't entirely unnecessary: he left The Subs with some good stories. Another international icon who paid a visit to the Subs studio is French actor Jean-Pierre Castaldi: one might know this veteran of cinéma from the Astérix movies. Castaldi is the deep, warm voice that you hear on "Concorde," an upbeat retro-futuristic track that is both an ode to the supersonic wonder of 20th century technology and a love song. Deep emotions are laid bare on the bouncy "Live in a Dream" (Selah Sue) and the dreamy, trip-hoppy "Fly" (London-based Jay Brown). Jay Brown is actually VV Brown's talented younger sister: a singer-songwriter that Jeroen discovered during an open mic night in London. Brown can also be heard on the tracks "27," "Under My Skin," "Cling to Love," "The Hand" and "Hologram." This album is brimming with energy, but the dark dance-punk of the previous record has been traded for a much more soulful vibe. Wiebe: "From hip-hop to UK house, we absorbed a lot of influences, but this is still Subs-music." "The Bottle" features a monologue by Danny Greene, an underground grime artist Jeroen bumped into in London, and the track is philosophical, naïve, arrogant, hilarious and funky at the same time. Hologram is The Subs' most accessible and experimental record to date. Housed in an amazing holographic digipack + booklet.



VA: Lewdandloud 001 12" (LAL 001EP) 12.50
Lewd And Loud's debut 12", featuring one song each from Alex Bayer, Roman Rauch, and Abigail.



SCHULZE, KLAUS: La Vie Electronique Vol. 14 3CD (MIG 782CD) 22.00
"The most wanted rarities of the electro-pioneer Klaus Schulze! 3 CDs remastered in a high quality digipack includes unreleased liner notes and pictures. Volume 14 out of 15 in the La Vie Electronique series."



MADLIB & FREDDIE GIBBS: Pinata 2LP (MMS 022LP) 25.00
Double LP version. "Freddie Gibbs is the product of violent, drug-laden streets. But unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. Piñata is 'a gangster Blaxploitation film on wax,' says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroit's Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer."



ORQUESTRA IMPERIAL: Fazendo as Pazes Com o Swing CD (MAIS 017CD) 15.50
Rio's samba super-group Orquestra Imperial make their eagerly-awaited return with a new album on Mais Um Discos -- Fazendo as Pazes Com o swing ("Making Peace with the Swing") -- a majestic offering of gafieira samba shot through with a psychedelic twist of rock guitar riffs, salsa, bolero, maracatu, and more. The Orquestra line-up is like a who's-who of Rio's most sought-after musicians: the inventors of post-Tropicalia, formerly signed to David Byrne's Luaka Bop, Kassin, Domenico and Moreno Veloso (Caetano's son); member of Devendra Banhart's live band and founder (with Fabrizio Moretti of The Strokes) of rock super-group Little Joy, Rodrigo Amarante (who releases his debut solo album on Rough Trade Records, France, in early 2014); Brazilian soap opera queen & vocalist Thalma de Freitas, plus legendary percussionist Wilson das Neves, to name but six. Taking their main inspiration from gafiera samba, the genre that set the Rio clubs on fire in the early 20th century, the group updates the sound with post-Tropicalia zest. However, though treading well-established territory, all 20 of the band's members are keen to stress they are no Buena Vista Social Club, and more readily identify with the progressive nature of bands like Ondatropica, Will Quantic's Colombian supergroup. The group previously wowed critics and audiences with their debut album Carnaval Só No Ano Que Vem, which they toured throughout the UK and Europe. Their live shows have featured everyone from Brazilian legends such as Seu Jorge and Caetano Veloso to Gruff Rhys, Jane Birkin, Jean-Claude Vannier (who directed the band in a special Serge Gainsbourg concert), The Bees and Chrissie Hynde.


META META: Metal Metal CD (MAIS 018CD) 15.50
Metá Metá's sophomore album and debut for Mais Um Discos MetaL MetaL launches itself from the ancient chants of the orixás into a dirty brew of psychedelic samba, distorted jazz and Afro-punk. The band is formed from a trio of São Paulo's most sought-after musicians -- vocalist Juçara Marçal, saxophonist Thiago França and guitarist Kiko Dinucci -- and features Afrobeat legend Tony Allen. Followers of the Afro-Brazilian religion Candomblé, Marçal, França and Dinucci mix these spiritual and rhythmic foundations with influences ranging from Afrobeat to Afrosambas, punk rock to be-bop to create chaotic, effervescent music that explodes with the rage of The Stooges and Sonic Youth, the spirituality of John Coltrane and Sun Ra and the wild, avant-garde instrumentation of contemporary experimental jazz outfits such as Melt Yourself Down and Polar Bear.


MT 025-7

HISTORY OF APPLE PIE, THE: Don't You Wanna Be Mine 7" (MT 025-7) 10.00
The History Of Apple Pie return with a new single, the incessantly catchy "Don't You Wanna Be Mine?" -- an addictive, pulsing garage/psych stomper. The single is backed by a remix from London's Dreamtrak. The single marks the return of the band after the release of their Joshua Third (The Horrors)-engineered, debut album Out of View. The band are currently in the studio putting the finishing touches on their eagerly-awaited second album. On clear vinyl.



ISHII, KEN: Wobbly Sniper 12" (MBE 124EP) 12.50
Japan's most innovative and experimental composer and one of the most intelligent international DJs, Ken Ishii makes his debut EP on MB Elektronics with his two-tracker EP ''Wobbly Sniper'." The title-track is a pure dancefloor smasher that will not let you take a breath from start to end. The second track ''Alienated Bass'' will cause some ''hands in the air'' action, giving an even more exciting vibe to the party. On remix duties nobody else than the one and only legend Steve Rachmad delivers an amazing version of the title-track, driving it each time to another level.



DEAD MOON: Crack in the System LP (MRP 057LP) 13.00
"A true Dead Moon classic. One of their most beloved LPs. Features the mega hit 'It's Okay' along with other classics like 'Day After Day,' 'Cast Will Change,' 'Unknown Passage,' and the best version of 'The Times They Are Changin'' ever recorded! All hits, no misses on this one. Timeless. Lovingly remastered by Timothy Stollenwerk."


"Dragging an Ox Through Water is Portland musician Brian Mumford - a beloved and legendary local talent. Brian plays a brand of music uniquely his own: a weird mix of rock-solid song writing with guitar accompaniment and music concrete. His voice is deep and heavy. Panic Sentry is a pretty melancholy record, but never with a dull moment. We at Mississippi Records are very proud of this LP and consider it a contemporary classic. Includes a liner note insert. A co-release with our friends Eggy Records."


SMITH, HARRY: Anthology of American Folk Music Vol. 1 (Ballads) 2LP (MRP 070LP) 40.00
"Mississippi Records is proud to present a reproduction of the Anthology of American Folk Music as it originally was released in 1952. Each volume is a double LP, housed in a cloth bound super thick cardboard gatefold sleeve with a tip on print on the front. In the gatefold there is a pouch with a reproduction of the original liner notes. The vinyl is 200 gram. We have gone to great lengths to reproduce the LPs just as they originally were designed by Harry Smith. All the materials and mastering are as top notch as possible. It's hard to even begin to talk about the significance of these 8 LPs. Harry Smith created an alternate version of American culture with these sets that influenced just about everyone who heard them. I would dare say that these records changed American society more than any others ever released. Bob Dylan and Carl Sagan both agree it's the greatest record ever made. The Mississippi label's entire ethos is based on them. As mythic and powerful as art can get. Just like every house needs a door, every record collection must have this set. That's my opinion and it's true. Limited one time pressing not to be missed. These are being sold as four separate volumes. The first volume of the anthology focuses on ballads. Great murder ballads, lonesome love songs, and songs of tragedy. The American experience writ large and poetically."


