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Forced Exposure New Releases for 4/7/2014

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New music is due from Christopher Bissonnette, Andrew Liles, and Jan St. Werner (Mouse On Mars, Lithops, Microstoria, Von Südenfed), while old music is due from The Drones, The Sting-Rays, and Harry Mosco.



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4M 161LP

FUNKADELIC: Maggot Brain LP (4M 161LP) 19.00
2014 repress. "1971's Maggot Brain is Funkadelic's all-out masterpiece. Absolutely no one working in soul and funk at the time had the scope, vision, and, let's be honest, sheer lunacy to pull off the kind of record that George Clinton and his collaborators have made here. Eccentric funk jams are bookended by two of the heaviest tracks ('Maggot Brain' and 'Wars Of Armageddon') ever committed to tape. The title track, and album opener, is nothing short of mind-blowing, Eddie Hazel's guitar is a revolution brought on by Clinton, who supposedly told him to 'play like your momma just died.' An essential classic and the deepest album to come out of the Parliament-Funkadelic camp." Gatefold sleeve, 180 gram vinyl.



GAMERTAG: You Don't Know Me 12" (ACOS3X12) 12.50
Bold and slightly rude house music from Gamertag. Part of an "Off" series of lively alter-ego 12"s from Dublin's All City Records. Guessing-game time. Includes mp3 download.



Fontarrian's debut effort for Berlin-based label Antime offers a glimpse into a fragile yet eclectic spectrum consisting of loopy vocal bits, slowly unwinding washes of dream-like ambience, distinctively (s)tumbling, almost jazzy percussions, and an ever-present, blissful warmth. The latter emanates from and sucks you into what seems to be a world of its own. Like a lo-fi attempt at capturing momentary twists of the heart through 10 significantly diverse tracks -- imperfect nonetheless -- the album feels like a mixtape you've set out to record for someone special, but somehow never got around to.



DRONES, THE: The Miller's Daughter 2LP (BANG 005LP) 30.50
The Drones' The Miller's Daughter original vinyl edition, released in 2005, reached insane prices on the internet due to the existence of only 500 hand-numbered copies. In order to celebrate the 10th anniversary of this record release, and since this was originally released in a very limited edition on vinyl back in the day, Bang! Records are more than happy to announce the reissue of this Drones gem which included a cover of John Lennon's "Well Well Well," which was only available on the original vinyl pressing. Previously-unseen pics and revised artwork make it a dream-come-true for fans of The Drones. Make sure you don't miss it this time. Housed in a gatefold sleeve.


BW 005EP

JOYNES & THE RESTLESS DEAD, CWK: 8 Selections and Premonitions from the Tower, Vol. V 7" (BW 005EP) 9.50
The final installment of C Joynes' epic series of singles featuring collaborations with a weird and wonderful selection of fellow travelers. The series comes to the end of its run of remarkably consistent, yet each very different, five-volume set with possibly the most diverse selection yet. Phil Tyler sits on banjo alongside the skewed pop and lo-fi grumbling of Pete Um, while the reverse is totally different again, with the bubbling analog sound world of Woodcraft Folk, yet both as ever underpinned by the eternally wonderful guitar work of C Joynes. Beautiful die-cut sleeves and a numbered pressing of 300 copies.


BB 166LP

DIE PARTEI: La Freiheit des Geistes LP (BB 166LP) 21.00
LP version. Pressed on 180 gram vinyl. In 1981 Tom Dokoupil and Walter Dahn, two young and wild protagonists of the German underground, got together to create a new music project entitled Die Partei. Using his Siluetes 61 alias, Dokoupil was already known as something of a musical eccentric and as a member of The Wirtschaftswunder. Walter Dahn, a star pupil of Joseph Beuys, collaborated with Dokoupil's brother Georg in the Mülheimer Freiheit art group, and played music in the Cologne scene which emerged around Can. A chance meeting between Dokoupil and Dahn led to their teaming up. They met in Dokoupil's Studio 61, The Wirtschaftswunder's workplace. Die Partei was christened a few sessions later and a plan made to create a concept album according to strict rules: they would record on a single weekend, the music would be instrumental, electronic and danceable, sprinkled with a few film quotes. Dokoupil and Dahn knew exactly the moods they sought to conjure up with their tracks. They only allowed themselves the use of certain instruments and adhered to a duality of contrasts: good/evil, beautiful/ugly (in terms of sound), fast/slow, rightist/leftist politics (with reference to the artwork). The last piece of the puzzle was an album title: La Freiheit des Geistes (trans. "The Freedom of the Spirit"). And here's what Sounds magazine wrote about the album in January 1982: "La Freiheit des Geistes is quite an accomplishment. Dokoupil and Dahn have succeeded in making a cheerful, relaxed dance record without resorting to funk or DAF. Warm sounds abound, mechanically swift rhythm machines barely register, sparse guitar, bursts of trumpet and saxophone. Topped with little melodies, as simple as they are memorable, not dissimilar to Yello."


BR 015EP

ROYAL-T & FLAVA D: On My Mind 12" (BR 015EP) 15.50
In Summer 2013, Butterz took residence at Red Bull Studios and this collaboration is one of many tracks built over that period. Version One was built for the offshoot party the label have been running quietly for the past year: Jamz, Version Two for the big nights they now hold in Fabric, and Version Three is designed to chill. Flava D's "Hold On" broke her as an artist in 2013, getting regular spins from garage legend DJ EZ. Royal-T's "I Know You Want Me" on Rinse was a massive hit, seeing him continue his regular DJ travels across the UK & Europe.



CARISMA: Directamente 12" (COMEME 025EP) 12.50
The marvelous night-time world of Buenos Aires is reflected by the rhythms and sounds of Carisma (Carolina Stegmayer and Ismael Pinkler), who deliver these tracks directly from their flat through the city's dark alleys to its underground venues -- producing music to play right away, written as a dialogue between studio and booth, at the DJs Pareja's legendary Fun Fun parties, the famous Dengue nights, and other spots. After have done remixes for local friends such as Ana Helder and Rumanians, Cómeme is overwhelmingly happy to present their first full EP.



