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Forced Exposure New Releases for 4/14/14

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New music is due from Loops Haunt, Sascha Dive, Ryley Walker, and Orcas, while old music is due from Cyclobe, Luc Ferrari, Jacques Berrocal, and Marisa Anderson.


we also accept orders via FAX at 781 321 0321.

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FORCED EXPOSURE / 219 Medford Street / Malden, MA 02148 / USA

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3000GRAD 008CD

MOLLONO.BASS: Remix Collection II CD (3000GRAD 008CD) 17.00
Mollono.Bass is the remix man. With an insatiable appetite, this musical gourmet is always in search of new delicacies, be it in the field of electronic dance music or other genres. Once he discovers one of those precious treats for the ear, he extracts the elements that make the head nod and the corners of the mouth rise. The essence of the groove serves as the base for every Mollono.Bass remix. The actual preparation is as varied as the styles and atmospheres of the original tracks: sometimes it's a rustic dancefloor stomper spiced up with hearty instrumentations -- just perfect for the party-hungry dancefloor of the peak-time. Sometimes it's complex compositions and jazzy rhythm escalations, just right for a decent after-hour. Mollono.Bass always caters to both the body and the mind of his listeners, as his remixes always provide a maximum of dancefloor boost as well as a feeling of deepness. Artists include: The Micronaut, Lucas Deer, Ataneus, Kombinat100, Atlantik, Robot Needs Oil, Klangkuenstler, Pupkulies & Rebecca, Marcus Sur, Schäufler & Zovsky, Madmotormiquel, Funkwerkstatt, and Be Svendsen.


50 035EP

PHON.O: Cracking Space Pt.1 12" (50 035EP) 14.00
Phon.o's new EP continues his quest into the deeper zones of club music. Combining influences from UK house, garage and Berlin techno, he manages to further define his very own sound. Featuring guest appearances from Malaysian duo Bass Sekolah and additional keyboards from San Franciscan mastermind Joshua Kit Clayton, this record has a strong narrative that manages to work on the dancefloor as well as on the home stereo. This EP is intimately tied to the forthcoming #037, Phon.o's next EP. Together, they make a killer couple and you won't be able to decide which one to take home with you.



MICRONAUT, THE: Panorama CD (ACKER 004CD) 17.00
Is it his love for details that made him known as The Micronaut? At least the atmosphere of his productions evolves from a multitude of intricate elements. These little bits and pieces might be of a very different nature, but together they complement each other in perfect harmony, creating the big picture, the Panorama of a soundscape that is one of a kind. The musical snapshots of The Micronaut draw their expressive power and liveliness from a play of contrasts: Between two-step, broken bass music rhythms and stomping straightness, between catchy melodies and subliminal drama, between electronic sound synthesis and human vocals. Carefully arranged, the single tracks create a majestic Panorama that reveals yet-unheard new perspectives on music genres, crushing their boundaries in a very playful way.



M.E.V.: Spacecraft/Unified Patchwork Theory CD (NMN 038CD) 19.50
Originally released in 2001. In the fall of 1966 a group of composers that included Frederic Rzewski, Alvin Curran, Allen Bryant, Jon Phetteplace, Giuseppe Chiari and Richard Teitelbaum organized "Avanguardia Musicale I," a festival of several consecutive nights at the Accademia Filarmonica Romana. The program included tape music, Fluxus performance art pieces, and live electronic works. It was also the beginning of the group MEV. One year later, the group was in Rome, Italy, but also involved in a very active period of touring in Northern Europe, mostly in Germany. It was the period of the first major collective piece, "Spacecraft." In many ways, the music of that period was the most unique and radical in the group's 30-year history. The instrumentation included Rzewski's amplified glass plate to which he attached coiled and stretched springs of various kinds, all highly amplified with a contact microphone. With it he generated a range of sounds from the screaming of wild animals and viscous percussive clangs to richly resonant low gong sounds. Alvin Curran used contact mikes to amplify a large Italian olive oil can, an African thumb piano and various items of junk he scavenged at the site of the gigs, as well as a distorted amplified trumpet. Allen Bryant's idiosyncratic instrument, an old electronic organ he had bought in a Roman flea market and re-wired by trial and error until he got the sound he liked, and Richard Teitelbaum's Moog, which he played by twirling knobs while triggering it with his brainwaves and toes and amplified heartbeats, made up the "synth" section. Finally, Ivan Vandor's (at that time also member of Gruppo di Improvvisazione Nuova Consonanza) wildly wailing alto sax -- usually long, high sustained screams or low guttural honks -- rode above the dense noise textures that gradually evolved and grew over time into violent climaxes. These in turn gave way to soft, slow and meditative sustained vocal and electronic drones and chants. This CD, the first in a series of editions devoted to MEV, introduces us to the integral 42 minutes of "Spacecraft" recorded in Cologne, Germany (1967), as well as to "Unified Patchwork Theory," recorded at Rote Fabrik in Zurich (CH), in 1990 featuring Curran (sampler and synths), Rzewski (piano), Teitelbaum (synths), Steve Lacy (soprano sax) and Garrett List (trombone, voice and electronics). Digipack CD edition including a folded insert with original photos of the group from 1967, the text by Frederic Rzewski titled "Plan for Spacecraft" (first published in Source Magazine) and an excerpt from "Some MEV Memories" by Richard Teitelbaum.


MARCHETTI, WALTER: De Musicorum Infelicitate CD (NMN 039CD) 19.50
2001 release. As Walter Marchetti told to the producers of De Musicorum infelicitate, i.e., The Unhappiness of Music, this will probably be his last music work, but this is not the only point making this edition a very special one. After two CDs previously issued for Alga Marghen (Antibarbarus in 1998 and Nei Mari del Sud in 1999) these "Ten Pieces in the Form of Painful Variations" dispose in their unceasing and implacable sequence the landing at an anaphorical finis terrae, the extreme and impassable threshold, beyond which music can but sink in the abyss of its own loss of consciousness, in front of the horizon of the definitive loss of its exhausted tradition. "De musicorum infelicitate," anamnesis of the condition of music, a barren aesthetic code ineluctably suspended between self-mystification and expression of the inauthentic, having reached the limit of its own fertility and every faculty of the imagination. "De musicorum infelicitate," longing for a magniloquent destructio musicae, the destruction of an administrated practice, of a tautological exercise devoid of inner necessity. As Gabriele Bonomo, the project coordinator of the complete Walter Machetti editions for Alga Marghen, remarks in the liner-notes, music has been reduced to leading a ghostly existence, haunting the cemetery of history and frustrated by the impossibility to adhere to itself; if only music were able to recognize its own superfluity it could fulfill its destiny. While listening to these "Ten Pieces in the Form of Painful Variations," each one with the precise duration of six minutes, you will realize that music, this extremely dense sonority close to the pulverization limit, is talking about itself.


MARCHETTI, WALTER: Utopia Andata e Ritorno 2CD (NMN 059CD) 45.00
2006 release. Music: the foundation of that presence in which we find ourselves shows itself as pure negative. Everything is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence that is an objective future, but, accepting its negativity, makes of this self-negation the real act, the true reality -- the true foundation, the real and actual continuity: this is music's sense. Utopia Andata e Ritorno is the title of the new composition by Walter Marchetti, recorded in Milano in 2005. It has two parts, each one CD long. The first part, "L'andata," puts together two former recordings of Marchetti -- the recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert." The second CD, "Il ritorno," reverses the direction of the first record and literally destroys itself. In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotal in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. "L'andata" is one of the great works of music of our time, or, as José Luis Castillejo remarked, "it may be the best modern piano concert since Brahms." In the second part, "Il ritorno," sound waves are deformed when one tries a reverse hearing and the return trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "Il ritorno" announces the end of musical avant-gardism and its technocratic aspirations. It points to the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "Il ritorno" is such a problematic work also because its subject is failure and impossibility. Three-folded digipack 2CD edition. It includes a 32-page booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo.


BERROCAL, JACQUES: Parallèles CD (TES 037CD) 19.50
2009 repress, originally released in 2001. Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rock'n'roll, punk, no wave, spoken-word and industrial music like him. He also had a central position in the creation of d'Avantage, a collective record label that issued some of the most particular sessions of the mid-late '70s. At the same time he was working on neverending sessions for records that were never issued. Jacques and his band were the apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 d'Avantage issued a wonderful record LP titled Parallèles featuring, among others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rock'n'roll who inspired David Bowie's Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse With Wound LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minute-long piece dedicated to the Futurist Russolo (again, two years later, Mr. Stapleton dedicated his first NWW record to the same Italian artist). Also of mention are "Post-Card," recorded in a pigsty in 1976, and the legendary "Rock'n'roll Station," a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Berrocal). The remastered CD also includes five previously-unreleased tracks that were actually left out of the original record: "Villa Povera Naturale" (1972) is a short piece for pocket trumpet and various concrète elements; "Occupé" by Michel Potage is an excerpt taken from an LP that d'Avantage never issued; "Shorten" and "Lisylis Pavillon" are the first experiments using electronics and "Cryptea IV," taken from the sessions of the early Futura LP. Thirty years later, Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, and out of fashion. A digipack CD edition including a folded insert with very nice original photos and scores.