SMITH, HARRY: Anthology of American Folk Music Vol. 2 (Social Music) 2LP (MRP 071LP) 40.00
"The second volume of the anthology features music for sacred and secular social gatherings. Amazing fiddle breakdowns, gospel performances, Cajun tunes, and dance songs. Mississippi Records is proud to present a reproduction of the Anthology of American Folk Music as it originally was released in 1952. Each volume is a double LP, housed in a cloth bound super thick cardboard gatefold sleeve with a tip on print on the front. In the gatefold there is a pouch with a reproduction of the original liner notes. The vinyl is 200 gram."


SMITH, HARRY: Anthology of American Folk Music Vol. 3 (Songs) 2LP (MRP 072LP) 40.00
"The third volume of the anthology focuses on individual expression. Intense personal songs. Some of the greatest musical performances of all time. Mississippi Records is proud to present a reproduction of the Anthology of American Folk Music as it originally was released in 1952. Each volume is a double LP, housed in a cloth bound super thick cardboard gatefold sleeve with a tip on print on the front. In the gatefold there is a pouch with a reproduction of the original liner notes. The vinyl is 200 gram."


SMITH, HARRY: Anthology of American Folk Music Vol. 4 (Rhythmic Changes) 2LP (MRP 073LP) 40.00
"The fourth volume of the anthology was never finished by Harry Smith. He managed to choose and sequence the tracks but never submitted liner notes to Folkways. Revenant Records released a version of this volume in the late 1990s with excellent liner notes and packaging. For our current release we have decided not to include any liner notes and conform the packaging to the same style as the first three volumes. This volume explores rhythmic changes that occurred in folk music between the late 1920s and early 1940s. Each volume is a double LP, housed in a cloth bound super thick cardboard gatefold sleeve with a tip on print on the front. The vinyl is 200 gram."



MILLIE & ANDREA: Drop the Vowels CD (LOVE 094CD) 18.00
Millie & Andrea are Miles Whittaker and Andy Stott, fellow label-mates at Modern Love who collaborated on an occasional series of 12" releases between 2008 and 2010. They now return with Drop the Vowels, their debut album. Produced fast and loose through late 2013/early 2014, it's an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila's incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral. It's an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as an emotional response. Opener "GIF RIFF" brings to life a gamelan edit stripped bare before the over-compressed "Stay Ugly" breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. "Temper Tantrum" and "Spectral Source" follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake's mighty "Madmen." "Corrosive" flits between a fibrillating, arpeggiated steppers' rhythm and a brutal jungle breakdown, while "Drop the Vowels" further explores and strips bare bass & drums before the slow but jacking warehouse killer "Back Down" provides pure percussive abandon. "Quay" ends the set with something quieter, a sublime coda made entirely from field recordings. Mastered and cut by Matt Colton. CD edition housed in a deluxe oversized 6-panel digifile.


MILLIE & ANDREA: Drop the Vowels 2LP (LOVE 094LP) 25.50
Double LP version. Millie & Andrea are Miles Whittaker and Andy Stott, fellow label-mates at Modern Love who collaborated on an occasional series of 12" releases between 2008 and 2010. They now return with Drop the Vowels, their debut album. Produced fast and loose through late 2013/early 2014, it's an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila's incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral. It's an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as an emotional response. Opener "GIF RIFF" brings to life a gamelan edit stripped bare before the over-compressed "Stay Ugly" breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. "Temper Tantrum" and "Spectral Source" follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake's mighty "Madmen." "Corrosive" flits between a fibrillating, arpeggiated steppers' rhythm and a brutal jungle breakdown, while "Drop the Vowels" further explores and strips bare bass & drums before the slow but jacking warehouse killer "Back Down" provides pure percussive abandon. "Quay" ends the set with something quieter, a sublime coda made entirely from field recordings. Mastered and cut by Matt Colton.



MONKEY SAFARI: Watching the Stars EP 12" (MONA 021EP) 12.50
No more just tracking down tracks! That has been the law at the Monaberry camp for a while now. It rings true with full force, as The Monkeys release their seminal and elegantly powerful "Watching The Stars" EP. The label's visionary search for real song quality and artist-wise grooves calls for another round leady by the brave bros and pros of Monkey Safari and their remixing partners in crime. A: Watching the Stars (7:09) A wolf in sheep's clothing... an easy chuckling groove that gets twisted throughout invites you to relax and keep it down. But soon the title track takes its toll. As the Monkeys effortlessly layer synths and organs in almost psychedelic manner, crowned by the manically sweet vocoder theme. Now they're talking and dreaming of a star where Woodstock seems nearer than Berghain. Universal love for the groove and vibe makes this a proper night time anthem!



Monika welcomes a new artist to her roster: the Finnish producer and composer Islaja aka Merja Kokkonen. The new Islaja album marks a radical transition for the former folk musician into a solo artist who skillfully arranges lyrics, melodies and imagery into a much more electronic style than she has been known for in the past. The album is called S U U, which is Finnish for "mouth," and Islaja's bold vocal style and lyrical content will make you want to tune in to what's coming from her S U U. Islaja has been part of the contemporary music scene for several years, already producing wonderfully-arranged surreal pop tracks in her solo work, as on 2010's Keraaminen Pää (FR 072CD/LP) as well as in collaboration with other musicians as on the Hertta Lussu Ässä project in 2011, or recently as a contributor to AGF's Kuuntele compilation in 2013. In total, she has previously had four full-length albums on Finnish label Fonal plus one on Thurston Moore's Ecstatic Peace! Records. Still, so far it has mainly been insiders of the underground music scene that have been familiar with her work. Her music is strongly associated with the D.I.Y. scene, and so represents a prime example of a female musician who has developed a singular musical and aesthetic expression. Somehow Islaja fits in with these new modern female acts such as Anika, Nite Jewel and Yula -- even if their styles are all quite distinct. Now with her fifth album appearing on Gudrun Gut's Monika Enterprise, the latest activities of Berlin-based Finnish pop musician Islaja have shown a surprising change in style and sound. S U U was coproduced and mixed by fellow Berlin resident Heidi Mortenson. The record's development is firmly rooted in the city. The songs on S U U are so full of surprises, one doesn't really know what to expect next, so her current metamorphosis falls right in line with Islaja's nature. While mystical aspects were mainly expressed in older work through lyrics with strong links to Finnish mythology, they now appear on the compositional level and in vocals driving the beats into forward-moving tracks ever permeated with a sensation of the unreal. The low-pitched voice is somewhat reminiscent of Nico, and the presence of synthesized sounds also evokes references to '80s new wave and pop. Nevertheless Islaja's work is by no means retro; rather, it creates a unique and unusual atmosphere. Her sound is as intriguing and humorous as it is original.


LP version.



MADTEO: Insider 12" (DOSER 018EP) 12.50
2014 repress. Madteo's return to Morphine. He really expands his electronic palette for this one, and goes into some heady, experimental realms.