BET.E & STEF/DJ SCHWA & CAMERON COOPER: Compost Black Label 113 10" (COMP 444EP) 12.00
Bet.e & Stef took the country by storm over a decade ago with their pop meets jazz, bossa-nova and Latin stylings. They earned a gold record in Canada with their self-released first album, Jazz Bossa Nova and platinum with their second album, Day by Day. In 2003, Bet.e and Stef began exploring solo careers, respectively releasing b.coming and In from the Cold. Nicola Conte dubbifies the track "Triste" with his hypnotic yet mystical, deep approach to dancefloors. Cameron Cooper puts all his thoughts on creating a deep and harmonic texture to the track "Analog Love."



RATIER, RENATO: Black Belt: The Remixes Vol. I 2LP (DEDGE 014LP) 33.00
D-Edge Records are proud to present Black Belt: The Remixes Vol. I. Following on from that well-received debut album (DEDGE 012CD/LP) from Brazilian DJ, producer, club and label boss Renato Ratier, it makes perfect sense that the label arm of the foremost Brazilian club enlisted a load of talents to re-version the tracks for different dancefloors. To remix his first album, Renato invited some special artists to join forces with the Black Belt project, including the likes of Sascha Dive, Secret Cinema, One Records boss Adam Shelton, Shaded, top tech house titans and Visionquest associates Cesare vs. Disorder, house veteran and Pooled Music boss Ian Pooley, deep house don and spiritual leader Osunlade, Velkro and L_cio, and Yoruba Soul. This is a stunning meeting of different backgrounds and approaches to electronic music that breathes plenty of new life into an already excellent album, taking the originals and skewing them in new directions. Black Belt is now also an internationally touring club night run by D-Edge, featuring the best DJs from the worlds of house, techno and disco, so keep your eyes peeled for more information on that.



STING-RAYS, THE: Cryptic and Coffee Time LP (ALEHOP 008LP) 23.50
The Sting-Rays were formed in North London in 1981. A year later they signed to Ace Records and in 1983 they released their first LP on Ace's subsidiary label Big Beat. Titled Dinosaurs, it was a savage record very influenced by The Cramps, Meteors, obscure '60s garage punk bands such as The Novas and The Emperors and by the garage psych sound of The Chocolate Watch Band, 13th Floor Elevators and The Count Five. Their broad musical knowledge, along with cover artwork that avoided horror movie imagery and surly humor, set them apart from the other bands in the psychobilly scene. During this first garage-billy period, the band was formed by Keith Cockburn on bass, Alec Palao on drums (future member of The Sneetches and renowned music compiler for Ace Records), Mark Hosking on guitar (later of The Earls Of Suave and The Flaming Stars) and Bal Croce as vocalist (also of The Earls Of Suave). After three singles on Big Beat and a live album for Media Burn Records, in 1987 they released Cryptic and Coffee Time. It was a four-year gap since their debut, and during that time the Sting-Rays sound had made a pronounced turn towards pop, where their love for the '60s focused now on folk-pop and psychedelia, creating a new sound which linked them with contemporary British bands such as The Dentists or Television Personalities. It's precisely Joe Foster (a member of the latter) who released their second LP (and a four-track 12") on his Kaleidoscope Sound label. Three of the founding members remained in the line-up: Bal, Mark and Alec Palao. The new member was bass player Johnny Bridgewood (a member of Morrissey's band from 1991), who wrote one of the songs on the record. Cryptic and Coffee Time has been described by some as "the saddest record ever." This statement is based on its lyrics, which completely abandon the escapist and caveman-like imagery of the psychobilly and garage genres and deals instead with more introspective and profound concerns. But don't be afraid, the music is far from dark, slow, tormented and mature. On the contrary, it is energetic and raw, bursting with fuzz guitars and the teenage spirit of garage-punk-pop. The album opener, "Behind the Beyond" is a pop anthem, a chorus from beginning to end, a true hit that was released, in a different version, on a 12" with three other tracks from the LP sessions. It's followed by "Hopelessness of the Human Race," full of distortion, keeping a certain connection with their garage beginnings. Their trademark psych-pop bursts in unexpectedly with "Don't Sell Yourself Short." "Bitterness" is calmer, an acoustic ballad that brings to mind Love and The Pale Fountains. The band goes back to cubist psychobilly on "The Big Lie" and right after they throw the listener off with a power-pop track titled "Through the Dawn." Rounding up the first side of the LP, "Reason Nor Rhyme" is a psych-pop instrumental with crystalline 12-string guitar picking à la Byrds, but with an abrasive fuzz background. Side 2 opens with "The Burden of Dreams," pure English beat soul with piano which is reminiscent of Madness. "The Big Tide Will Turn" is another garage-pop concession to their older fans. "Middle Age Spread" recalls Love again, but at full-throttle. "I'm Growing Old" starts slow, with a soft-pop vibe similar to Everything But The Girl, but the melody ends up speeding up and merging with an obsessive-progressive bass line. The initial guitar picking of album closer "All These Years" immediately brings to mind the playful and jumpy pop of Monochrome Set. It's time to rediscover a record that doesn't belong to any specific genre, created by a group of music fans who passionately offered a repertoire full of hits that got lost, forgotten about, left alone without a scene that would give them a home, waiting to be rediscovered in a future time which is now the present.



HIGH HEELS BREAKER: High Heels Breaker LP+CD (DPC 048LP) 21.00
A true sound innovator, Domenico Ferrari aka High Heels Breaker used analog electronics to create the sound textures for his new tracks and blended them with sophisticated beats. Inspired by soul, techno and hip-hop, he has developed a unique sound with a futuristic touch. Zurich-based DJ Kalabrese and singer/songwriter Sarah Palin, with her exceptional voice, signed on as guest musicians. High Heels Breaker brings plenty of electronics and fat beats to his live sets and gets the crowds dancing until their heels break. Ferrari's focus is concentrated on electronic aspects in music and he also works as a composer for movie scores, visual artists and contemporary dance companies and teaches composition and producing at Zurich University of Arts. Besides High Heels Breaker, Ferrari also produces for the electronic duo Ferrari & Tomasi. He has worked with Jamie Lidell, Kalabrese, Swiss rappers Big Zis and Skor, among others, and performed at Sónar Barcelona with spoken-word poet Latasha N. Diggs and star drummer Jojo Mayer. High Heels Breaker performs his live sets "solo" or as a "live band," including drums, keys, electronics and visuals. Domenico Ferrari grew up as the son of Italian immigrants in Zurich, where his parents ran a restaurant. Following his music studies, Ferrari lived in Zurich, New York, and Rome. He won an award providing him with support to work for one year from Zurich, is a member of the Istituto Svizzero Roma, and has received a composition contract from Pro Helvetia. He became a father at a relatively young age and has been involved moving between club music and composition jobs since then, between party and family life. The successful musician has succeeded in reconciling his life's different aspects and emerges strengthened from an initially challenging situation. This, and a certain composure are reflected on this album and Ferrari demonstrates that he is still one of the most trend-setting artists in contemporary electronic music.