BERROCAL, JACQUES: Catalogue CD (TES 058CD) 19.50
2005 reissue. Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Jacques Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on "Tango" (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on "Incontrolablslaooo" and "Faits Divers," moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of "No More Dirty Bla Blaps," the Portsmouth Sinfonia-like spoof Dixieland of "Rideau," the distressing punk of "Signe Particulier" and all manner of field recordings and cut-ups in Berrocal's Artaudian theater style, combining the excesses of glam and punk cold-wave with a post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979), Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic, and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jacques Berrocal to discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patakand John Fothergill on NWW's second album, but that's another story.



BORED YOUTH: Are You Alive? LP (ADR 011LP) 14.00
"Captured at the band's zenith, Are You Alive? finds Bored Youth unleashing their unique blend of UK-inspired midwest hardcore punk across ten tracks originally engineered by then-Necros bassist and Touch and Go Records honcho Corey Rusk in 1982. The b-side sees an early incarnation of the band as a three-piece in 1981. Live at the legendary Detroit venue Nunzio's, the trio is no less powerful as they blaze through a set of future hardcore classics and throw in a few fundamental punk covers along the way. 500 hand numbered, hand screened 12" LPs."



STEAMPUNK'D: The Plot Thickens 12" (AMAM 028EP) 14.00
Greek producers Lee Burton and Mr. Statik are already familiar to fans of groove-inducing, deep minimal house, creating intricately-woven tracks that spark dancefloors and neurotransmitters in equal measure. Now, AMAM gets first dibs at issuing their first release as Steampunk'd, their new collaborative project, hotter than Ashton Kutcher in metallic neo-Victorian garb. The title-track is propelled by highly compressed funk juice that maintains a relatively lower BPM, "Sinderella" is a similarly eerie but catchy fairy tale, and "Peanuts in Love" features wispy vocals yearning atop a vibrant house beat. Includes a remix by Ion Ludwig.



VA: Another Dark Age 12" (ADA 001EP) 15.50
This V/A release reaches across oceans and continents to connect music from four obscure projects. From Providence (USA) to Melbourne (Australia), Another Dark Age delves deep into the noise and experimental scenes of both cities. Form A Log is a trio of which Ren Schofield (aka Container) is a member. Their twisted analog improvisations are as disciplined as they are chaotic. "In the Streets" is a chugging percussive jam that winds its way between noise and entropy. Phantom Selector, Victim and Carrier are artists who have released diverse music on cassettes under ever-changing monikers. Tortured vocals, eerie textures and cavernous kick drums represent the fleeting moods of these artists.


AU 5038CD

JUNCO PARTNERS: Junco Partners CD (AU 5038CD) 17.00
This superb organ-driven blues-rock band formed in 1964 in Newcastle, where their local success rivaled that of The Animals. Having gigged widely and made several singles, their sole album was recorded in London in 1969. Produced by Fritz Fryer (who also worked with the Open Mind, Harsh Reality, Steamhammer and others), it's a superb set of soul-tinged prog, featuring a number of fine originals by leader Bob Sergeant, as well as covers of numbers by Joe Cocker and Earth Opera. Unfortunately, it wasn't released until the start of 1971, by which time they'd split.

AU 5039CD

DIBANGO, MANU: Africadelic CD (AU 5039CD) 17.00
Born in Cameroon in 1933, Manu Dibango is best-known for his 1972 disco classic "Soul Makossa." This legendary library funk LP was issued the following year in France only, and has it all -- fuzz guitar, horns, bongos, breaks, and -- of course -- Dibango's awesome sax and vibes work.



BIKINI KILL: Yeah Yeah Yeah Yeah 12" (BIKINI 003EP) 14.00
"A reissue of Bikini Kill's second EP, Yeah Yeah Yeah Yeah. Yeah Yeah Yeah Yeah was recorded in 1992 with Tim Green (Nation of Ulysses) at The Embassy - a group-house in Washington, D.C. - and was the first Bikini Kill release to feature the band's song, 'Rebel Girl.' Originally a split EP with the Brighton, UK-based band, Huggy Bear, the B-side now features seven previously unreleased Bikini Kill songs drawn from era-appropriate live shows and practice tapes. The artwork has also been updated to include archival photos and liner notes from the Bratmobile's Erin Smith, Comet Gain's David Feck, and the members of Bikini Kill. Bikini Kill was a feminist punk band based in Olympia, WA and Washington, D.C., forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early '90s via their political lyrics, zines, and confrontational live performances."



LOOPS HAUNT: Exits CD (ACRE 005CD) 15.50
Since his debut in 2009, Loops Haunt has continued to confound and excite with an output as mercurial as it is rare. Toying with jungle and hip-hop on Zenith and outright sound design on Ark, the wilderness-bound beat alchemist uses his isolation to explore and even create his otherworldly sound palate. Lurking behind immaculate drums are the windswept sounds of the desolate North and mechanized textures plucked from his father's own workshop. Here we embark on Loops' most complete work to date. Exits is designed to be listened to as one continuous track, opening with ambient mood and emotion, layering outboard synths and found-sounds on the title-track and "Trap Door." An unexpected calm beginning is shattered in the second act with the pounding rhythms and industrial heartbeats of "Howl" and "IIVA." Exits is an insight into a uniquely unpredictable talent and rare chance to be immersed in his sound.


LOOPS HAUNT: Exits 2LP (ACRE 005LP) 25.00
Double LP version.



KILLING SOUND: Killing Sound 2x12" (BLACKEST 028EP) 19.50
Oblique sound-system murderers from the trio of Amos Childs, Seb Gainsborough (Vessel) and Sam Kidel -- members of Bristol's noted Young Echo collective. Killing Sound make their full recorded debut on this self-titled 2x12", with four tracks cut obnoxiously loud across four sides by Matt Colton at Alchemy.



BODJ: Irish Burnout 12" (CLAAP 017EP) 12.50
BODJ's second solo EP on Claap features two very well-crafted club tracks. Produced for the late hours, this EP sits right on the boundaries between house and techno. Each track follows a moody sonic path reminiscent of the dub side of techno, while at the same time the tempo is set to give each element plenty of space to develop within the arrangement. Two tracks carrying the right hypnotic-to-pump ratio, making this record functional from the warm-up to the closing set.



KVB, THE: Always Then LP (CDR 008LP) 23.50
Clan Destine presents a final repress of British dark wave band The KVB's Always Then, originally released in 2012. 250 copies on clear vinyl.


YVES/SON/ACE: Dead Life LP (CDR 018LP) 23.50
Yves/Son/Ace return with another LP after a record for La Station Radar. Here Matthew Ford (also from Love Tan, Factums, etc.) delivers us a dubbed-out electronic synth wave work-out. Cover art by L.A. visual and sound artist Suzy Poling.


POD BLOTZ: Glass Tears LP (CDR 020LP) 23.50
Clan Destine has been excited by Los Angeles-based artist and photographer Suzy Poling's Pod Blotz project for awhile now. Here she brings us some of her most amazing recordings to date. Combining heavy-duty synth workouts, noise, and Radiophonic Workshop bleeps, all run through with an amazing ear for melody.

CDR 12002EP

VA: Dark Acid II 12" (CDR 12002EP) 20.00
The second in Clan Destine's series of electronic/acid techno 12"s focuses on artists living in Glasgow. Music by Bläck/Tract, Tropics Of Capricorn, Golden Teacher, Claire, Stefen Blomeier.



PASCUAL, ALBERTO: Modeler 12" (CLR 076EP) 14.00
With the release of Alberto Pascual's Modeler EP, CLR welcomes a new artist to the label roster while the Madrid-based DJ/producer adds another record to his remarkable list of releases on respected techno imprints. This 12" contains four brand-new compositions of crystal clear, bass-heavy and enthralling techno from one of Spain´s internationally renowned players. These four tracks focus on the essential roots of uncompromising, absorbing techno and the individual track-titles "Modeler," "Doer," "Modifier" and "Sculptor." Alberto Pascual is one of those restless creators of raw, solid techno who should be kept closely under watch.