SUBURBS: Not So Secret Diary 03 12" (NSSD 003EP) 18.00
Vinyl only. "The third release by Not So Secret Diary comes from Suburbs. They always keep the quality and the message of these recordings the same, but they never try to produce the same music, like most of the Romainan techno producers do. Ginel and Iulian make their own music, simply and honestly. This music is filled with calmness and formless harmony, floating percussion, transparent dubs and gently produced repetitive compositions. It's not Romanian techno, it's Suburbs." --Laurine Frost



OLIVA & DJ LE ROI, ANDREA: Conto 4056 EP 12" (OBJ 027EP) 14.50
Andrea Oliva releases his first EP of 2014 on Dennis Ferrer's label Objektivity. The EP witnesses Andrea collaborate with Basel-based DJ Le Roi. The three-track EP features "My Balls," which unveils an all-encompassing driving beat paired with chilling female vocals. Andrea focuses his attention on the dancefloor with next track "Passion" by featuring stylishly simplistic piano chords, and a four-to-the-floor beat. Andrea and Le Roi close the EP with the bouncy track "Feel on You," which is streamlined by a sultry vocal line.



TOBIAS.: A Series of Shocks CD (OSTGUT 030CD) 17.00
A Series of Shocks is the second solo album from accomplished Berlin-based producer Tobias Freund. Continuing his exploration into "non-standard" electronic music, and expanding on the rich sound palette charted in his first LP, Leaning Over Backwards (OSTGUT 018CD/009LP), this new chapter presents 10 versatile tracks taking us ever further into the purist, evolving sonic world of Tobias. A warm wash of synthetics begins it all with opener "Entire," a lush synthesizer sequence with additional contributions from NSI.'s Max Loderbauer, the track casually flaunts the sheer depth of sound and sense of space awaiting the listener. Varied, playfully contrasting moods then follow, with great finesse and an ever-present attention to detail. Freund's live shows, where the use of either the Roland TR-808 or TR-909 has become an integral part, have clearly played a role in the development of the Tobias. sound manifesto, and a large proportion of A Series of Shocks has the 4/4 structure at its heartbeat -- indeed, track two takes this as its namesake, in a submerged and tense exercise. Exceptions to that steady throb are also a joy to be found, with the frenetic techno syncopations of "Testcard" offering an early moment of broken-beat hypnosis, and later excursions into breaks like the euphoric "Cursor Item Only" or the brash dub of "If" prove there are indeed complex systems at work. Reaching for more energetic zones, fans of classic Tobias. jams like "Street Knowledge" or "Dial" will be pleased to find several well-honed and on-target club tracks, like the textural "Instant," "He Said," or the more meditative, but no less visceral "Ya Po." Snaking, arpeggiated synth patterns are Freund's go-to tool to build paranoid, yet at once funky and complex moments of mystery. Repeat listening will reward the listener by unearthing even more subtleties beneath these undulating elements. For an album produced largely with machines, the end result is in fact anything but rigid; a multitude of dynamics breathe life into every track. Synth elements swim in tension, build and recede with grace, and intertwine themselves into oblivion. Warm, natural drums state their presence, but do not overpower, letting the sum of the parts create the power, rather than merely the kick alone. The resonant sting of "The Scheme of Things," matched with its smooth undertones, illustrates this perfectly. With clarity of sound and a conscious mind to allow each element its place, Tobias. has found a maturity and a true art in controlling the lively dance of the constituent parts. A master at the mix-down, everything gels; nothing is left in-concluded. This sense of togetherness continues until the very final bars of "Fast Null" leaving us in a suspended moment of wonder, and appreciation. What becomes apparent is that this album carries not only 61 and a half minutes of inventive contemporary electronic music, but also decades of experience, knowledge and passion for an artform that can only grow through the work of activists such as Tobias Freund.


OP 009EP

GRAGG, DREW: Over-Under EP 12" (OP 009EP) 14.00
With Over-Under, Montreal-based composer Drew Gragg conjures those rapt moments of music that burst from solitude. Here's an artist who understands boredom, its sublime ambience, and how an idea builds to wake you from it. "Adsr Toms" takes three things, a piano, a fuzzy pitched drum and an infectious rim-shot that shapes and reshapes before dropping casually into the proximity of a gentle four-four. Grooves build to elegant cairns, sounding of stones as they beat in a cold undertow. On "Ostinate," a piano and pillow-y tape hiss play alone before a single bounding kick threads their sounds together.



SHORT CROSS: Arising LP (OSR 023LP) 25.50
Reissue taken from the original mastertapes of this rare U.S. 1972 hard-rock/heavy blues private pressing. Short Cross features a powerful jamming sound influenced by Black Sabbath, Led Zeppelin, Grand Funk Railroad, early Blood, Sweat & Tears, etc., with tasty guitar leads/organ and occasional horns. Includes an insert with pictures and liner notes.



PARKER, STEVE: Sugar High EP 12" (OVM 240EP) 14.00
Steve Parker brings you a diverse three-track EP that will devastate dancefloors around the globe. Over the last few years Steve's productions have seem him become a regular in the record boxes of the world's best. Having been thoroughly road-tested by Mr. Wink, the Sugar High EP provides the perfect example of Parker's talent. The title-track is a moody builder that teases with tension, always teetering on the edge of the boiling point. "System 22" is a more straight-ahead, gritty and jacking techno workout that twists and turns, but always retains the groove. "Konduktor" returns the calm with its wonderful warm depth and grooves.


ROMERO, HARRY: You Get Deep EP 12" (OVM 241EP) 14.00
New Jersey's finest returns to Ovum alias-free. Having been contractually locked down in 2011, Harry Romero's previous Philly outing came under his secretive Vaggio pseudonym. These new tracks serve up a full Romero menu with "Get Deep" displaying a groove-heavy swing and a spritely arpeggiated synth-line which dances throughout. "Not Yet" lets rip with its scything beats and a twisted, rubbery bass line that will provoke an erotic response from the floor. Sondos beats abound on the relentless "Casino," as Harry messes with our minds, chopping and twisting the Hammond to create a roof-raising warehouse anthem.


PRTL 10002EP

SEVENTH SENSE BAND (FEAT. MENE MAN): Who Are You/Brimstone and Fire 10" (PRTL 10002EP) 14.00
Originally released in the late 1990s on a Jah Works 12," "Who Are You" gets a welcome reissue from Partial Records, a label leading the way in unleashing some treasures from the 1990s roots scene. A Jah Shaka anthem from those times, the bass line on this track is serious. Really serious. The lyric is a heartfelt plea aimed at gun men, reflecting a real-life incident that happened, which was written, mixed and produced by Rej Forte, at the Seventh Studio, Newbury. Backed with a ton-weight dub cut "Brimstone and Fire."



VA: Mixed Up Minds Part Eight: Obscure Rock & Pop from the British Isles 1970-1974 CD (PART 4039CD) 17.00
Part eight of Particles' intrepid exploration into the abyss of obscure British rock and pop follows a darker path. Fuzz guitars, flutes, tablas and wah-wah pedals are the primary weapons applied by a host of bands that signify the changing times and the aftermath of the psychedelic dream. Prepare to encounter the evocative underbelly of 1970s British rock. Artists include: Philwit And Pegasus, Andwella, Gringo, Key Largo, Mother Nature, Tractor, Smoke, Pete Brown And Piblokto, Zapatta Schmidt, Equinox, Megaton, Kingdom, Ghost, Farm, Walrus, Accolade, Raw Material, and Little Big Horn.