QUARION: Sunday Night EP 12" (DPC 049EP) 12.00
With this 12", Quarion represents his versatile attitude. "Sunday Night" was inspired by the legendary Panorama Bar, a track which spreads forward-thinking feelings in connection with classic house vibes. On "Mr. Smith Does Acid" he gives us a driving example of how a slow acid-disco tune can sound. With "Falling Down" he presents a truly modern example of a deep house track with twisted elements in a slightly British way. "Searching" is a homage to Chicago house and the wonderful world of Larry Heard. Useless to say that this 12" has been played by DJs such as Gerd Janson and Albrecht Wassersleben.



FLUXION: Broadwalk Tales EP 12" (ECHO 059EP) 12.50
We are proud to release the new ep and 3rd album by Fluxion on Echocord. On This ep we have 2 tracks from the CD Album, which are not on the vinyl album. In the beginning of 2013 K. Soublis (aka Fluxion) met Jamaican vocalist Teddy Selassie in NY. After a brief discussion they started exchanging music and lyrics and by the end of 2013, the "Broadwalk Tales" album came to life. It's an album of musical pieces that visit the roots of reggae and dub music with the distinct Fluxion production aesthetic, combining them with more ambient atmospheric tracks as well as techno and more experimental productions. It's this broad musical palette that K. Soublis keeps broadening without loosing his uniqueness. In the words of the artist. "I wanted to make something more than the usual dub techno tracks with a hint of manipulated voices every now and then. Teddy Selassie came in and gave a breath to the whole material, made it more alive, broadening the journey. I also wanted to explore the cinematic perspective over repetitive structures. I try not to repeat myself, and always try something that feels challenging. This ep contains 2 tracks, one instrumental and one with the amazing vocal by Teddy Selassie.



CAUSA SUI: Live at Freak Valley 2LP (EPR 017LP) 29.00
Double LP version. Includes download card. The first official live album from Causa Sui, recorded in the early summer of 2013 at midnight, headlining the outdoor festival Freak Valley in Netphen, Germany. This full 90-minute Causa Sui set comes hot off the heels of 2013's acclaimed studio effort Euporie Tide (EPR 013CD/LP), and is a condensed manifestation of the low-end heavy side of the band. This show presents the band in elemental quartet mode and features a wide palette of cuts from the entire catalog. From the band's signature cut "El Paraiso" from their 2005 debut, through revamps of the more translucent Summer Sessions material, straight up to virgin jams, fresh from the rehearsal room. Over the course of the last eight years, Causa Sui have become one of the most venerated acts in European psychedelia, due to shows on all the major genre festivals as well as a revered string of albums and collaborations. With their unique blend of old and new sounds, from mammoth riffage to pastoral soundscapes, Causa Sui is something of an anomaly in today's musical landscape. This set serves as a great introduction for anyone unfamiliar with the band's distinctive take on instrumental psychedelic rock. And for the fans, it's simply a must-have. Mixed and mastered by Jonas Munk from multi-track recordings, this set sounds as warm and crisp as any of the albums.



HEIDI: Heidi Presents Jackathon Jams with Rob Amboule Featuring Derrick Carter, Serge & Tyrell 12" (HPJJ 005EP) 14.00
Heidi releases a pumping house EP of the highest order from one-to-watch Rob Amboule, featuring industry legend Derrick Carter and Clone heavyweights Serge & Tyrell. "Cracks" kickstarts the EP with high energy, ounces of groove, and an intoxicating bass line with Derrick Carter on vocals adding that perfect element. "Tension" continuously creeps and rises with soaring synths and a gritty electronic bass line guaranteed to lock you in the groove. Serge & Tyrell bring their bumping house power to deliver a stomping remix of "Cracks," and last up is original track "Bank Holidayz," a whomping dancefloor bomb to round off a very solid release.



SLY & ROBBIE: Bed's Too Big 10" (GAP 117EP) 12.50
Side A features the "Underwater Dub" version of Sly & Robbie's "Bed's Too Big," as well a kind of taster of the forthcoming full-length strictly dub album Underwater Dub. The other side includes the full-length original groove, exclusive to this single, created by the trio of Sly Dunbar (drums & percussion), Robbie Shakespeare (bass), and Mikey "Mao" Chung (guitars). Produced and recorded by Alberto "Burur" Blackwood, mixed by Lynford "Fatta" Marshall and Alberto "Burur" Blackwood at Mixing Lab Studio, Kingston, Jamaica. 10" vinyl in a plain white disco bag, printed inside-out.



ESKORBUTO: Las Mas Macabras De Las Vidas LP (GBR 011LP) 23.00
Guns Of Brixton Records presents a vinyl reissue -- as rock'n'roll liturgy deserves -- of the fifth album of an independent and combative band like no other. In July of 1988, the most obscure record of Spanish punk band Eskorbuto's discography was released. Vomited from the entrails with the boredom of a life blackened by the soot pouring from the nozzles of the factories of the beaten left bank of the Nervión River. Time had already hardened them and their attitude was plain, above all they were "anti-everything." Las Más Macabras de las Vidas ("The Most Macabre of Lives") is a timeless record and paradoxically sounds fresh again in its vinyl format. It is a great opportunity to once again taste the subtle shades of exasperation that hang around the grooves of the bitterest record from the bitterest band. Eskorbuto inoculates in the listener, harder than ever, the rage and the nihilism of which they were keen transmitters.