Cocoon Recordings' very own "best of" series presents the next issue which is again simply called by the number of the release-order. So it's number nine, this time ("Neun"). Sven Väth has once again chosen Chris Tietjen to compile and mix the pearls of the last Cocoon Recordings releases. Tietjen started as a young gun in Väth's Cocoon Booking agency and developed into a proper club DJ. He even released his first solo 12" on Cocoon Recordings in 2012 which marked his final arrival in the techno business. Tietjen's progression as a DJ is clearly noticeable here as he laid down a very elegant and smooth overall mix. He starts the journey with two Matt John and one Minilogue track, which creates a very moody and warm introduction. The transition into the following part can be seen as a kind of "warm up" one would like to hear in a good techno club. Next in the mix are Adam Port, Popof (Animal & Me) and Nick Curly, who step by step feed the mix with more energy. From minute 22 onwards, the mix starts to kick in and the bass-cabinets of your speakers should definitely move stronger now. Pele & Shawnecy, Sante & Frank, André Galluzzi & Dana Ruh are the following names in the mix and together with the next track by Mauro Picotto & Riccardo Ferri, we have four strong collaborations. It seems the "techno duet" is the new way to create cool club music these days. The ending section is based on tracks by wAFF, Julien Bracht, Temma Teje, Uner and Mind Against and it is the dignified counterpart to the elegant beginning. Tietjen manages to swing out as smooth as he started the mix. To cut a long story short: Neun turns out to be a very nice overview of what has happened over the last months in the Cocoon Recordings universe and it definitely calls out for more.



TJ KONG (FEAT. OVASOUL7): Compost Black Label 111 12" (COMP 434EP) 12.00
TJ Kong is back with his very own "Sweet Sweet Lovin'," which features the sensitive, soulful vocals of Ovasoul7. This exceptional singer lent his voice already to the works of Deetron, Motorcitysoul, DJ Spinna and Slope. Includes a stripped mix by producer Filippo Moscatello aka DJ Naughty, who has been in the biz since the mid-'90s and released two albums, one on Gigolo in 2001, and one on Moodmusic in 2009, and a lots of 12"s on Gigolo, Eskimo Recordings, MoodMusic, etc. The other remix is from Dima Studitsky, one of Moscow's underground club scene honchos.


OHOHOHS, THE: Compost Black Label 112 12" (COMP 440EP) 12.00
The OhOhOhs arrive on the Compost Black Label with their unique disco-driven indietronic analog outfit. Features a lush, tech-y remix of "Wu" by Einzelkind & Robin Scholz, developing a wicked playfulness. Space Coast also delivers an epic synth-packed disco version. The OhOhOhs explore opportunities that combine acoustic instruments with synths, digital sounds and voice. The basic idea is to find spaces in the different approaches of electronic and acoustic music to flip perspectives. It can be beautiful and exhilarating playing a Bach fugue cut into loops and combining it with a polyrhythmic conga-pattern, adding an acoustically-played delay effect while the feet begin to tap a 4/4 techno-beat.



MAN POWER: Kiloton EP 12" (CORR 026EP) 12.50
Man Power delivers the Kiloton EP for Correspondant's 26th release. The 12" opens with Balearic beats and chugging 303 acid, summoning a soca-style saxophone intervention, then stirring discordant synths into a sonic whirlpool. In his outerworld rework, Hardway Bros' Brit Sean Johnston pitches down the original, swerving into low-slung '80s styling and leaving behind galactic static. "Parenthesis" is built around samples from a '71 conversation between critical philosophers Chomsky and Foucault and features escalating, acid-drenched pulses, distorted echoes, and distended synths. Raudive turns out a cold-blooded, high-octane rework of "Parenthesis," his minimalist composition placing a driving kick drum at the core.



DIVE, SASCHA: Dark Shadow CD (DVR 024CD) 17.00
Deep Vibes presents the second album by Sascha Dive. Pinning down Sascha Dive as Cocoon's deep house wunderkind wouldn't really hit the nail on the head; however, it isn't far from the truth. Compared to most other artists of this genre, he can for sure be classified as a young gun. Sascha Dive's music is loaded with a respectful amount of taste and house history you would normally find in the productions and DJ sets of artists who started in the early '90s. And this is not unwanted: Dive admires and follows the big names of house and deep house and his musical efforts to pay respect to them brought him on par with his legends. So it's no wonder that Sascha Dive productions found their way to top-notch labels like Tsuba, Freebase, Deep Labs (Balance US) or Raum...Musik. Not to forget his release for Ornaments and the Moodymann remix for "Deepest America." Keeping in mind where Dive started with his first album Restless Nights (DVR 014CD/LP) and what he achieved (such as receiving remix honors from Kenny Dixon Jr.), one would think Sascha Dive has scored all the goals he wanted to score. However, the journey doesn't stop there: being a Cocoon artist and having played for some of the major Cocoon nights in Ibiza and around the globe, Dive incorporated a decent amount of electronic soul and afterhour-madness to his music over the last years. He even admits that his current productions and DJ sets are definitely influenced by current techno- and techno house artists and this special feeling this music adds to a party. This progression is clearly audible on Dark Shadow, which is a great example of the sound of Sascha Dive as he opens up new fields of music and creativity. This album is not just a collection of tracks, it is a mad journey that has the potential to take you deeper and deeper underground and back to the top again. Cinematic, moody house vibes and hypnotic tech-house excursions... you'll find it all in here.


DIVE, SASCHA: Dark Shadow 3LP (DVR 024LP) 34.00
3LP version.



AFMB: A Forest Mighty Black 3LP+CD (DPC 047LP) 25.00
It's been 17 years since Bernd Kunz, also known as AFMB, released an album. After its release in 1997, A Forest Mighty Black's Mellowdramatic became a trip-hop classic. In the years that followed, Kunz quietly drifted away from his trip-hop roots and during this time he moved from the Black Forest capital Freiburg to Zurich, Switzerland, where he got more in touch with house music again (before his trip-hop days he was an avid acid house and garage addict). After meeting Drumpoet's label-boss Alex Dallas and his "Earthbound" buddy Alex Gustafson at the city's most famous house club Zukunft, it was clear what had to be done -- they started to explore the deeper aspects of house as The Lost Men. Encouraged by the resonance of their output, Kunz followed up with solo work on Drumpoet. The 12"s Backup Days and In My Life featuring the singer Geraldine Roth (who is also featured on the new album) showed his love of '90s house, especially the Underground Resistance sound. After all those club-oriented releases, he got more and more interested to find out what could happen when looking beyond the dancefloor, without neglecting the basic ingredient of house-music, the four-on-the-floor bass drum. He started to cross his house explorations with the vast trip-hop experiences and it soon became clear that the fusion of the two genres was the key to the special mood he was looking to set. One of the first results that can be found on the album was "Suite for B-Boy," a reflective 120 BPM tune, with a typical AFMB, Larry Heard-influenced piano line, followed by "A Tribute," that could easily be declared as slow-house. But one can also find much more trip-hop sounding songs on the record, with "Jade Knights 2" where Kunz plays with his own past quite heavily, but tastefully. While working on those three tracks, he suddenly realized that he had started to create a blueprint of a new LP without knowing. The major aim during the three-year long production was to explore all possible facets of this genre clash and to finish a timeless, gadget-free piece of music that the listener can travel through. AFMB provides 12 new and previously-unreleased tracks with his latest Drumpoet release and proves his Black Forest heart still beats.


313 005CD

CV313: ''Altering Illusions'' 1/3 2CD (313 005CD) 22.00
Echospace return to their "Altering Illusions" project and deliver a massive double CD edition released in three separate issues, part 1 closely focused on the work of cv313. Expect sub-harmonic deep space exploration in some seriously out-there electronic quadrants, some of the deepest techno reductions ever captured to tape. A sprawling nebula of etheric sounds made by the illusive cv313 project, exploring re-mastered versions of their most celebrated classics ("Dimensional," "Sailing Stars," "Seconds to Forever," "Beyond the Clouds") to exclusive new, unreleased material. Over two discs, you'll be treated to over 2.5 hours of purified groove reductions made on vintage analog equipment, teasing out the infidelities of archaic equipment which render the sound at its most diffuse and opiated. Lush listening from the magical cv313 project, one of Detroit's finest.