VA: Piccadilly Sunshine Part Eighteen: British Pop Psych and Other Flavours 1966-1970 CD (PART 4040CD) 17.00
Piccadilly Sunshine is a celebration of British pop caught in the glare of the psychedelic dream, featuring a plethora of rare pictorial delights with in-depth biographies of the artists within. This series offers a rare opportunity to sample a diverse and intriguing glimpse into a time that was and never shall be again. Presenting a colorful analysis of the '60s British pop underbelly, the latest volume offers an assortment of curios and pleasures for the inquisitive connoisseur. Artists include: Sounds Inc., Bluejeans, The Summer Set, Wayne Fontana, Billy Budd, Pennyworth, Candy Choir, Alan David, Balloon Busters, The Liverpool Scene, Kate, Udell T. Anderson, Cliff Aungier, Shades Of Morley Brown, Barry Lee Show, Yellow Bellow Room Boom, Mike Wallace, Mike Proctor, Kaplan, and Barron Knights.



KALKBRENNER, PAUL: Boexig Leise EP 12" (PKM 011EP) 12.00
From the upcoming Paul Kalkbrenner remix album we get another teaser with the Pig & Dan remix of "Böxig leise." The original version which can be found on the 2011 gold album Icke Wieder is a huge highlight within Paul Kalkbrenner's live show. Pig & Dan, who dominated Beatport Top 10 in 2013, give "Böxig leise" a big a techno rework and transfer the delicate original track into a premium club smasher, including a huge breakdown which features the legendary original hook line.



VA: Brontosaurus 2014 12" (PERMVAC 116EP) 12.00
Still hungry for some Brontosaurus? Here is your 2014 refill and the last chapter of the big Brontosaurus saga. Expect two brand-new tracks from Arto Mwambe and Exile Missile that are keeping their promises of dusty, melodic, euphoric house music. And as bonus you will get "The Mothership" anthem by the Extra Produktionen band, which was hard to escape at the beginning of the 00's, but why would you? You can listen to it over and over again. So farewell, dear Brontosaurus. You have been a giant.



ROW, RACHEL: L Square 12" (PETS 040EP) 14.00
Rachel Row returns to Pets with a KiNK-produced sonic star-gazer that's turbo-charged with high levels of spine-melting emotion. Purring, alluring vocals, ice-cold blasts of concentrated synth euphoria, devious acid bubbles, and drums so wholesome they could feed a family of four for an entire year. "Square" comes on strong like Orbital-meets-Goldfrapp and celebrates every classic ingredient you've always loved about electronic music. KiNK's remix is a tech-flavored juggernaut complete with a bulbous, dubbed-out bass line, insistent percussion, twisted FX and chug-thugged beats, while Adam Port slaps down a naked, jacking banquet.



DENDOSHI: Dendoshi 2 LP (PLANAM 003LP) 25.00
2008 release. Dendoshi is Keith Connolly (No Neck Blues Band), Raymond Dijkstra (Asra), Dave Nuss (No Neck Blues Band) and Timo Van Luyk (Af Ursin, In Camera). Dendoshi: "sent to propagate the ceremony" or "missionary" (Japanese). There had actually been a previous incarnation of Dendoshi (hence Dendoshi 2), which was a large group performance in New York that ventured upon elucidating the memories of a 50-plus foot tall dead weeping cherry tree re-contextualized as a sculptural exhibit. Some thematic reference: The name "Dendoshi" originates from the work of Japanese filmmaker Kiyoshi Kurosawa, whose films also inspired the content of the first performance. When the opportunity presented itself for Connolly, Dijkstra, Nuss and Van Luyk to come together to make a session, it was the perfect opportunity to realize Dendoshi not as a one-off performance on a theme, but as a recurring ritual in development. The resulting music widened the conceptual reflection of the band, bringing to mind the history and ideas of Franz Mesmer. Mesmer, the 18th century Austrian spiritualist healer, was among the first to put forth the theory of what he termed "animal magnetism," regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of Eliphas Levi's concepts. What seemed to set Mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent his work an aura of portent -- thus the parallel with the music captured as Dendoshi 2. Reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstasy. The symbol, or mark on the front cover created by Connolly came intuitively and without revision. Its applied function is that of distinction rather than that of protection or as a seal. It was first applied to the photograph by Clarence H. White from 1904, where the first resonant depiction or personification of reverie and oblivion as applied to Dendoshi was found. By applying the mark, Connolly is ceremonializing the image, thus rendering it distinct from its original form, not as an appropriation, but as a recognition. The other images followed, and each of them were recognized instantly without having to search. The last was Vermeer's image from Van Luyk's basement, and upon receiving this, the series of four inserts was complete. There is a trace of fear and a sensation of suspended time in these images which suits the music very well. Edition limited to 300 copies with a gold cover.



STARWALKER: Losers Can Win CD (PROTO 001CD) 12.00
Starwalker is a brand-new collaboration between two electro-pop icons: Jean-Benoit Dunckel (Air) and Icelandic composer Bardi Johannsson (Bang Gang, Lady & Bird). The title, Starwalker -- suitably spatial and curious -- is an umbrella term for the duo's new works together. Included in this blossoming canon is the debut EP including singles "Bad Weather" and "Losers Can Win," a celestial song featuring the vocals of Keren Ann. The Starwalker project is in part inspired by both the unpredictable nature of Iceland and the clean, classic design of France, and the result pulls you in with its intensity. That is not to say the duo lack a lightness of touch or a sense of humor, however. Bubbles, Warhol, pop colors, burlesque, sexy women -- moving and dancing, Starwalker sing the song in slow-motion. Features a remix of "Bad Weather" by Bloodgroup.



YYU: Kiss as We Walk 12" (RAMP 059EP) 12.50
Following from 2012's critically-lauded album TIMETIMETIME&TIME, Kansas-based experimental producer and sonic auteur YYU (pronounced: "why why you") releases his first 12" single for UK-based powerhouse Ramp. Advancing on his home-spun sound that sees the producer utilizing field recordings of live instrumentation and heavily-effected, pitch-shifting vocal refrains -- occasionally sounding like James Blake making garage rock -- alongside modern, hip-hop leaning production techniques. The title-track features chopped-up room ambience, tiny snippets of vocal utterances and snatches of noise filling out the focused, minimal sound. The flip features an emotionally-charged folk song about time and death.


R-N 135CD

CHATON, ANNE-JAMES: Decade CD/BOOK (R-N 135CD) 32.00
The collaboration of the poet Anne-James Chaton, guitarist Andy Moor and musician Alva Noto is a dense and structured sound design, in which words, rhythms, and melodic loops inexorably blend. Anne-James Chaton reads almost a litany of portraits of people, built from lists of events and objective facts. The list is set in several languages, deliberately repetitive, and becomes a continuous bass line on which the music builds up. The electronic sound structures of Alva Noto perfectly complement the incursions of Andy Moor's experimental guitar playing. Gradually, the prose, the guitar and machines resonate, culminating in a powerful storm both musical and harmonious. The text consists of a collection of 20 portraits written throughout the last decade. These almost photographic sketches are fed from textual blueprints which met the author at some point in time: bank statements, subway tickets, restaurant and shopping receipts are rewritten in prose, composed in simple subject-verb-complements. Each piece of information becomes a sentence; all sentences are short and compact, and in fast succession, they gradually shape a story. Portraits of a nurse, a teacher, an educator, a singer, an astronaut, and many others are placed end to end. The assembly of parallel lives creates a continuous thread, providing a path to follow both extreme banality and great adventures. Actions, places and events are melted in the instance of a third person singular with no indication which is its true identity. It is a disturbance with many possible escape routes of dispersion and emergence. The listener encounters the speeches of German, English, Japanese and other languages, which introduce multiple shifts of meaning. The voice becomes pure sensation; in conjoint with the textures and improvisations delivered by the other musicians, it can submerge to the background and re-emerge again, being pure sonic material stripped off of its communicative function. The significance of words is lost in pure performance and proceeds as yet another texture in the sound. Format: book + compact disc, 128 pages, soft cover, limited edition. Published by Raster-Noton in collaboration with Centre d'Art Mobile (Besançon), Le Lieu Unique (Nantes) and Ibidem (Montpellier).