PRURIENT: Cocaine Death LP (HOS 410LP) 25.50
Cocaine Death is a compilation of three of Prurient's most sought-after cassette releases: 2007's' Cocaine Death, Caribbean Overdose and Tylenol Murders, eventually compiled as Cocaine Death for a CD release in 2008. This is the first time this collection has ever been available on vinyl, now fully remastered for the format. Cocaine Death brings together several strands and signifiers from the Prurient catalog, containing some of its most visceral and experimental works, alongside some of its most evocative. From the arpeggiated/submerged noise of opener "Pretext (Bahamian Burial)" to the padded, pulsating closer "Postscript (Coke Cunts)" the material here explores the relationship between futile pleasure, substance and escape; escape being a myth. Cocaine Death (originally C-10 packaged in an envelope, limited to 46 copies) is one of the most sought-after Prurient cassettes. The content is based on the glamour and destruction of toxic nightlife. Caribbean Overdose (originally a C-10, packaged in a standard shell package and limited to 100 copies) explores a different but strangely direct topic of the sexual reproductive life of plants. Further examination into the life of scientific advancement and education. Tylenol Murders (originally a C-10, packaged in an oversized envelope and limited to 10 copies) takes the sounds and concepts of the aforementioned releases and expands the sounds to further limits of cracked static, strained vocals and strange melodic loops.


CLAY RENDERING: Waters Above the Firmament 12" (HOS 413EP) 16.50
This second EP from Mike and Tara Connelly's Clay Rendering further evolves their songcraft through four pieces that draw you in with a slowly building emotive weight. The tracks here recall everything from Cocteau Twins and The Cranes at their most desolate to classic Sonic Youth, colored and mis-shaped through abstract production assistance from Dominick Fernow and additional synth from Robert Beatty of Three Legged Race/Hair Police.



ST. WERNER, JAN: Split Animal Sculpture 10" (IGR 003EP) 32.00
One-sided lilac-colored vinyl with silk-screened B-side. Includes an insert and photograph. This new long-form composition by Jan St. Werner (Mouse On Mars, Lithops, Microstoria, Von Südenfed) is a companion piece to the artist's ongoing Fiepblatter series on Thrill Jockey, and as the title suggests, manages to sound simultaneously biotic and fabricated. An impressionistic rendering of church bells and organ drone is suggestive of a large man-made structure, while in-between can be heard the flutters and whistles of something animated navigating its way through the reverberating buzz. Recalling the electro-acoustic atmospheres and alien tones of the late Bernard Parmegiani, St. Werner has once again produced a timeless piece of sonic terrain.



DAUWD: Kindlinn 12" (KOM 295EP) 12.50
Dauwd's Kindlinn 12" is a lushly-orchestrated journey drawing on infectious rhythms and epic melodies. Three colorful cuts see him moving further away from the UK sound he's originally become known for and reinventing himself as a virtuoso of propelling house and romantic techno. Luminaries as diverse as Gilles Peterson, Caribou, and Nick Höppner have already sung his praise. The title-track started as a simple LinnDrum jam and evolved into an entirely different beast. "Lydia" presents yearning synths and gorgeous textures, but travels a steeper trajectory. "Rain Raker" was made almost entirely with a 303 and digs deep into its free-floating sequences layered upon a subtle pulse.



BISSONNETTE, CHRISTOPHER: Essays in Idleness CD (KRANK 187CD) 13.00
"'Essays in Idleness was born from a desire for a more tactile approach to sound generation. With a limited number of sound sources, the process encouraged more focused examination of the available range of choices. The album is a series of experiments subsequent to a period of deep reflection on my working process. This sequence of tracks is the culmination of two years of intense exploration with the intention of allowing the medium to have a more profound effect on the outcome, the methodology allowing chance, risk and error to play a greater role. Some of the studies focus on a generative process, allowing the composition to build upon itself, while others are constructed from more complex textures and compositional fragments that shift and modulate organically.' -- Christopher Bissonnette. The third album from Canadian composer Christopher Bissonnette sees him expanding his palette by narrowing his sound sources to a self built analog synthesizer. Eschewing the whiplash and/or everything including the kitchen sink style of assembly so common among current analog aficionados, Bissonnette instead applies his signature compositional style of using long held tones and sweeping drones that alternate between, and fuse, pure tonal transcendence and patient, sparkling melodies that slowly reveal themselves."


BISSONNETTE, CHRISTOPHER: Essays in Idleness LP (KRANK 187LP) 14.00
LP version.



CABSUM: Miradolores EP 12" (MINI 032EP) 14.00
Adsum presents a second EP for Minibar. On the way back from his planet, he collided with Cabanne, who just happened to be there, free-flying for no reason. Ordinarily they should have exploded in the upper atmosphere, and most of the solids changed into thin air, but a peculiarity occurred called Cabsum. It ended up in two versions of "Miradolores," this long-awaited Adsum track revisited by Cabanne on the B-side. So give an ear to this one, and the rest of your body will join the ride for sure.



COHEN, CHARLES: A Retrospective 2CD (DOSER 024CD) 25.50
Double CD compilation of those enchanting Charles Cohen vinyl releases + two unreleased recordings. Packaged in a rigid double CD box with booklet. Philadelphia's Charles Cohen, free-jazz improviser and synth composer, has managed to remain almost unknown outside of his local improv scene for decades. This retrospective of his early works, all recorded between 1976-1989, testify to the understated genius of his work. Fleeting between polyrhythmic cosmic patterns, gravity-tarred bleeps and noise, outer-worldly melodies, all executed with unfathomable astuteness and grace, this collection showcases the breadth of this idiosyncratic electronic musician. One of the few people to master the rare Buchla Music Easel, his work since the 1970s has focused almost exclusively on this instrument. With his first solo European tour hypnotizing audiences in early 2014, his work is finally reaching a wider audience, enchanted by his mesmerizing yet deeply focused approach. His roaming, raw synths, rhythmic intensity and immersive drones have resonated with uncanny familiarity for a younger generation of electronic experimentalists. This double CD release combines all three LPs released on Morphosis' Morphine Records in 2013, excavated from Cohen's archives; "The Middle Distance" featuring his early works from the Philadelphia's "No Man's Land" art installment, the University Of Texas in El Paso and The Painted Bride Art Center performances as well as "Dance of the Spiritcatchers," originally issued in 1980 on Zero Records; "Group Motion," a live recording from a dance theater piece in Philadelphia of the same name and "Generator," a live recording from Generator Sound Art Gallery in NYC (featuring the Music Easel and the even rarer Buchla 700 series, apparently the only two known recordings of this instrument ever formally released); and Music for Dance and Theater, a further collection containing some of Cohen's collaborations and performances in theater pieces and art installations by Jeff Cain and Tonio Guerra, amongst others. This selection includes two previously-unreleased tracks "Conundrums" and "Slow Blue and Horizontal." Each track has Cohen's immediately captivating hallmark, equal parts playful and mysterious. A stunning retrospective, unearthing a wealth of truly beautiful material.