HECKER: Articulacao CD (EMEGO 180CD) 15.50
Editions Mego is proud to release Articulação, the latest work by Florian Hecker. Articulação deepens Hecker's collaboration with Reza Negarestani, author of the libretto created for Hinge. In two distinct renderings this piece articulates a complex scene in which the two obelisks of the script -- one from the perspective of nature and one from the perspective of culture -- are recited simultaneously in an informational yet dramatic style. Hinge* features the legendary artist Joan La Barbara as its main voice and is delivered in microtonally converging pitches with sparse sample-accurate time-lags, shifts and twists. The repolarizing phrasings of Hinge recall Artaud's Theater of Cruelty as much as Beckett's minimalist narratives. Here the listener may construct a hinge, a pendulation between the right and the left obelisks; embarking upon navigation and synthesis while tracing the chimeras of nature and culture. In apparent contrast, Hinge** engages the disparate modalities of its sources, complicating any assimilation of their respective traits. With an insight on the complexities of Hecker's chimerized pieces, Robin Mackay summarizes: "According to psychoacoustical research, the brain functions that serve to identify the 'what' and the 'where' of a sound operate upon different timescales, a finding Hecker exploits to produce sequences in which the fine time structure of one voice is sheathed in the amplitude envelope of another, producing an entity that remains recognizable as a voice while being spatially delocalized and semantically scrambled, and which the listener must reconstruct as a unified yet impossible synthetic creature -- a chimera." Between these pieces, Modulator (... meaningless, affectless, out of nothing ...), reveals, in a structural and formal manner, the synthetic means of modulation and topological transformation that appear in disguise in Hinge**. In a sequence of short episodes and chronics, Modulator celebrates the notion of sound as an Immaterial. Its syntheticness and modern generation occurring as a bottom up and top down process across different scales, exciting the human mind's hallucination of objects on the basis of auditory cues, without obvious compounding of a narrative progression. Articulação is an isolated masterpiece of text, sound and synthesis. Includes a 12-page booklet. Mastered by Rashad Becker. Total running time: 79 minutes, 30 seconds.


LEWIS, KLARA: Ett LP (EMEGO 190LP) 20.00
Klara Lewis' debut release presents an electronically-charged reconstruction of organic sound matter. Ten tracks featuring a wide variety of sonic material which is subjected to Lewis' unique approach to the sonic landscape. Field recordings, small sounds, samples, ambient pot holes, repetition, and giddy disorientation are all tactics deployed by Lewis. On entering these works we take a voyage through a series of audacious audio adventures, playful musical miniatures and choppy sonic seas. There is a human warmth to much of the material as Lewis expertly crafts musical matter from the living world. Ett is an exemplary investigation as Lewis reconfigures the sounds of life itself, from the delirious to the tender. A bold vision from a bright new talent. Recorded, sampled, edited, manipulated, mixed, produced, and arranged by Klara Lewis. Artwork by Dave Coppenhall.



CAUSA SUI: Live at Freak Valley 2CD (EPR 017CD) 21.00
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.


EM 1124CD

MARTOC: Music for Alien Ears CD (EM 1124CD) 18.00
"RECORD OF THE YEAR: Martin O'Cuthbert: B.E.M.S (Esoteric Records) 'Seriously, when I played this record, an object on the wall started to vibrate very quickly, and I have witnesses to prove it. Martin O'Cuthbert is either a very evil person (just listen to the record) or a total fool (just listen to the record). Probably be big in Japan, and at a guess I'd say the whole thing comes off a Yamaha organ cos no synthesizer could sound that bad, could it?'" --John Lydon (PiL), New Musical Express, July 22, 1978. Martoc aka Martin O'Cuthbert, has been making alien and alienated synth-pop in the UK since the post-punk period. This compilation gathers six songs released on 7" EPs during the years 1978-1980, plus four songs released during the first decade of this century. The tracks show a distinctive stylistic unity, inspired by fellow spirits like Fad Gadget, The Normal, John Foxx, and Kraftwerk. Across the decades Martoc has maintained both his close relationship with his synthesizers and an arms-length relationship with society, resulting in an appealingly quirky and individualistic iciness, informed also by his love of science fiction writers such as J. G. Ballard and Iain Banks. One of the songs included here, "B.E.M.S.," was chosen as record of the year by John Lydon in New Musical Express in 1978; John Peel was also a supporter. Despite these and other accolades, Martoc and his simultaneously catchy yet disturbing music has hovered resolutely under the radar, an alien craft avoiding detection by an unaware and perhaps unprepared world. Gathered together here, this collection of tracks offers an excellent opportunity to investigate an alien explorer. Compiled by Tamotsu Mochida, the author of Industrial Music for Industrial People (2013). Newly mastered.



BONNETTA, JOSHUA: Strange Lines and Distances LP/DVD (EXP 026LP) 29.00
"Experimedia Films present Strange Lines and Distances, an award winning two-channel audio-visual installation by artist Joshua Bonnetta which examines Guglielmo Marconi's first transatlantic radio broadcast. The work is inspired by Marconi's belief that sound never diminishes, but rather grows incrementally fainter and fainter. He believed that with an adequately sensitive receiver, one could amplify the echoes of history. Strange Lines and Distances looks at and listens to the past, revisiting Marconi's original transmission sites in order to explore the hauntological aspects of radio and landscape. The installation invites a consideration of the monumental impact of the first wireless transmission, and explores the medium's potential to conflate and fragment both space and time. The dual channels represent the transmission site in Poldhu Cove, U.K. and the receiving site at Fever Hospital, St. John's, NL. Each historical site is documented using 16mm colour negative film. The sonic composition was created from site-specific field recordings, shortwave and longwave radio recordings and archival material. Presented as a lavish limited edition featuring: DVD of the film, 12" vinyl LP containing an extended score, printed inner sleeve with monograph by Jeffrey Sconce, uncoated gatefold sleeve, HD video and audio download coupons."



Following the release of his Space LP (FVR 084CD/LP), on which Bruno "Patchworks" Hovart transformed himself into Patchworks Galactic Project for a fantastic musical trip, Favorite Recordings proudly presents this new 2-track remix EP. On the A-side, rising UK producer NY*AK provides a blowing version of "Surrounded by the Gobblins." For the B-side, French underground house producer Kool Vibe also delivers a brilliant rendition of "Gobblins Are Gone."



CLERIC: Pattern EP 12" (FIG 053EP) 12.50
Cleric hails from Manchester and describes his precision-designed, heavy techno tracks as a means to translate emotion to others; to transport his intuitive feel for timing, tension and sound engineering to listeners far and wide. Over three tracks, Cleric's functional and tense take on the modern techno sound keeps things nicely restrained, loaded with kinetic energy and heavy potential for well-tuned sound systems. "Pattern One," "Two," and "Three" each offer a different angle on a central theme, that revolves around sizable kick drums, crisp hats and percussion, and smooth dub-themed synth elements that all dance in spacious unison. Includes a remix by Len Faki.



HERON: Ive EP 12" (FLASH 084EP) 14.50
Heron is back on Florian Meindl's Flash with a hot limited piece of wax. Heavyweight remixes by Markus Suckut and Alexander Kowalski.



TARON-TREKKA: Purple Magic EP 12" (FREUDE 066EP) 14.50
Taron Trekka is finally back home on Freude Am Tanzen with four tracks. They sport the same top form they always have in their return to the FAT harbor. With the Purple Magic EP, Taron-Trekka (aka Daniel Müller-Sachs and Andreas Kriester) take their exploration of the perfect groove another step. The deep-set and warm drums, the raspy snares and whirling melodies produce elegant tracks with multitudinous influences.


GED 1008CD

AJ AND THE JIGGAWATTS: AJ and the Jiggawatts CD (GED 1008CD) 13.00
"From the opening bars of their debut LP you can tell AJ and the Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. soul killers are drawing a line in the sand by making soul music that hits harder, faster, and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drop with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodies, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock 'n' roll soul and you've got the makings for a serious raw soul cocktail."



NACHTBRAKER: Gute Laune EP 12" (HEIST 004EP) 14.00
Nachtbraker explores the darker shades of deep house with a serious chunk of funk. "Gute Laune" starts off modest with basic percussion and a nice bended pad, but when the bass line comes in, every element in the track makes your head bop. "Bluebottle" keeps a lower pace with a crunchy pad and mysterious synth setting the tone. Xantippe jumps into a raw burner after the break with a haunting, buzzy loop. 180 gram vinyl.


HYR7 134EP

In true "expect the unexpected"-style Hell Yeah Recordings proudly presents a new vinyl release by Enzo Elia (Balearic Gabba Sound System) and Florian Meindl, featuring talented singer Bobby Blue. Deep-house, tech-house, vocal magic and dub all collide into "Jealousy."



GEZAN: It Was Once Said to Be a Song CD (IMPREC 364CD) 14.00
It Was Once Said to Be a Song is the debut album from Japan's Gezan. Originally released in Japan in 2010, Gezan have become popular in their home country for their high speed noise, punk, hardcore and psych-rock music. In Japan, Gezan have been embraced by the previous generation of underground rock. The band was recommended to Imprec by Kawabata Makoto of the Acid Mothers Temple who said that Gezan was his favorite live band in Japan.