"Maurizio Bianchi's 1981 Symphony For a Genocide LP is the artist's most well known work, widely recognized as a classic of early industrial music. A year and a half after its initial release on vinyl in a limited edition of 227 copies, the album was reissued on cassette by the Broken Flag label. It was at this time that Bianchi created an entirely new recording drawn from the audio of the original LP. Entitled S.F.A.G. 81 and issued in January 1983 as a companion to the Symphony For a Genocide cassette release, it was a radically different work comprised solely of two extended, side-long tracks. Bianchi had already began to evolve from the harsh and primitive attack of his earliest releases toward a more desolate, introspective sound exemplified by The Plain Truth and Armaghedon albums; S.F.A.G. 81 lands somewhere in between these two approaches. Remnants of the relentless mechanical rhythms and synthesizer churn of the original Symphony remain, but it is as though one were listening to them from a distance, lost in the midst of a massive blizzard. Strains of recognizable sound drift in and out of earshot like hallucinations, echoing across the bleak stretches of grayed-out sound. S.F.A.G. 81 has been re-released (often in abridged form) on cassette and CD several times over the years, and an excerpt appeared on one LP side of Vinyl On Demand's massive five-disc Broken Flag retrospective box set; this reissue marks the first time ever the complete album has been available on vinyl. Remastered and fully authorized, it comes packaged in thick tip-on jackets with artwork by longtime Bianchi collaborator Siegmar Fricke. One-time pressing of 500 copies."



POPULATION ONE: Systematically Changing 12" (REDUCTION 004EP) 12.50
Population One serving it up COLD and reduced... another totally heavy offering from Terrence Dixon, on his own imprint.



CASSIBER: 1982-1992 6CD BOX (RER CBOX1) 85.00
"The 4 historic releases have been carefully re-mastered. In addition two extra CDs, one that collects the Cassix, Duck and Cover and Ground Zero projects (also re-mastered) and one of unreleased studio and live material. Then there's a DVD (about 2 hours) of live and studio footage, including a mini documentary made in East Berlin where they were recording of A Face We All Know."



DEAD FADER: In Cover 12" (RER 018EP) 12.00
This 12" single comes with a digital download code giving access to two bonus tracks. Limited to 200 copies. Dead Fader returns in Spring 2014 with two full-length releases coming via Robot Elephant Records (Blood Forest) and Small But Hard Records (Scorched). However, before releasing those albums, RER present this 45 rpm 12" single, which contains two non-album tracks from the Blood Forest sessions on the B-side plus two additional download tracks from the Scorched sessions.



SUBACTIVE SOUND SYSTEM: Pepper Dem EP 12" (SCOB 041EP) 15.50
Subactive Sound System from Strasbourg are back with a deadly EP of epic bass proportions. With their second release on Scotch Bonnet they bring a funky swing to modern dub with perfectly sensed vocals and irresistible rhythm.



FANTINATTO, ROBERT: I Dream Of Wires: Hardcore Edition BLU-RAY (IDOW 002BR) 34.00
"I Dream Of Wires: Hardcore Edition is an extended, lengthy historical primer exploring the early development of modular synthesizers from pioneering companies Moog Music Inc. and Buchla & Associates. Interview subjects include musicians and producers Morton Subotnick, Bernie Krause, Gary Numan, Chris Carter, Daniel Miller, Flood, Trent Reznor, Carl Craig, cEvin Key, James Holden, Factory and more." Running time: 240 minutes.



FRANK, JACKSON C.: Fixin' to Die CD (SEC 086CD) 16.00
"16 track CD of early recordings and other material for the late Jackson C Frank. He was Sandy Denny's boyfriend; Nick Drake, Bert Jansch, Al Stewart and others have covered his songs. His first and only album was produced by Paul Simon. After being burned in a fire and the death of his son, he became an NYC vagrant and eventually succumbed to pneumonia and cardiac arrest in 1999 at age 56."



LAZARUS: Lazarus CD (SHAD 162CD) 17.00
Lazarus was founded by Peter Glatzl at the end of 1970 and they played many gigs in Austria with various line-ups until 1976. This amazing album was recorded in Vienna in 1973 in a professional studio for Rex Records. Only 15 sample copies were pressed and only five copies ended up with the band members. Rex were known for releases of German folk music and schlager, so they didn't know what to do with this far-out recording and did not release it. Among collectors, Lazarus was a big mystery since nobody had ever found a copy for the past 25 years. Hans Pokora (Record Collector Dreams) managed to locate an original LP and the band as well, and Shadoks was able to work out a deal. The label was amazed with the great music and the professional compositions and recording. The story of Lazarus is told as a psychedelic opera of a being who emerges as a monster from his grave to spread terror and horror. Features All-English vocals, amazing fuzz guitar, Zappa-style arrangements, great vocals, tons of effects and tight drum sounds. Do not expect a naive Krautrock style -- this is pure underground with a good dose of psychedelia.



RAU, CHRISTOPHER: Mehris Mood 12" (SMALL 037EP) 12.50
Christopher Rau strikes back with another Smallville episode of dreams that money can buy. After a couple of diverse releases lately on Office, Dérive and Junk-Yard Collections, he proves his unique exposure to deeply diving with the machines again. Christopher Rau's aural works feel like an outer world's embrace, an analog kiss from the beyond. Here is the soundtrack made for our favorite places to escape reality: a magic club, a deepest dream.



MAYAKU: Bushwalking EP 12" (SOHASO 002EP) 14.50
Belgian threesome Mayaku fired up their analog hardware and recorded a throbbing 13-minute jam named "Bushwalking." With its quintessential bass line and strange, organic touches, this original provides a welcome breath of fresh air. Slowing down the tempo and adding additional layers of density is Johannes Brecht. Bells and Rhodes cooperate, unifying melody and mystery, while the original killer bass line is retained for maximum effect, creating a remix suitable for almost every record bag out there. The final slow-burner is summoned by Dilated Pupils, a new collective from Nijmegen shrouded in secrecy. Hypnotizing crowds, closing eyes, raising hands.



FREEDOM: Through the Years LP (SOMM 015LP) 25.50
Founded by ex-members of Procol Harum, Freedom were a legendary British psychedelic hard-rock band. This is their fourth album, originally released for the collectable Vertigo label in 1971. Powerful hard-rock/bluesy sound with loud, wah-distorted guitars, long tracks, and wasted vocals. Recommended to fans of Clear Blue Sky, Budgie, and Jodo. Remastered sound, featuring an insert with detailed liner notes and photos.



KHEIR, AMIRA: Alsahraa CD (STCD 1122CD) 16.50
As one of a growing number of her admirers has remarked, Amira Kheir possesses "an identity that transcends geography." Born to Sudanese parents in Italy, Amira grew up in two cultures. She makes her home now in a third -- London, England -- where transcending geography is also what she does with her music. Her original songs blend the folk and classical styles of the Sahara with jazz, Latin grooves and the laid-back side of American soul music, delivered with the vibrancy of multicultural London. Her lyrics, whether in Arabic, Italian or English, explore themes of home, transience, identity and spirituality in the modern world. Amira's debut album, View from Somewhere, has been lauded as "bold and poetic -- beautiful and fearless" (Songlines); "A charming performer -- comfortable with both high drama and intimate balladry" (The Independent). Miss Kheir has appeared on some of the most prestigious stages in Europe and Africa. Her concert has been described as "a stunning set infused with many influences but anchored in the sounds and identity of her homeland, Sudan" (Fly Global Music). Now comes her second release. Recorded in a Gothic chapel with only a guitar, a double bass, hand drums and light touches of other acoustic instruments to accompany Amira's beguiling voice, this album is as starkly beautiful as the place for which it is named: Alsahraa -- The Desert.