ORCAS: Yearling LP (MORR 128LP) 18.00
LP version. Comes in a heavy cardboard sleeve with printed innersleeve. Includes download code. For Yearling, Orcas members Benoît Pioulard and Rafael Anton Irisarri (The Sight Below) teamed up with Martyn Heyne (of Efterklang) on guitar and piano, and Michael Lerner (Telekinesis) on drums, to build upon the subdued ambience of their self-titled debut, adding a huge dose of analog warmth to their hazy pop leanings. A lot happens in a year -- jobs change, relationships flourish and crumble, friends leave us, and new people enter our lives. In this era of 140 characters, you may find yourself wishing from time to time that you'd written a few pages in a notebook about a certain experience or period of your life, when all those details were still fresh in your mind; Yearling does just that. Whereas many songs on Orcas' first album were built from guitar improvisations and impromptu vocal sessions, most of Yearling was constructed from short pieces Pioulard wrote and developed while staying in Germany during the summer of 2012. Working together at Heyne's Lichte Studio in Berlin and Irisarri's own Black Knoll Studio back in Seattle, they brought the album into full form over the course of the following year. Whether it's the soaring guitars of "Infinite Stillness," the Lynchian otherworldliness of "Filament," the echoes of Spirit of Eden-era Talk Talk on "Capillaries" or the slow-building tape loops of "Tell," Yearling subsists on variation while holding a lyrical center. Pioulard muses on absence, presence, dedication and distance; there's an ode to geography ("Selah") and a lamentation of discord ("An Absolute"). All attempt to reconcile the uncertainty and frailty of our combined humanity with the ardor of the individual, and to understand the measure of a year against that of a lifetime.


MR 341LP

RICHMAN, JONATHAN: No me quejo de mi estrella LP (MR 341LP) 19.50
LP version. Jonathan Richman intended this collection of music as a gift for his audiences in Spain (and outside the U.S. in general): to give them a selection of songs that are well-known through live shows but not so easy to find on CD or LP up until now, given the fact that records such as Her Mystery Not of High Heels and Eye Shadow (2001) or Not So Much to be Loved as to Love (2004) are out-of-print today. On the other hand, all of the songs in this collection -- chronologically ordered from the present backwards to the past -- were written in the 21st century, so this record fulfills a second function as a thermometer of Jonathan's music in the new millennium, in the fourth decade of his unique music career. This goes to show that we got a whole lotta JoJo going on, that we have here a rare case of a musician who gets richer, more colorful and stronger with time, yet never forgetting his original flavor. Munster Records is proud to present No me quejo de mi estrella as a sample of Jonathan's most recent body of songs. You could pick 16 different titles and still come up with an equally solid album, because the "duende" of this music does not come from a particular hit single but from the soul, from the connection with that Great Spirit where music and beauty are born. It is not then a question of "greatest hits," but of love. Still, the 16 songs presented here have good credentials, as their author personally chose them for this collection. The spell of these songs is not of artifice and pretentiousness, "not of high heels and eye shadow," not of ornament nor of anything in your hair. It is something deep, a raw and wild beauty such as that which is "at the core of the stars we see." It is the mystery of the eternal and arcane sound of the flamenco guitar, the mystery of rock'n'roll: an open secret. A brave American poet told us so: "Guard the Mysteries! Constantly reveal them!" As the listeners will find out for themselves, the charms and incantations in this collection bring you an always-familiar yet constantly renewed air of revelation. Cantante, a cantar!

MR 7261EP

STROFFOLINO, CHRIS: I'm Not Going Astray 7" (MR 7261EP) 8.50
Poet, writer and musician Chris Stroffolino makes his Munster debut with these three tracks from his recent "Griffith Park" sessions, recorded in the van he lives in. A former collaborator of Steve Malkmus and David Berman on the Silver Jews album American Water, Stroffolino recorded these tracks with Sundance award-winning director Jeff Feuerzeig (The Devil and Daniel Johnston) handling the production. Here he is accompanied by Dean Wareham and Britta Phillips on the Alice Cooper track "I Never Cry."


ND 1276LP

PUNK ROCKERS: Los exitos de los Sex Pistols LP (ND 1276LP) 17.50
One of the weirdest, rarest and strangest records ever. Can you imagine a Spanish band singing in bad English, playing all Sex Pistols covers? That's what we have here. Originally released in 1978 by Nevada Records, Los éxitos de los Sex Pistols by Punk Rockers is a cover album played by some bizarre Spanish band that someone says included some members of Asfalto. Here you can listen to the entirety of the mighty Never Mind the Bollocks record, but covered by this crazy band. An absolutely weird thing, as you will discover.



POLYPHONY: Without Introduction LP (OSR 024LP) 25.50
Jaw-dropping 1972 album by one of the earliest progressive-rock bands from the U.S. Long, complex tracks full of Hendrix-like acid guitar leads, heavy Hammond organ, Moog, surrealistic lyrics and off-center vocals. A masterpiece of hard progressive and psychedelic stylings. Features remastered sound and original artwork, including an insert with photos and liner notes.



SAIZ & PIONAL, HENRY: Uroboros 12" (PERMVAC 118EP) 12.00
Here comes the re-boost of the lovechild of Henry Saiz and Pional, Uroboros. Originally released in 2011 as download-only on Henry's Natura Sonoris label, this Balearic symphony was built to stay. The 2014 Permanent Vacation wax edition is backed with an epic dub house rework by the PV boys themselves and an exclusive live take of the original.