CLUCK, DIANE: Boneset CD (IMPREC 370CD) 14.00
After a seven-year hiatus, Boneset is the seventh album from modern folk artist Diane Cluck. Cluck's uniquely clipped, glottal vocals and harp-like acoustic guitar embed in rich textures from cellist Isabel Castellvi and drummer Anders Griffen. Recorded to analog tape at Brooklyn's Trout Recording, Boneset is comprised of songs written years ago, not so long ago, just recently, laid out in near-chronological order. Dark to light to dark, the album overends as a kind of Mobius strip, songs seeded with birds, death, wealth, poverty, boldness and heart. "Diane Cluck is a virtuosic talent with an emotionality that feels at once ancient and alien. Her mastery of her voice as an ecstatic instrument is so compelling." --Antony Hegarty (Antony and the Johnsons); "Cluck's sparse compositions seem to float defiantly from some fortress the conscious self had long left behind." --The Providence Phoenix


CLUCK, DIANE: Boneset 10" (IMPREC 370EP) 18.50
Gatefold 10" version.


GUNN & MIKE GANGLOFF, STEVE: Melodies for a Savage Fix CD (IMPREC 392CD) 14.00
Steve Gunn and Mike Gangloff (Pelt) combine six-and 12-string guitars with gongs, tanpura, singing bowls, shruti box, and banjo for a gorgeous collection of improvised compositions. The two artists took it pretty far off the beaten path for Melodies for a Savage Fix, sequestering themselves for an overnight session in the remote farmhouse/recording studio of noted roots-music engineer Joseph Dejarnette (Carolina Chocolate Drops, Bruce Greene, Curtis Eller) in the countryside of Floyd County, Virginia. There in the tiny community of Topeka, miles from the county's one traffic light, they set up an assortment of six- and 12-string guitars, gongs and Indian instruments, plus the banjo Gangloff sometimes plays at monthly square dances at a country store just up the road, and settled in for an intense night of improvisation.


ANDERSON, MARISA: The Golden Hour CD (IMPREC 394CD) 14.00
Portland guitar wizard Marisa Anderson's long-awaited solo guitar record. Marisa has been a fixture on many a music scene for years and years, playing with everyone from the Evolutionary Jass Band to Tara Jane O'Neil to The Dolly Ranchers. In any context, she can't escape her rag/blues/folk roots, no matter how hard she tries. On this LP featuring only guitar, no vocals, no overdubs, we are treated to a very intimate-sounding home recording filled with delicate grace. Comparisons to John Fahey and his ilk are bound to occur, but won't be the last words. Marisa Anderson: guitar and lap steel. Mixed by Jesse Johnson. Mastered by Timothy Stollenwerk.


CD version of the 2009 Mississippi Records release. Highly recommended to followers of the Blackshaw/Wissem line of acoustic instrumental composition that runs through the Imprec catalog. From the original notes: "Portland guitar virtuoso Marisa Anderson is back with a new set of home-recorded instrumentals. This time around we find Marisa exploring structures more based on the Appalachian folk tradition. The bluesy cadences of Marisa's other previous release -- Golden Hour -- are still there but more in an emotional sense than a structural. It's rare to find a record that has just one instrument with no vocals that can achieve real emotional communication -- but here 'tis. Marisa thoughtfully composed & recorded this LP over the course of the last two years. It was worth the wait."


IN 996687CD

SHEPP & BILL DIXON, ARCHIE: Quartet CD (IN 996687CD) 14.00
"The unique quartet recordings by Archie Shepp and Bill Dixon, for the first time ever on CD. As a bonus, a long unavailable sextet studio session by Archie Shepp & the New York Contemporary Five and an interesting septet session by Bill Dixon."



LEE, BUNNY: Agro Sounds 101 Orange Street CD (KSCD 050CD) 14.00
Countless incredible records were made in Kingston between 1968 and 1971 that have never been able to lose the stigma of being described as "Skinhead Reggae," but in Jamaica the term never meant anything. However, Bunny Lee's aggro sounds were tougher than tough, rougher than rough, kicked like a "bovver" boot and were sharper then a razor-cut trim. Raw, pure, and undiluted every time. Some even troubled the UK national charts. To say the man and his music dominated at the time would be a complete understatement. "Striker" was everywhere, travelling between Kingston, where he opened his Agro Sounds record shop at 101 Orange Street, and London, where he set up his Unity label with the Palmer Brothers for the exclusive release of his productions and his Jackpot subsidiaries with both Trojan and Pama Records. Ubiquitous doesn't even cover it. This compilation will help point you in the direction of some of the best music from this often-overlooked period from one of the greatest producers ever -- "The Aggro Man" himself, Bunny Lee. CD version includes two bonus tracks. Includes tracks by Lester Sterling & Stranger Cole, Derrick Morgan, Donnie Elbert, Slim Smith, Delroy Wilson, U Roy & Lennox Brown, Bunny Lee Allstars, Pat Kelly, Max Romeo, Roy Shirley, Winston Williams, Slim Smith, and Tommy McCook.


LEE, BUNNY: Agro Sounds 101 Orange Street LP (KSLP 050LP) 14.00
LP version.


KIS 4046CD

GREENWOOD, NICHOLAS: Cold Cuts CD (KIS 4046CD) 17.00
Bassist/singer Nicholas Greenwood was a member of The Crazy World Of Arthur Brown between 1967 and 1970. Having struck out on his own, he recorded his only solo LP with help from Dick Heninghem and Eric Peachey (Khan), Bunk Gardner (The Mothers Of Invention), Bryn Howarth (Les Fleur de Lys) and others. Intense and moody, it was released in tiny numbers in France, Holland and the UK in 1972, and is one of the rarest albums of the progressive era, with originals changing hands for thousands of euros. It makes its long-overdue return to CD here. Background notes included.

KIS 4047CD

UNDERDOGS, THE: Wasting Our Time CD (KIS 4047CD) 17.00
The Underdogs have been described as New Zealand's most notorious '60s band. Purveyors of raucous R&B, their wild live sets and hedonistic lifestyle were legendary. They splintered in 1969, but a reinvigorated line-up issued this superb blues-rock set the following year, with blistering guitar leads throughout.

KIS 4048CD

ELLIE POP: Ellie Pop CD (KIS 4048CD) 17.00
Originally issued in 1968, this Roseville, Michigan band's sole album is one of the finest Beatles-influenced pop records of its era. A considerable rarity in its original form, it makes its long-awaited return to CD here.



SKEEF & RAE HOWELL, EUGENE: Heavy Forest Air CD (KOOKY 036CD) 16.50
Heavy Forest Air is a live spontaneous musical collaboration between Eugene Skeef and Rae Howell (Sunwrae). Recorded live by Jared Miller in the Rolston Recital Hall at The Banff Centre, Alberta Canada, it was an impulsive venture in this magnificent hall filled with percussion instruments that began as an experiment following an intensive three-month winter music residency. The three tracks are suitably bound by Eugene's stylish labyrinth of rhythms on all things percussive and Rae's minimalistic prowess on marimba and vibraphone. Their sound, coupled with Jared's keen ear for innovative recording techniques, makes this record a rare treat and an absolute delight to listen to. The artistic fellowship that binds these three maestros together has not waned in the seven years since their initial meeting; hence they are finally releasing this record of sublime colors, rich textures and intricate rhythms, for public airing. Rae says, "Heavy Forest Air has been waiting for this moment for a long time and it's something that we're all very proud of. After such a long time apart living in different countries, we thought it's about time to get it out there!" Heavy Forest Air is a mellifluent sound world, unclassifiable, yet superbly ceremonious. Eugene serendipitously changes between udu, congas, gongs, water bowls and many other drums, providing solid, yet continuously surprising rhythmic backbones to Rae's creations on melodic percussion. "It is perfectly crafted, yet unexpected. I am delighted by this work -- it is comforting and uplifting, bringing the listener into the weave of music & stillness." --Dave Ellwand, BBC Radio Merseyside



VA: La Pena 013 12" (LPA 013EP) 12.50
Fresh cuts from Christian Burkhardt & Einzelkind, Sascha Dive, Kashawar, and Volkan Akin.



MUSUMECI: Untitled EP 12" (MNQ 050EP) 14.50
The last Musumeci reissue (MNQ 042EP), with its brutal body music similar to DAF, CHBB and Liaisons Dangereuses, was one of the most acclaimed in Mannequin Records' 2013 productions. Here are three more recordings from their discography, all recorded live in 1985. Mauro Massaglia, founding member and lead synth-player, describes the band's aesthetic as "simple music, no solos, new sounds, all played at maximum volume." The Chicago-based head of Nation Records Traxx does a special edit here. Clear vinyl.


DUST: Feel It EP 12" (MNQ 051EP) 14.50
Dust returns with two brand-new mutant acid house tracks on Mannequin Records. Dust is a contemporary ouroboros of acid house, combat techno, and late italo. A collective consisting of avant garde Korean noise goddess Greem Jellyfish, psych musician/model Angela Chambers, dungeon wizard/tech genius/audio engineer Michael Sherburn, and DIY nightlife entrepreneur/DJ John Barclay, they are headquartered at infamous psychedelic/art/techno mansion Trip House in the jungles of deep Bushwick. Dust utilizes both vintage hardware (909, 303, Juno 60) and HD cinematic soundscapes to create a heavy, lavish experience. On red vinyl.