Animal Trainer specialize in vinyl and the dancing crowd. Both children of the illustrious nightlife in trend capital Zurich, Adrian Flavor and Samy Jackson have made a name for themselves with their Rakete parties, held mostly at their home base, the chic Hive Club, as well as many other locations in and around Switzerland. As dedicated music lovers and passionate entertainers, it was a natural progression for the duo to channel their constant appetite for music and endless parties into their own sounds. After numerous releases on renowned labels such as Katermukke, Dantze, Off Recordings, and their own Hive Audio, the joyous duo presents their debut album on Stil vor Talent , Wide. Over the course of the 13 tracks, Animal Trainer reveal their playful side. Thus, one encounters a healthy pop affinity, big melodies, refreshing deep house ballads, musical downtempo and a pinch of polka. The opener "Come Along" offers itself as a wonderfully mellow starting point thanks to its dreamy textures of warming acoustic guitars, soft trumpet notes and Jimi Jules' unique voice. "How Does it Feel" pairs the R 'n' B vox of Natasha Waters with areal melodies and an accessible bass-line, and "Killed You" feels more upbeat due to its diva vocals and synth arpeggios. "Gone 4 Ever" then turns out to be classic deep house through and through -- the merry strings that sweeten the break are particularly convincing here. Animal Trainer show a completely new side to their productions on the excellent electronica track "The Walk," on which dub chords pulsate through a broken beat structure and creaking synths. The fragile piano does, however, steal the show. After "Shane" goes around dressed in a classicistic house outfit, "Pollen" directs us toward the peak-time. Here, elements of neo-trance dance on top of a lush beat and driving percussion -- a climax in any DJ set, no doubt. Jan Blomqvist subsequently lends his distinctive voice to the ballad "Keep Control," supported by a beautifully fluid piano melody. On "Krambambuli" and "Crashed Tuesday," Animal Trainer then put the foot on the pedal once more, as fun is the priority. Hence, both tracks feel like they are made with the Hive Club in mind, which can't be a coincidence. The title-track simultaneously manifests itself as a gloriously quirky trumpet-epos as well as the album's undisputable highlight. Lastly, the trance-disco-groover "Everybody" and the humorous electro-polka "My Town (feat. Otoridia)" bid us farewell. As the last accordion notes ring out, one thing is certain: wild animals aren't easy to tame, and in Animal Trainer's case, that's great news.



JONES, SIMON: Melanie & Me CD (STRAW 013CD) 15.00
"Melanie & Me was a promotional tool used for a movie shot by director Chris Fitchett in Australia in 1975. Pressed in an edition of 100 copies, it was handed out to people who partook in the film, and who attended the only screening to date in Sydney. Used as the background music for the entire movie, this was actually the second version of the soundtrack, recorded last minute by Simon Jones as Chris wasn't happy with the original. The result had become one of the most sought after releases from the Aussie scene, and one of the most obscure records from the region as well. Beautiful psychedelic folk rock with a combination of male and female vocals, fuzz guitars and organ solos, this won't disappoint."



BABA STILTZ: Transit EP 12" (BARN 021EP) 14.00
Oh-so fresh 12'' from the Studio Barnhus camp -- music by Baba Stiltz, artwork by Theodor Johansson. "Transit" is Mr. Stiltz on a night train, angelic voices and smooth tape hiss leading the stuttering acid sounds forward. "Principles" lets a canonical synth theme pave the way for a happy-go-jackin' campfire beat that just won't stop. Baba even threw in a little bonus ditty for all you freaks out there. Watch out for a Baba Stiltz album dropping on Studio Barnhus soon.


SR 361CD

CAGE, JOHN: Early Electronic and Tape Music CD (SR 361CD) 15.50
"I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." --John Cage, 1937."Although John Cage occasionally worked in large, sophisticated studios -- for example, when he composed 'Fontana Mix' in 1958 -- his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century. Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realization of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realization of 'Fontana Mix' includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited." --Robert Worby, Langham Research Centre

SR 361LP

CAGE, JOHN: Early Electronic and Tape Music LP (SR 361LP) 15.50
LP version. Limited edition mixed silver/white vinyl.

SR 384CD

RIMBAUD, ROBIN: The Garden Is Full of Metal/Homage to Derek Jarman CD (SR 384CD) 15.50
New design, remastered + unreleased tracks for this 2014 edition. On the 20th anniversary of the passing of Derek Jarman and this reissue, Robin Rimbaud (aka Scanner) reviewed many of the materials in his archive and discovered four selections that were originally left off the release but now feels that they offer another viewing. Says Rimbaud: "This is a creative mind and man I still miss, but who thankfully and finally seems to be receiving the accolades he should have received long ago." This album is a collection of memories taking recordings from spaces that Jarman inhabited or experienced -- from the walk to the sea's edge from his cottage in Dungeness through to the roar of London congestion round his Charing Cross flat -- Robin has attempted to create a fluid, elegiac sound portrait, a form of resonant landscape painting that weaves through recordings of Jarman's own voice. He applied the term "sound Polaroids" to describe these intimate, isolated, improvised moments, the same way a Polaroid camera captures an image for a moment, almost disposable, forgotten, a tiny epiphany that dwells within but surfaces at unexpected triggers. The majority of the sound here is abstracted and processed through modest means, cutting, stretching and editing tape -- acoustic data like this once digitized dissolves into a form that one can mould and re-shape in an almost sculptural manner.



VA: Sugars Volume I CD (SGR 028CD) 17.00
Sugarcane Recordings present a selection of songs celebrating the past five years of the label. This collection represents some of their favorite and best works to date. It has been Sugarcane's privilege to host outstanding and unique releases from some of the world's most acclaimed artists, as well as bringing new and exciting bands to the forefront of worldwide markets. This group of songs freshly introduce (or re-expose) what they consider to be master works by masterful artists. The release includes Gazelle Twin's "I Turn My Arm," which fashion icon Alexander Wang claimed as inspirational and essential to his 2013 fashion show on CNN News, as well as a remix by renowned film score maestro Clint Mansell (PI, Requiem for a Dream, Black Swan, The Fountain, The Wrestler). Includes several projects by acclaimed Finnish musician Jori Hulkkonen, who was nominated for an Emma award for his Sin Cos Tan project. John Foxx (Ultravox), presents two lovely pieces as a culmination of three decades of releases, one of which is a remix by film icon David Lynch taking on a musical rearrangement of "Evangeline." Processory, Bloodgroup, CFCF, Com Truise, and Kuedo are highly-developed artists that also add sweetness to this sugary collection. A set of visionary works that represent the best of Sugarcane Recordings.


SBR 5060LP

PERHACS, LINDA: Parallelograms 2LP (SBR 5060LP) 31.00
2014 repress on vinyl; deluxe 2LP format, 180 gram pressing. Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as "visual music." First released in 1970, Parallelograms by California's Linda Perhacs has gone on to become one of the most legendary and well-loved recordings of its time, assuredly sitting alongside Vashti Bunyan's Just Another Diamond Day as a lost folk gem that should never have been cast aside. Summoning the shimmering sunlight of Topanga Canyon, and resonating with the same strength-in-fragility as Joni Mitchell, it's presented here for the first time as a double LP, with the full collaboration of its enigmatic creator. The deluxe gatefold sleeve contains her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take), making it the most definitive vinyl edition of this timeless classic ever released.