RUBINSTEIN, DONALD: Dawn Imagined CD (PRD 070CD) 15.00
"After Donald ended up not composing the score, the themes he'd written for Dawn of the Dead began a life of their own. One set extended into a series of electronic pieces, written and recorded in Roswell, NM in 1987. 'Music for Chamber Orchestra' also came out of the themes he sketched. Its extrapolation into a concert work became one of the most dedicated compositions of his early career."



DEAD FADER: Blood Forest LP (RER 019LP) 21.00
Heavyweight pressing with digital download code. Limited to 300 copies. In the wake of 2012's Work It, No, Dead Fader returns with not one, but two full-length releases. The dual release format celebrates the two distinct strains of Cohen's output. Most recognized for his sonic extremity, previous Dead Fader work has focused on heavy distortion, melding noise with infectious dancefloor sensibility. Blood Forest redresses the balance, introducing bittersweet textures and lush, detuned synth melodies. Neoclassical influences are fragmented and reinvented, sprinkled with elements of electronic classics such as Boards Of Canada. Cohen's masterful battle between chaos and control, tension and release provokes all the right emotional responses, without giving it away too easily.


SS 021LP

VA: Balani Show Super Hits: Electronic Street Parties from Mali LP (SS 021LP) 16.00
"A compilation of popular modern electro music from Mali. High energy jams from 'Balani Show' sound systems. A collage of cut up balafons and djembes over Kuduro and Coupé Decalé rhythms - interspersed with samples of drums, bells, and whistles. Heavy dance tracks from some of the top names in Balani Show, from old school originators to bedroom DJ innovators, a sampling of music with over a decade of hits."



MUNGO'S HI-FI: The Singer/Dem Stylee 12" (SCRUB 009EP) 16.50
Just when you thought sleng teng could go no further, Mungo's Hi-Fi are back with this booming version for the dancehalls of today. "Dem Stylee" on the flip side is a perfect complement to this limited edition white label for all rub-a-dub bass technicians.



MOSCO, HARRY: For You Specially CD (SSR 032CD) 15.00
"In the early 1970s, Harry Mosco formed the now legendry funk-rock band, The Funkees. In search of greater opportunity and a wider audience, the group moved to London in 1973. Four years and two albums later they disbanded. Meanwhile, back in Nigeria, prominent businessman G.A.D. Tabansi was interested in getting into the music business, and signing the Funkees was his top priority. He traveled all the way to London to meet with the band only to find out they'd broken up. Tabansi returned home with no record deal. Mosco had already formed a new group called Africanium with drummer/singer Willie Bestman. Later that same year (1977), they recorded an album at TMC Studios in London. It was originally intended for release by EMI, but instead, Mosco licensed the album, titled For You Specially, to Mr. Tabansi for release on his new label. In an attempt to make the album more commercially viable, it was released under the artist name Harry Mosco rather than Africanium (a largely unknown band). In an even further attempt to appeal to the masses, the word 'Funkees' was printed on the cover to help consumers make the connection between Mosco and his former band. Despite Tabansi's attempts to capitalize on the success of Mosco's previous recordings with The Funkees, For You Specially was released with very little commercial success. Undaunted by the poor sales of their first attempt, Tabansi and Mosco tried again and released Country Boy in 1978. It would go on to become one of the best-selling Nigerian records of all time. Secret Stash Records is proud to present the first ever reissue of this rare Nigerian funk gem from one of the most influential musicians in the genre. Co-produced by Uchenna Ikonne (Brand New Wayo, Who Is William Onyebar?), this reissue has been lovingly remastered and meticulously restored."


MOSCO, HARRY: For You Specially LP (SSR 032LP) 18.00
LP version with mp3 download.

SSR 1004EP

DEROBE DANCE BAND: Gogoplata/Kem Dahg 7" (SSR 1004EP) 5.50
"Combining the sounds of afrobeat, Ghanaian funk, and Ethio jazz, Dérobé (pronounced day-row-bay) Dance Band creates a unique brand of heavy dance music tinged with dark intensity. Their debut 45, Gogoplata/Kem Dahg, was recorded at Secret Stash in late 2013. The haunting melodies and intense driving rhythms crafted by this 13 piece Minneapolis based outfit make this record a must have."

SSR 1005EP

DAVIS, WANDA: Where Did You Sleep Last Night? 12" (SSR 1005EP) 5.50
"Little did Wanda Davis know that, when she cut her version of 'Save Me' for a single on Project Soul Records in 1971, her first (and unfortunately only) release would go on to become one of the most sought-after records in the history of American soul, fetching well over $1000 from collectors worldwide. Now, 40-plus years later, Wanda returns to wax with the spooky 'Where Did You Sleep Last Night?' (a more than 100 year old murder ballad made famous by Leadbelly). Backed by the always rock steady grooves of the Secret Stash house band (aka, The Lakers), it's immediately clear Ms. Davis' vocals haven't lost any of their power in the intervening decades - if anything, she's upped the soulful sultry quotient tenfold."


SIR 1303LP

PAPIR MEETS ELECTRIC MOON: The Papermoon Sessions LP (SIR 1303LP) 29.00
"The Papermoon Sessions were recorded at the Dragens Hule on August 9th, 2012. Recorded live with no overdubs or audience; it was a deep experience for both bands. Recorded and mixed by Papir. Mastered by Eroc. LP in inside-out-cover, 180 gram vinyl, limited to 500 copies."



LIGHT YEAR: Come Together 12" (SPC 119EP) 12.50
2013 was a very successful year for Light Year with releases on distinguished labels Turbo, Convex Industries, and This is Music. He has supported a wide variety of some of the world's most in-demand DJs, including Simian Mobile Disco, Damien Lazarus, Tiga, Cosmic TRG, Claude Von Stroke and Skream. This is Light Year's highly-anticipated first EP with seminal electronic music record label Ghostly/Spectral. He continues here to work hard behind a rack of drum machines and synthesizers, making sounds to merge the global dancefloor community into a singular consciousness of light, sound, and dance.