MT 026LP

WINTER DRONES: Heavy Eyes LP (MT 026LP) 20.00
Heavy Eyes is the second outing from Leon Dufficy's insomniac psych group Winter Drones. Perhaps better-known as the guitarist in Sub Pop's dream-pop outfit Still Corners and Ecstatic Peace!'s hippie-jam outfit Hush Arbors -- fronted by Keith Wood (Chelsea Light Moving) who also features on Heavy Eyes -- Dufficy once again enlists the help of trusted music companions Alannah Ashworth and Luke Jarvis to create a release of half-awake guitar lines combined with fuzzed-out ambient drift, shoegaze swirl and propulsive pop sensibilities -- all recorded in an insomniac haze that Dufficy has been living with since childhood. The release is strictly limited to 300 copies, features a hand screen-printed and numbered cover that comes in three different colors and includes a free mp3 download of the entire release.



If the scattershot ideas of Melodic Records' schizophrenically brilliant Manchester experimentalists Working From A Nuclear City seemed to be aural metaphors for a galactic explosion, then King Of The Mountains, the new project of their songwriter, keyboardist and producer Phil Kay, hones in on a singular galaxy hurtling away from the blast's initial impact into the cosmos. With his debut solo LP, the now-London-based artist detaches himself from his band's tumult of sonic thoughts and sets flight for more cohesive plains. King Of The Mountains is built largely around electronics but with its creator embellishing these artificial sounds with a variety of live instrumentation. There are wonderfully interwoven structures, ranging from swelling, tempestuous dancefloor filler to richly-textured maps of gently bustling sound and ambient secretions. King Of The Mountains contains grandeur even among its more direct four-to-the-floor yearnings; tracks like the sprawling "Zoetrope" are constantly looking for pathways out of their tightly-meshed digital fabric, while the likes of "Surrounded" seek to stimulate the imagination, offering woozy half-light evocations. For a decade, Kay was part of the aforementioned Working For A Nuclear Free City -- who produced three critically-acclaimed albums between 2006 and 2011 and saw their music included in numerous TV series, films and advertisements (including the very first cook-up scene in Breaking Bad). However, he found his and co-songwriter Gary McClure's tunes were starting to drift further apart. It's true that there isn't much battling to be found here, with each track as though a different world, like moving through levels on an old arcade computer game. What differs between this and WFANFC though, is that there's a thread holding them together -- elements that recur and snaps of sound that come back to you. Kay does most of his electronic work on antiquated software, using Windows XP and the same software he has for the past decade, relishing in attempting to challenge their limitations. While his gear remains the same, though, Kay's wandering mind is always in flux -- epitomized in this brilliant debut solo effort.



LILACS & CHAMPAGNE: Midnight Features Vol. 1: Shower Scene 12" (MEX 187EP) 15.00
"Midnight Features is a new series of 'fantasy records' imagined by Lilacs & Champagne's Emil Amos and Alex Hall. Inspired by the classic Marvel comic series What If?, the duo seek to place themselves into various musical eras, expanding and perverting each new stylistic context they land in. This first volume, Shower Scene, was inspired by the background music from 1970s TV shows - the frenetic solos, sleazy funk lines and jazz-influenced sounds that subtly lurk behind the tales of crime, drama and passion. The band scratch beneath the soft-focus surface of this era, discovering a darker, more realized territory. On 'Sensations' they sound like a blazing, psych-jazz version of The Soft Machine, whereas on 'Maple Street' they approximate the avant-jazz Moondog might have made if he'd lived into the era of sampling. Limited numbered edition of 1000. Includes download code."



THIELEMANS, ERIC: Sprang CD (MIA 027CD) 15.50
Adventurous Belgian percussionist Eric Thielemans makes a fairly unusual entry into the Miasmah catalog with the surprisingly positive-sounding album Sprang. Thielemans has actually appeared on the label earlier -- as guest percussionist on Kreng's debut album L´Autopsie Phenomenal De Dieu. Although you can recognize the sound on this record, the main focus of Sprang is to revert to the pure joy of sound experimentation and letting go of your foothold. Thielemans' previous exercises in expanding singular ideas and rituals in the two genre-bending and theoretical albums, A Snare Is a Bell & EARR Plays a Snare Is a Bell (SR 339CD), inevitably leads to Sprang. Embracing the bliss of working freely with his many percussion tools, he creates 11 pieces that are both instinctual and industrial. His impulses evoke a calm yet alive atmosphere where there is always movement. The tones of dripping water, settling dew, and flourishing plants of spring are juxtaposed with unexpected sounds of motion, of factory equipment, and gears turning. Though Sprang is a solo percussion album, its detail and depth is something wholly unique. Thielemans broadens his theory that there is always more to hear, more depth to interpret, and a way for the listener to add their own elements and create something new. A welcome addition to the Miasmah catalog, whose slogan "music for scenes and places" maybe never has been more spot-on.



CLAYPIPE: A Daylight Blessing LP (MIE 025LP) 23.00
MIE are delighted to be releasing A Daylight Blessing, the seventh record by Claypipe, the New Zealand noise/drone/pop duo of Antony Milton and Clayton Noone. Released in a run of 300 LPs on vinyl. The record has been mastered by James Plotkin and will come in a silkscreened sleeve made out of recycled card. "Clayton and I finally met in person back in 2001 when he came up to play a festival in Wellington and stayed at my house. We had been trading records for a year or so. It was inevitable that we would wind up recording together. I set up my 4-track on the lounge floor that afternoon and we recorded the Crescent LP (PseudoArcana). We live 100s of miles apart and so our get-togethers have been rare,but when we are together we usually record. We're an improvising project, sometimes noisy, sometimes drone-y but somehow playing in Claypipe draws a blessed-out sunny pop sensibility from both our natures, something neither of us are particularly well-known for in our other bands and projects. It's possible this is a direct response to nature itself -- the Claypipe methodology frequently involves taking battery-powered and acoustic instruments outside -- to a grassy hillside, stream edge, or in the case of this record, the sandhills by the beach down the road from Clayton's place in Dunedin. There's a hippy utopianism present here that I think perhaps catches us both a little off guard. But it works and I know for myself that I'm reluctant to interrogate it too closely for fear of casting too much light on a fragile magic. A Daylight Blessing was recorded over a few days in October 2010 while preparing for a gig supporting Richard Youngs. It was mixed and edited over the next few months in Christchurch where it gave welcome and happy distraction from the earthquakes and their aftershocks." --Antony Milton, January 3, 2014


GANG WIZARD: Important Picnic LP (MIE 026LP) 23.00
Gang Wizard celebrates its 19th year with its fifth proper full-length LP, Important Picnic, on MIE. Mike Landucci started the band in 1995 with his brother Tom, and Jacob Anderson (Spirit Duplicator, Yuma Nora) joined shortly after. Christopher Breedon started drumming for them in '98, and those three have formed the core of the band ever since. Dozens of notable musicians have come and gone, most importantly, Brian Miller (Foot Village) who gains a mastering credit on this album, and Rob Enbom (Hospitals, Eat Skull), who, with Landucci and Anderson, took the band on an unexpected detour into more degenerative psych-noise terrain (think Amon Düül II), and as far as a European tour in 2007. Based in downtown Long Beach now, Landucci and Breedon have brought on board the two eldest Landucci boys (Linus, 19; Noah, 16) and local jazz guru Rob Woodworth, in between annual trips to Portland to record with Anderson. Recordings with every combination of this haphazard group are reflected on Important Picnic. It's easy to forget that every song is completely improvised in one take; they take on a verse-chorus-bridge format frequently. It's like Evaporators with none of the humor or musicianship; Hijokaidan deciding to cover the Hollies. Hints of no wave, garage, and straight-up bullshit indie noise weave in and out of these songs like it was natural and meant to be -- wink, nod, gasp, sigh. Simple-mindedness is celebrated, embraced, declared a virtue, and Gang Wizard invites you in to revel in it. One of Gang Wizard's 2013 self-released lathe cuts had the distinction of being purchased by exactly two people: Thurston Moore and Henry Rollins. Will the rest of the world ever catch onto whatever it is those two hear in the adventurous ramblings of the Gang Wizard? Doubtful. But stroll past Gang Wizard's Long Beach garage and hear the little broken amps squeal away while a Landucci screams his lungs out with the utmost urgency about nothing in particular, and you'll realize they really don't care.


MT 007EP

VA: From the Lab to the Club Part 1 12" (MT 007EP) 14.00
MindTrip Music is pleased to introduce a new Various Artists series, featuring four of the most challenging and interesting artists from the global techno scene. The A-side of Part 1 features Markus Suckut, his trademark deep and trippy sound providing a perfect opener, "Sarin." Jesse Jakob makes his first appearance on MindTrip with the hypnotic "Black Bells." Label owner Pfirter opens the flip-side with the mighty "Angular Momentum," alongside burgeoning Dutch techno producer Charlton, taking the trip into an even more intense analog listening experience with the track "The Quantum Complex."