ROMBOY, MARC: Shades 3CD (SYST 019CD) 25.00
Marc Romboy presents Shades, a 3CD album exploring the different sides to his musical personality, featuring a handpicked selection of his finest originals and remixes, plus nine brand-new cuts exclusive to the release. In a stellar career spanning over two decades, German DJ/producer Marc Romboy has been virtually impossible to confine to any clear genre box. Whether exploring melody, percussive-driven robotics or going deep, the Systematic Records chief has excelled in crafting innovative electronic music always with an eye on the future. "For disc 1, I went deep, groovy and soulful, disc 2, melodic, trippy and warm and for disc 3 I explored my love of noise, machine rhythms and crazy sounds," he explains. Indeed CD1 features superb cuts such as the hip-lashing "Shake It Again," created with Fyta & Ray Wilbern, his classic re-work of Terrence Parker's "Love's Got Me High" and the hugely popular "Delusion of the Enemy" courtesy of his partnership with Bulgarian-based KiNK, which are just a handful of the many quality tracks on the disc. Additionally, collaborations with Blake Baxter (updated version of "Freakin'") and Chi-Town house luminary Robert Owens ("In My Mind") reinforce Romboy's outstanding career working with the most respected heads in the industry. CD2 is the more sultry companion to its predecessor, with the blissful, chord-driven money-shot "Muzik" again created with Baxter expanding the sound palette, while Romboy goes the brain-spiraling route with U.S.-house veteran Tyree Cooper, thanks to the 303-led "Lost." Stellar solo productions also pop up on this disc, best exemplified with the chugging, melody-drenched "The Advent," while remixes of Detroit Grand Pubahs, Max Cooper, and as-yet unreleased reinterpretation of Gus Gus reinforce Romboy's Midas touch on the rework front. CD3 is led by the fittingly-titled Kris Wadsworth collaboration "The Noise," a five-minute, mind-warbling bass jam, before the tone then shifts markedly, allowing the sweeping strings and synth-washed sonics of "Reciprocity" to take center stage, featuring vocalist Bajka.



VA: Tape Sampler Series 01 12" (TSS 001EP) 12.50
Tape Records' Tape Sampler Series 01. Songs by Deniro, Berend & Jeroen, Interstellar Funk, and Haron.


TR 283CD

NEXT STOP: HORIZON: The Harbour, My Home CD (TR 283CD) 17.00
Next Stop: Horizon report back with The Harbour, My Home. A lot has happened in the two and a half years since the release of their marvelous debut album We Know Exactly Where We Are Going (TR 220CD/LP). During one of their highly-acclaimed tours that led Pär Hagström and Jenny Roos with their band through Europe, they were drafted for a theater production at the Saarland State Theatre. Pär Hagström wrote the music for the play Das kalte Herz and the entire band lived and worked for several months in Germany during the rehearsals and performances. With plenty of inspiration in tow, they headed back to Sweden to record the new album -- in their own analog studio. Recorded on gorgeously quirky vintage equipment, the album features instruments that are less commonly heard in pop music -- including bass clarinet, harmonium, and mandolin. But it's difficult for outsiders to find the right words to describe this music. In keeping with tradition, Pär and Jenny bring it more precisely to the point. "Dear friends, we are happy and proud to let you know that the second Next Stop: Horizon album finally is ready. What is music? What is art? What is love? And what does it mean in a world as mysterious, unpredictable, and sometimes dark, as the world we live in? We like to look at music as sounds transcending into little waves of love that can light up our way and point out the direction. Even if we don't know for sure what's waiting up the road. In a way comparable to emergency lights in an airplane floor; necessary when you need to find the way out in the darkness. Or just like a lighthouse showing the way to the harbor that's hidden in the night. We're going there -- hope to see you friends on the road! Love, Pär & Jenny."



J:KENZO: Magneto (Feel It) VIP/Ricochet VIP 12" (TEMPA 088EP) 12.50
Released strictly on vinyl only, these two tracks from producer J:Kenzo are among his most requested and sought after VIP mixes. Magneto (Feel It) shows Kenzo's customary production details - shockingly minimal sound design, razor-precise bassweight, and intricate attention to time and space. The VIP mix takes the sub-bass and disembodied voice of the original a step further, ratcheting up the tension. Ricochet, originally released on the Bloodlines EP, is a rolling, percussive track; the VIP mix amplifying and doubling the bass stabs, a perfect mid-set track to keep the pace moving.



DYE: Cocktail Citron 2LP (TSR 026LP) 28.50
Gatefold double LP version. Imagine DyE aka Juan de Guillebon as an advanced receptor transmitter of melodies and sounds for the young generation. When music -- from the '70s to 2015, from Bruce Springsteen to Daphni -- travels through him, it's processed by filters, hardware living machines and magical organs, to become new music. Music that seems to describe a trance towards the stars and the future, where the future is to awake vocations and dreams -- straight from his home-studio. DyE's music belongs to epic quests. You're Link, the little knight in Zelda, smashing archetypal sounds in Detroit, Robocop listening to sounds in the jungle, Albator meeting dolphins in a subaquatic Paris. On his debut album Taki 183 (TSR 023CD), you experienced the transition from childhood to adulthood. With Cocktail Citron, you'll find multiple loves -- may it be in a pill or with a French girl as the title-track sums it up perfectly well. Like a resonance of his work as a remixer or as a bass player with Joakim, Bot'Ox, Aladdin, Rachid Taha and many more, this record is also about free encounters. Even though DyE is a solo project, he made it a point to invite people from other dimensions to expand the spectrum of words and sound (Egyptian Lover, Angie David, Guillaume Teyssier). It's also DyE's most danceable record so far, probably a consequence of his young DJ career, playing along the with the Tigersushi crew or opening for the likes of Erol Alkan or Four Tet. DyE's music has proven to be universal, with his "Fantasy" track on YouTube garnering more than 45 million views. To become a magician with music is a fair choice and a funny odyssey. Cocktail Citron is DyE's new magic formula, on a Tigersushi plate. It will move you from the inside, as it brings the eternal return of the little boy or little girl you are.


TEG 75501CD

LEADERS OF THE NEW SCHOOL: A Future Without a Past CD (TEG 75501CD) 16.00
"Leaders of the New School began recording their debut album late in 1989 under the watchful eye of Chuck D and the Bomb Squad. The end result was their masterful 1991 release A Future without a Past. The group's members, Charlie Brown, Dinco D, Cut Monitor Milo, and Busta Rhymes each complement one another, mixing classic Cold Crush Brothers style routines with a 'new school' edge. Leaders of the New School made an impact that had them literally living up to their name. Often slept on, A Future without a Past stands as a trail blazing release due to its mix of jazz samples with fun creative story telling on top of pounding hip hop drums. The first thing that grabs you while listening to A Future without a Past is the unique delivery of the three rappers (Dinco D, Charlie Brown, and Busta Rhymes) in both lyrical content and flow. Stand out tracks such as 'Transformers,' 'Sound of the Zeekers,' 'International Zone Coaster,' 'Sobb Story' and the lead single 'Case of the P.T.A' all display the multi-talents of each MC and how they bounced off each other's style. 'Feminine Fatt' and 'My Ding a Ling' showed the groups more playful edge, while 'Show Me a Hero' and 'Teachers Don't Teach Us Nonsense' had the group trading rhymes in their rapid fire deliveries. With a sound so fresh and new, the production on the album rivaled what Public Enemy started and the Native Tongues finished. Often underappreciated, A Future without a Past is '90s rap at its best and a must for any Busta Rhymes fan."