MEIER, DIETER: Out of Chaos LP+CD (AKT 749LP) 21.00
LP version. Includes a CD copy of the album. Swiss artist Dieter Meier, the voice of Yello, releases his first solo album. The 12-track album sounds like a magical sound-alchemy made of chanson, electro and dub. Realized with various musicians and producers including Thomas Wydler (drummer in Nick Cave And The Bad Seeds), Nackt (producer for Mute recording artist Apparat), Ben Lauber (producer, synthesizer), Ephrem Lchinger (piano), Tobias Preisig (violin), Nicolas Rüttimann (guitar), and electropunk pioneer & producer T.Raumschmiere aka Marco Haas. The most exciting stories that happen to us are the ones that life itself seems to write the script to. You just need to put your hands onto them. If there's an expert on this matter, then it is certainly Meier, who now, at almost 69 years of age, is releasing his first solo album. Be it performance art, his work with Yello, or his winery, Dieter Meier dislikes the routine, which we ordinarily call day-to-day-life. His solo debut is called Out of Chaos, a reference to chaos itself; to the possibility that, at least theoretically, everything is achievable anytime. It all started on a reading tour accompanying the film Touch Yello, when Dieter Meier, inspired by his long-time Berlin friend and colleague Marcus Herold, brought along a handful of newly-written songs and performed them with jazz-violinist Tobias Preisig and guitarist Nicolas Rüttimann. Meier, who (apart from two exceptions in London and New York) never performed live with Yello at all, soon fancied the live situation and went on writing new pieces. Herold called Nick Cave And The Bad Seeds-drummer Thomas Wydler, pianist Ephrem Lchinger joined up, and shortly after, newer versions of Out of Chaos songs found their way to the stage, such as at the Montreux Jazz Festival and the Volksbhne, Berlin. In the summer of 2013, Meier eventually found an open-minded, experimental producer trio in Berlin: Nackt (Warren Suicide, Apparat, et al.), Ben Lauber (Apparat, et al.), and T.Raumschmiere, all of them big fans of Meier's work, teamed up with the first generation Out of Chaos band at Chez Cherie Studios in Neuklln to arrange, re-arrange, discuss, discard, research, jam, and eventually record in a series of sessions which are now an album. The result is a grand record starring Dieter Meier, standing at the bar of his life and musing about the rivers of time. Sometimes his songs sound like electro-acoustic Yello tracks, sometimes like a tender ex-lovers-blues from under the sea, and sometimes you find a post-punk nerve. And like any other stage Dieter Meier walked onto before, be it as an artist of all genres or as a singer/songwriter, on Out of Chaos he re-invents himself into a new world.



JONES, SIMON: Melanie & Me LP (STRAW 013LP) 31.00
LP version. Housed in paste on sleeve with photo insert. "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."


SA 022EP

CHEVEL: One Month Off 12" (SA 022EP) 15.50
The third release for Stroboscopic Artefacts in 2014 is from Italian producer Chevel. One Month Off is an EP built around the abstract themes of construction, starting with demolition and ending on perspective. The title-track combines a warm thump with skittering percussion and ragged cymbals build pressure. On "The Wall" there is little linear impetus, with a panoply of syncopated beats and foreign noises from the undergrowth. "Cave Dwellings" is a more organic construct, building from the traditional basics of a kick-drum and hi-hat. "Marker Shop" unites disparate urges and glorious moods, and "Viewpoint" provides a warmer perspective -- an uncompromising marriage of nature and noise.



KOVACS, KORNEL: Szikra 12" (BARN 022EP) 14.00
Szikra is Kornél Kovács at his most wistfully nostalgic. Ultra-smooth keys offset by noisy lo-fi breakbeats and vocals, urging you to git fucked up. Off-kilter playfulness is paired with the cocky swagger of a south Stockholm roughneck and an infectious pop sensibility that lingers in your head long after the needle hits the inner groove. The so-called "Bónusz Beat" is actually a track in its own right, sacrificing most of the hook and the vocals for a dubby smackdown ripe for adventurous dancefloors. Abdulla Rashim closes out the set with a perfectly horizontal techno groove, using only elements from the original production.



HOLM, ERIC: Andoya LP (SUB 011LP) 25.00
Subtext presents the debut album from the London-based American electronic musician Eric Holm. The release brings together a collection of recordings produced on the Arctic island of Andøya, an outpost 300 kilometers north of the Arctic Circle. Developed entirely from a single contact mic recording from a remote telegraph pole that connects the island's array of military listening stations, Holm crafts a detailed expansion of this solitary sonic moment, shaping the sound into an immersive meditation on man, nature and isolation. The telegraph pole connected to a seemingly endless network of traversing lines harnesses the dense ambiance of the landscape, both absorbing and distilling the essence of Andøya's harsh beatific character, and considers the position of microphone as witness within a vast cycle of physical transition and terrestrial flux. The release sonically frames Holm's adept technical crafting of his source material, bringing to mind both the glacial recordings of Chris Watson and the expansive mechanized textures of classic Chain Reaction.



FAY: Deathwatch LP (TNP 014LP) 20.00
Two years after the release of her groundbreaking LP DIN, Fay re-emerges with her new exhilarating new masterwork, Deathwatch. Treading many of the signature avant-pop and rough-and-tumble R&B tropes first heard on DIN, Deathwatch expands the sonic palette, pushing elements of drone, no wave/post-punk, and dub higher into the mix. With a tight focus on exploring the physical within the realm of machine music, Deathwatch (like DIN) was conceived using the same process of editing and stitching sounds together visually without the help of sequencers or even a grid. While this is music made with computers, Fay's painstakingly unique process highlights the raw human element to her music, reflecting the blood, sweat, and pain expended throughout her addictive, unquantized rhythm explorations.


UP 030EP

A PASSING FANCY: I'm Losing Tonight 7" (UP 030EP) 6.50
"One of the all-time great Toronto singles, this actually had decent local chart success in early '67. The hit's a high-energy slice of quick-paced freakbeat elevated to greatness by an absolutely stinging lead guitar attack, while the eponymous flipside delivers an insistent mid-tempo jangle built around a haunting chorus. Utterly essential for those who dig classic mid-'60s garage sounds. Remastered with a brand new picture sleeve."