ORCAS: Yearling CD (MORR 128CD) 15.50
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.


MVD 6192LP

MEAT PUPPETS: Monsters LP (MVD 6192LP) 21.00
"The last Meat Puppets album of the '80s was also their last one for an independent label (SST at the time). It wasn't long after the fall 1989 release of Monsters that the Meat Puppets were off and running for newer and bigger things. Remastered and back on vinyl. Includes a download card."


NW 80747CD

STEIGER, RAND: A Menacing Plume CD (NW 80747CD) 15.00
"The vast array of compositional, performative, and listening practices that have grown out of the phenomenon we can collectively refer to as 'electronic music' have, in some way or another, engaged with an inherent and essential provocation: the coexistence of 'artificial' technology with more 'organic' resonances of musical tradition and human experience. A truly symbiotic relationship between technology and acoustics can alert us to the fact that what we might think of as 'natural' tastes are, in fact, just as 'artificial' as processes of digital signal manipulation and re-synthesis. For Rand Steiger (b. 1957), technology is such a vehicle into the beyond. The five pieces presented here -- in magnificent performances by the Talea Ensemble under the leadership of James Baker -- span a decade of work in a variety of media, from solo to small mixed ensemble, some including live processing and others 'purely' acoustical. But networks of commonality between the works are quickly apparent -- Steiger's keen ear for deep, shimmering textures, sweeping timbral migrations, delicate nuances of intonation, and rich harmonic refrains unite the music into a grande oeuvre of flexible interdependence between the natural and the unnatural, with technology forming the essential basis for resonance and coalescence." Featured works: "Rèsonateur, "A Menacing Plume," "Elusive Peave," "Elliott"s Instruments," and "awhirl."



LUFTH: Distanz & Nähe CD (OKTAF 008CD) 17.00
Lufth's Distanz und Nähe on Oktaf Records accompanies the return of German experimental-dubtech and electronica producer Joerg Schuster. With his unique trademark sound and former releases on Source Records, Thinner and Archipel as Digitalverein and Sensual Physics, Schuster has already established a loyal and enthusiastic fan-crowd all around the world. His debut album as Lufth now introduces us to his most personal and experimental release so far -- a 55 minute-long collection of nine tracks that have been created over the past decade. As already done on other releases, Schuster makes a strong reference to the German Ruhr area, the former industrial area where he lives, whereas other tracks make reference to inner states and personal developments. The opening tune "Democracy Is Dead Like Printed Matter" combines crispy beat-fragments with cineastic Pink Floyd-like synthesizer pads. "Methan on Mars" incorporates downtempo beats with experimental noises and "Duisburg Links" slows down even more for some subtle and tricky dub melodies. The title-track reveals the most beats within this album -- a nice electronica track with floating hook-lines. Extremely slowed-down and filtered dubs can be heard again on "Rotes Dortmund," which is one of the most touching tracks on this album. "Motion- Emotion" displays a futuristic version of abstracted tango. "Nicht ohne Dich (Not Without You)" and "Ebbe und Flut (Ebb and Flow)" conquer the listener with tricky beats and super-nice melodies. The album is closed with the beautiful 10-minute epos "Zwischen uns der Mund (Between Us the Mouth)." All in all, Schuster once again convinces with his abstract trademark sounds and a super-futuristic interpretation of today's dub-electronica.


OM 008LP

MIDNIGHT EPISODE, THE: The Midnight Episode LP (OM 008LP) 26.00
"Kassem Mosse's Ominira presents a selection of recordings produced by Nicola Cunningham and Karl Skagius (who have previously released material on Micron Audio and Icasea), evoking and re-imagining the sound-world of classic British horror. A very special late-night listening experience."


OM 038LP

"Quintet Recording made Jan 30 2013. Edition of 250. Cover art by Bill Nace."


OM 023EP

GOLDEN TEACHER: Party People/Love 12" (OM 023EP) 17.50
Optimo Music presents the third Golden Teacher EP with another sleeve designed and made by their own hands in a limited edition of 500 copies. Their latest release is a party record -- play it loud, preferably with some lasers and strobes, and LET LOOSE. It's a double A-side release. "Party People" is go-go-a-go-go, while the more electronic-leaning "Love" has been cut at 45 so it can be cunningly played at either speed for extra added value. "Silver Chalice" is an added bonus -- a real jazz-funk gem. Wild party music from Glasgow.


OH 024CD

Jupiter & Okwess International's international debut album Hotel Univers takes you right into the heart and onto the streets of modern day Kinshasa, capital of the Democratic Republic of Congo, a politically and economically troubled country. Band leader Jupiter Bokondji is the charismatic and outstanding representative of the innovative scene of street musicians in Kinshasa, a scene which became internationally well-known through the success of Staff Benda Bilili, a band who they share close ties with. His idea is to reactivate the forgotten rhythms and melodies of the Congo, by injecting the urban groove of the city. When Jupiter wants time off from the daily hustle on the streets of Kinshasa, he rents a room at Hotel Univers. There he can hide from the noise of the streets and seek new inspiration. Many of the ideas in his songs were formed between his room and the bar where he drinks whiskey and meets the characters that roam the streets of Kinshasa at night. The song "Magerita" is dedicated to the dangerously attractive women in Kinshasa's nightlife. It became an immediate hit in Lemba, the area on the outskirts of Kinshasa where Jupiter is from. "Bapasi" has become a common expression for the daily life struggles of the community in Lemba. It is a catchphrase people use to search for new motivation in order to tackle their daily difficulties -- for instance when the public cleaning service doesn't work, the people in Lemba decided to take care of cleaning up the streets themselves. "The material is but an elution," he sings in the song "Bakwapanu," "but only the spiritual remains eternal." Through his music Jupiter tries to encourage people to take the future into their own hands. In 1974, as a young boy, he left the Congo to go to East Germany with his father who was appointed executive assistant for the Congo's embassy in Germany. There he spent his adolescence and discovered Europe and its vibrant music scene, including artists such as The Rolling Stones, Deep Purple and James Brown. He set up his own rock band called Der Neger with fellow young Berliners. Their sound was a strange cocktail of mongo percussions and Zeppelin-esque guitar. At the age of 20 his father's mandate ended, and Jupiter went back to the bubbling '80s Kinshasa. He left the family home, earning a living singing at funerals and playing percussion in several local orchestras. He started developing his own unique style, surrounding himself with musicians from Europe. He named this explosive mix "Bofenia Rock" and in 1983 formed his first orchestra, Bongofolk. Then in 1990 he founded his own band: Okwess International. The band developed a vision of a new Congolese sound experimenting with the musical heritage of a nation with more than 450 different ethnicities. In early 2004, Jupiter met two French travellers, Renaud Barret and Florent de la Tullaye. The connection was immediate, so much so that Barret and de la Tullaye returned to record the songs of Okwess International and other groups surrounding Jupiter, such as Staff Benda Bilili. Jupiter's Dance, a film documenting this musical exploration, was released in 2007. The film became his international introduction and Damon Albarn of Blur and Gorillaz fame worked with him on several projects including the electronic album DRC Music - Kinshasa One Two (Warp). Albarn also invited him to perform at the 2012 Africa Express tour in the UK. Jupiter and his band also toured the world with Amadou & Mariam.



TONG/FLYNN/ROGERS: Hear Me Now 12" (PETS 041EP) 14.00
Pete Tong joins forces with Tom Flynn and Paul Rogers once again for a prize piece of premium party peerage, courtesy of Pets. A smoldering slab of rolling acid-funk, every element of "Hear Me Now" screams serious vibe heritage: the crowd whoops, the slippery cosmic bass squiggles, the perfectly-executed vocal loops, and there's a relentlessly funky acid bass line. Trikk's remix is a bass-heavy adventure into the darkest pastures of dance. Emerging U.S. techno upstart Matrixxman, meanwhile, opts for an uncompromising jam that slams with a persistent physical energy that's heavy in classical Detroit percussion and delivered with twisted dynamics.



CYCLOBE: Sulphur-Tarot-Garden CD (NAOS 003CD) 19.50
Sulphur-Tarot-Garden is a new soundtrack album by Cyclobe, recorded to accompany three alchemical dream pieces by the filmmaker Derek Jarman. Originally shot between 1972 and 1978 on silent Super-8, the films were recently premiered with their new soundtracks at the Queen Elizabeth Hall, London. For this triptych of recordings, Ossian Brown and Stephen Thrower are joined on Sulphur-Tarot-Garden by Michael J. York, Cliff Stapleton and John Contreras. This is Cyclobe's fifth album to date, following Luminous Darkness, The Visitors, Paraparaparalellogrammatica and Wounded Galaxies Tap at The Window (NAOS 001CD/LP). Brown and Thrower were previously members of the sidereal musick group, Coil.