TEG 75501LP

LEADERS OF THE NEW SCHOOL: A Future Without a Past 2LP (TEG 75501LP) 26.00
Double LP version.

TEG 75530CD

ROCK & C.L. SMOOTH, PETE: All Souled Out CD (TEG 75530CD) 16.00
"In the summer of '91 All Souled Out officially introduced Pete Rock & CL Smooth to the hip hop listening community, and it is hard to imagine a stronger or more confident introduction. The 'Good Life' starts things off with its perfect mix of horns and catchy bassline, while CL lays his trademark flow while speaking of the pros and cons of wealthiness. Next up is the standout 'Mecca & the Soul Brother' which shows the duo at their best - hard pounding drums, signature horns (which will become Pete's trademark) and CL on the mic. By the time the smooth flute of 'Go with the Flow' comes in it's clear why this is one of the most important EP releases of the 90s. Pete Rock & CL Smooth are arguably one of the best duos in hip hop, and All Souled Out proves why from start to finish. This deluxe edition of All Souled Out makes the best even better with the inclusion of five back in the day remixes and instrumentals."

TEG 78504LP

SOULS OF MISCHIEF: 93 'Til Infinity 2LP (TEG 78504LP) 21.00
2010 release. "There are very few albums across any genre that stand the test of time better than 93 'Til Infinity, the classic debut record from the Hieroglyphics crew's very own Souls of Mischief. In an era where gangsta rap and G-Funk dominated the West Coast rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre's and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples."



VA: Demo Tracks #02 12" (TRESOR 268EP) 12.50
Fifteen years have passed since the release of the first and only Demo Tracks compilation to date on Tresor Records. For this new edition, the label is proud to present three exceptional upcoming producers. Acronym presents a dimension of his work so far only known to those who had the chance to hear him perform live. J.C. offers here a shaking number, keeping his ears riveted on the Berlin sound. Zadig is a producer who is a growing figure of the Parisian scene. With "Panic," Zadig looks back to some of the crudest moments of the Tresor catalog.



MADE TO BREAK: Cherchez la Femme LP (TROST 127LP) 22.00
LP version. "The evolution of Ken Vandermark continues with his new quartet Made To Break, an electric/acoustic ensemble that bridges his musical strengths of composition, organization, and improvisation. Founded in 2011, the saxophonist drew together bassist Devin Hoff (The Resonance Ensemble), drummer Timothy Daisy (Vandermark 5, The Frame Quartet, Sound In Action Trio, Bridge 61), and a new contributor, Christof Kurzmann (electronics). In the early 2000s, Vandermark's interest in non-jazz elements like funk and reggae developed with his Spaceways Inc. trio and electronics with Frame Quartet and Powerhouse Sound, the latter featuring Scandinavian noise artist Lasse Marhaug. His improvising, both solo and in duo (with Daisy) also became an important path for him. As he retired, these young projects (including the most successful V5), the seeds for Made To Break were planted." --Mark Corroto, All About Jazz. Recorded and mastered at Amann Studios, Vienna 2013. Ken Vandermark (reeds); Christof Kurzmann (lloopp); Devin Hoff (bass); Tim Daisy (drums).


UY 080EP

HAGELSTEIN, RUEDE: Minus 12" (UY 080EP) 12.50
Winter is almost over but Upon You decided to dip their label paint-brush deep into a pot filled with white. The painter is called Ruede Hagelstein and his work of art is simply called Minus -- a track with the charm of a winter landscape, fully accomplished, crystal-clear and warming, like an analog heater. Wearing almost nothing and cast into a snow-white plate, it will be a pleasure for all vinyl collectors. White vinyl. One-sided.


VIH 28257LP

GEINOH YAMASHIROGUMI: Ecophony Rinne LP (VIH 28257LP) 23.00
"Published in 1986, Ecophony Rinne is the band's ninth album and the first work in a mysterious trilogy. Split into four parts dealing with the different life cycles, this masterpiece will take you on a journey through space and time. The sound, unique and timeless, depicts the band itself."

VIH 28339LP

GEINOH YAMASHIROGUMI: Symphonic Suite Akira: Original Soundtrack LP (VIH 28339LP) 23.00
"The Japanese Geinoh Yamashirogumi collective was founded in 1974 by scientist and composer Shoji Yamashiro and gathers over a hundred amateur musicians. As they come from all walks of life, some members of the band have jobs that are far apart from the artistic field, which makes Geinoh Yamashirogumi unique in its kind. It has also been noted for being able to perform different pieces of traditional music from all over the world, while mastering at the same time state-of-the-art technologies available to musicians, and in particular the MIDI (Musical Instrument Digital Interface) protocol. Symphonic Suite Akira is no doubt the band's most famous work, owing to the global success of the manga, followed by Katsuhiro Otomo's animated film adaptation. Released in 1988, this soundtrack is the second part of a mysterious trilogy, Ecophony Rinne being its first part released in 1986, and Ecophony Gaia its second part released in 1990. These unique compositions, which hardly belong to any one style, convey marvelously the landmark manga's futuristic and post-apocalyptic universe."



MARCO (FEAT. AQEEL), NACHO: Open 12" (WPH 021EP) 12.50
We Play House hails the return of Spain's Nacho Marco, who was responsible for WPH 010 together with Raoul Lambert. For his WPH comeback, the Valencia kid has teamed up with the vocal talents of Aqeel, bringing you the acidic soul masterpiece "Open." Think Deetron on a dark day. On remix duty we find young WPH buck Kiani & His Legion who came up with two remix versions. His "Basement Remix" will go well into any Levon Vincent set and his "normal" version is vintage Kiani. Raw Belgian talent at its very best.



A RACE OF ANGELS: Just Begin 12" (WHR 002EP) 17.00
"Epic, spiritualized jazz-funk from the Los Angeleno -- collaborator of Gifted and Blessed -- astutely revived by Theo Parrish. Dego and Akwasi Mensah wig out with TP on the fuel-injected, flip-side overhaul, propelling the tune left of Mo Wax and into the light."



DOKA: Figures EP 12" (WOLF 029EP) 12.50
Doka returns to Wolfskuil with a relentless techno 12". A concept EP based on Figures translated to sequences. "Figure 8" leaves no doubt about what this EP is all about: sweat on the dancefloor. On a foundation of distorted kicks and percussion, an almost alien-esque, out of sync synth pattern emerges and evolves. "Figure 4" explores more dubby and spaced-out areas on a slow, but solid drum track. On the flip things open, even warm up thanks to an acidic bass line and dreamy pads. "Figures" is a disturbing drone and an ambigious ending to an EP where Doka showcases his enormous talent.


YT 087EP

SAMPHA: Dual 12" (YT 087EP) 12.00
2014 repress; 12" EP version. Following the low-key online-only release of Sundanza in 2010 plus his noted collaborative work with Jessie Ware, Lil Silva, SBTRKT, and Koreless, Dual is Sampha's first full solo outing. The record was put together over a period of 18 months in the gaps between, and time after, an intense touring schedule with SBTRKT live. Working from his childhood home in Morden, the tracks were written, produced and mixed by himself in isolation. Offering an intimate and idiosyncratic glimpse into his artistic intent, the EP, which includes "Indecision," showcases Sampha's talents not only as a vocalist but more broadly as a songwriter and producer.

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