UP 032EP

BENT WIND: Sacred Cows 7" (UP 032EP) 6.50
"Bent Wind's 1970 LP Sussex is perhaps the rarest Canadian record there is, but before dropping that massive set of heavy psych, they debuted with a small-run 45 that hit hard with a pair of considerably more straight-forward garage psych rockers. Released on the tiny local Trend label in 1969, this is a very good single that marks the transition from mid-'60s garage to the heavier rock to come. New sleeve, made with full cooperation of the band."


UD 19571969LP

LILES, ANDREW: Fast Forward Through Time (Illusion Four) LP (UD 19571969LP) 25.50
This is the first vinyl release on Steven Stapleton's legendary label, United Dairies, in over 20 years! Andrew Liles' "Through Time" series is based on ideas around the concept of time, the passage of time, time-travel and also in part on the writings of John von Neumann, specifically his ideas on the self-reproducing universal constructor and his lecture "The General and Logical Theory of Automata." This is the fourth and final part of the "Through Time" series. This LP is strictly limited to 500 copies and no Nurse With Wound/United Dairies collection is complete without it. The record is pressed on audiophile virgin 180 gram vinyl and the sleeve features beautiful front cover art by Babs Santini (aka Steven Stapleton).



GAROTAS SUECAS: Feras Miticas 2LP (VAMPI 157LP) 25.50
Double LP version. After their first collaboration with São Paulo's Garotas Suecas in 2011 on their album Escaldante Banda, Vampisoul is proud to present worldwide their fantastic new work, Feras Míticas, recorded at the end of 2012 and released in Brazil in 2013. The album is an ambitious step forward for the band, which sees them building on their previous freakbeat and Tropicália sound towards a more fuller soul and funk production, beautifully arranged and broader in scope, both grooving sweetly on the dancefloor and adopting a more reflective stance at times. Featuring guest collaborations by Lurdez da Luz, Kid Congo Powers and Paulo Miklos, Feras Míticas consolidates Garotas Suecas as one of the most unique and interesting young bands internationally, possessors of a sound which is aware of the past but is clearly of the now.


SON PALENQUE: Afro-Colombian Sound Modernizers 2LP (VAMPI 158LP) 25.50
Double LP version. In the history of Afro-Colombian culture, Son Palenque is without a doubt an exceptional band, and its history has a place at the very heart of ancestral palenquera music as well as at the musical intersection between Africa and Colombia, which took place on Colombia's Caribbean coast in the '70s and '80s and which continues today through champeta, a musical genre and dance that also bears a strong African influence. The members of Son Palenque band grew up in rural communities fixed in time, with deep musical roots, duels between tambora players and a legendary musical profusion of traditional musicians that built the foundations of today's Afro-Colombian music. Later they all migrated to the city and bit by bit made a place for themselves. In 1980 they recorded their first single for the Fonobosa record label. Two years later they recorded an LP, again with Fonobosa, along with Estefanía Caicedo. Later on the band signed with the label Felito Records, in Barranquilla, which during the '80s produced some of the finest gems of psychedelic and Afro-roots music of the time. With Felito Records a new era began for the group. They recorded the LPs Ane Jue and African Erotic -- milestones in the history of Afro-Colombian music: for the first time they showed us traditional palenquera music, chalupa, bullerengue, lumlalú and other traditional rhythms mixed with modern arrangements of bass, guitar and saxophone. They then recorded three LPs for the CBS music label, and in the mid-'90s Son Palenque lost its recording contract, The group was resurrected in 1999 for a song with guitarist Sekou Diabate, legendary leader of the band Bebeya Jazz. Subsequently they recorded for the same label, under the production of Lucas Silva, the record Ma Kamajan Ri Musika Ri Palengue, released in 2012, which marked the folkloric group's resurrection. And so Son Palenque continues to play, 30 years after its foundation. This compilation of their music from the '70s and '80s makes clear their inimitable, groundbreaking legacy.


PATUCCHI, DANIELE: Telemark/Red Lamp 7" (VAMPI 45059EP) 8.50
Selected by DJ Javi Bayo, Vampisoul's new Tabú series brings back to life a collection of unique sounds aimed at discerning dancefloors worldwide. Focusing on the reissue of obscure European and Latin American releases, the Tabú series ranges from library music through Latin funk to jazz, all issued on 7" vinyl and in strict limited editions. The first release features two killer tunes by Daniele Patucchi available on a 45 for the first time: From the OST Metralleta Stein comes the track "Telemark" and "Red Lamp" was taken from yet another obscure '70s Spanish soundtrack to the film Una loca extravagancia sexy.


4 46089EP

MOME: Triple House EP 12" (4 46089EP) 12.00
Môme is quickly becoming France's new house god. His Triple House EP is probably the most amazing outing of his fresh style to date, with all three tracks being sweaty, bouncing groove monsters. As if this wasn't enough, label honcho Stefan Goldmann cracks his funkiest cutting remix in ages to round the package off. It's unreal.


WA 2010CD

VA: Japanese Traditional Music: Noh, Biwa, Shakuhachi CD (WA 2010CD) 12.00
2014 repress. Subtitled: Kokusai Bunka Shinkokai, 1941. This second volume of the 1941 Kokusai Bunka Shinkô-kai (KBS) recordings features Noh theater masters, many of whom had been trained by artists active before the Meiji (1868) period. An essay and texts in both English and Japanese with translation are included in the CD. Noh, a masked play, was established by the actor Kan'ami Kiyotsugu (1333-1384) and his son Zeami Motokiyo (1363-1443) in medieval times. Based on various earlier forms such as sangaku (acrobat and juggling), dengaku (dance and play derived from rice festivals), and kusemai (dance), the noh created a far more highly artistic form of theater than ever before. Japanese biwa music is characterized by a narrative with biwa accompaniment. The instrument, born in ancient Persia and introduced into Japan around the 8th century as a component of the royal court's gagaku ensemble, is a four stringed lute plucked with a large plectrum. In the late 12th century, blind Buddhist priests developed a unique narrative style, using this instrument as an accompaniment. The shakuhachi is a vertical bamboo flute sharply edged in its flue. Its standard length is about 54 cm., but there are shorter or longer types than this standard. Shakuhachi was traditionally played by komusô, Fuke-shû priests (a Zen Buddhist sect). The blowing of a shakuhachi (sui-Zen, literally "blowing Zen") was a komusô's religious act equivalent to chanting a sutra.

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