CYCLOBE: The Visitors 2CD (NAOS 004CD) 21.00
The Visitors, Cyclobe's second album, was originally released in 2001. Its complex alien sound-world established them as purveyors of an immersive and phantasmagoric music like no other. Now, on the album's 13th anniversary, The Visitors sees its first-ever release on vinyl, along with a 2CD re-issue. To celebrate this release, the album's front cover features spectral artwork by the Irish artist Alex Rose, while the deluxe color inner sleeves present stunning vibratory paintings by renowned American artist Fred Tomaselli. This highly-anticipated edition also includes a specially-recorded new piece by Cyclobe, the illusory and chimeric "Son of Sons of Light," for which Brown and Thrower are joined by current Cyclobe member Michael J. York. Formed in 1999 by Ossian Brown and Stephen Thrower, Cyclobe have released five albums to date: Luminous Darkness, The Visitors, Paraparaparalellogrammatica, Wounded Galaxies Tap at The Window (NAOS 001CD/LP) and Sulphur-Tarot-Garden (NAOS 003CD/LP). Brown and Thrower were previously members of the sidereal musick group, Coil. Brightness falls from the air.



NAX_ACID: A Purple Flower on the Moon 12" (PHORMA 006EP) 12.50
Nax_Acid returns to Phorma with botanic investigations on Artemis' ever-dark grounds. "A Purple Flower on the Moon" is powerful yet melancholic and will catapult your mind into outer space. On the flip-side, Iori adds a more dubby feel to the track and transforms it into a hypnotically turning lunar probe.



WESTERBERG, PAUL: Eventually LP (PLAIN 182LP) 19.00
"Eventually is Paul Westerberg's second solo album originally released in 1996 which has never been issued on vinyl until now. Coming three years after his solo debut 14 Songs put his legendary band The Replacements to rest, Eventually is the most introspective album he had made up to that point in his career. Although it's not as loud or brash as his earlier material with the 'Mats, it does have a couple of all out rockers such as 'You've Had It With You.' But the song writing on the album is more subtle and personal. Mellower gems such as 'Good Day' (inspired by the death of former Replacements guitarist Bob Stinson), 'MamaDaddyDid' and 'Hide N Seekin'' hit home with power. On 180 gram vinyl from Plain Recordings with a four color printed inner sleeve."



RODER, KLAUS: Kristallisationen LP (PLANAM 006LP) 25.00
2009 release. Klaus Röder is a guitar virtuoso and electronic music artist who studied with Kelemen and joined Kraftwerk for their famous Autobahn LP. He often works with very small sound particles, whose sound comes from different sources, like tearing paper, the voice, a musical instrument, synthesizer or computer sounds. Sound structures are built by joining together those sound particles and, by mixing those structures, Röder forms chords. Then the process of crystallization begins. Usually crystallization means that small parts are deposited around a germ and form a growing crystal. The shape of the complete crystal is a consequence of outer influences. A series of sound crystals form, then the complete musical composition. Side 1 presents two electronic music works: "10: 11: 12" (1980) for self-built Impulse Generator is an obscure, very minimal and abstract pulsating piece, while "Kristallisation 4" (1991) for Computer Sounds and Yamaha DX 802 might be considered one of the peaks of Klaus Röder's Kristallisation series. Side 2 introduces us to a different formal result of Röder's crystallization process: the short "Hänschen Blues" (1993) for children singing and crying and the Yamaha TX 802 controlled by self-made programs for Atari TT is both a playful and sinister electronic assemblage anticipating the peak of this record. "Potpourri" (1985) is a collage of short sound particles from German pop hits of the 1970s and 1980s. From a sound-collage perspective (from Battiato's "Ethika Fon Ethica" to Bladder Flask's first LP, from NWW's most surrealistic works to John Oswald's classic plunderphonics), "Potpourri" might be closer to the brut masterpiece "InOut" by Anton Bruhin, only constructed in a more advanced and scientific way. Includes a series of inserts with the diagrams and schedules of the four compositions presented on this LP.


RODER, KLAUS: Kristallisationen 2 LP (PLANAM 012LP) 25.00
2010 release. Planam proudly presents the second LP production by Klaus Röder featuring two more pieces from the electronic Kristallisationen series -- "Kristallisation 5" (1993) for microphone recordings of children's chimes (played by children), Yamaha TX 802 digital synthesizer and EMS Synthi A analog synthesizer, "Kristallisation 7" (1997) for microphone recordings and computer sounds, as well as "Frozen Sounds" (2002) for electric guitar sounds and computer sounds and the more concrete "Life-Music 1" (1999) for microphone recordings in the zoo of Wuppertal, computer sounds and Yamaha TX 802 digital synthesizer. Klaus Röder is the archetype of the challenging challenger -- the perfect outsider. Nothing bad about it -- true geniuses often are hiding behind their uncompromising ethic. "Ethic in the attic" would define the home-studio work of this ex-Kraftwerk banned banned banned auf Die Autobahn. The independent, time-stretching composer Klaus Röder is by necessity an inventor. Systems, machines, treatments, everything is (hand)made to provoke, to induce a musical result not only technically superb but loaded with the author's intimacy: humor, sound elements of a private life, a kid giggling... indeed, a highly emotional and poetic approach. Klaus Röder mixes and plays with outside influences -- cut-up, musique concrète, psychedelia, plunderphonics, pop, even blues -- in order to create a patchwork-like but coherent corpus over nearly 40 years of compositional activity. His music blends the warmth of strings and of humanity with the icy matter of electrical components and seems to have just one borderline: that of our ears. Features a full-color sleeve.


FERRARI, LUC: Exercices D'improvisation LP (PLANAM 015LP) 25.00
2010 release. Luc Ferrari conceived this work in 1977 as a sequence of seven individually or collectively improvised exercises for tape and any instrument or group of instruments. Never performed before, Exercices d'improvisation have been released by the GOL collective and issued on LP by Planam. The seven exercises follow each other in a suite of growing intensity where GOL's acoustic and electric instruments react to Luc Ferrari's tape, lively re-interpreted by Brunhild Ferrari: from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrète drama. The tracks were recorded at Ferrari's Atelier Post-Billig on April 12th and 13th, 2010, a few days before the world premiere performance at La Maison Rouge in Paris. Exercices d'improvisation on one hand presents a new perspective on Ferrari's music and on the other pays a panorama-like tribute to his rich and eclectic corpus; somewhere between "Tête et Queue du Dragon" and "Tautologos" with a touch of "Danses Organiques." GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. On this record GOL play flutes, electric guitar, bass guitar, melodica, janotron, ocarina, nagara, electric guembri, vocoder and message box. This LP is the fourth in the "Gollaboration" series, after records by GOL with Dumitrescu/Avram, with Charlemagne Palestine and with Charles Hayward of This Heat fame. The front sleeve shows a four-color wild collage by the French artist, film-maker and Ferrari's collaborator Jacques Brissot, based on photo sessions done by Myriam Tirler, who also shot the back cover and inner sleeve images presenting GOL members and Brunhild Ferrari in Kagel-Exotica-like appearances. Includes an insert with the complete score by Luc Ferrari. Please note: this previously-unpublished work revealing a hidden part of Luc Ferrari's poetics is not included in the INA 10CD box set. Only available on this LP edition.



RESMANN, MARCO: Basic Motion 12" (PFR 147EP) 14.00
Marco Resmann serves up his first-ever solo 12" on Poker Flat. With Basic Motion, the head of the highly respected Upon.You label and founding member of Luna City Express explores the deeper realms and moodier corners of today's tech house terrain. "Basic Motion" is based upon a subtle, but catchy bass-line motif that's accompanied by raw and slowly accumulating synth tones. With "Ladies & Gentlemen," the tense, well-jackin' feel of Chi-town takes over. "More or Less" rounds off this three track EP with tender, slightly off-key strings.



TALK WEST: Black Coral Sprig CD (CIRCA 114CD) 14.50
The Preservation label presents Black Coral Sprig, the debut full-length album from Talk West. Talk West is the project of Tulsa, Oklahoma resident Dylan Aycock. Aycock has forged a small series of intriguing and beautiful missives through the cassette underground with his explorations on guitar. On Black Coral Sprig, Aycock negotiates the terrain between stately and homely by stretching a ringing country tone into an all-encompassing atmosphere, much like the ambient realms of Stars Of The Lid. His unhurried, gentle playing style comes to reveal understated textures that weave into a whole that is alternately spirited, warming and often haunting. It's a singular style reminiscent of Loren Connor's astral-blues and Bruce Langhorne's famed soundtrack for The Hired Hand, which, tellingly, was reissued in 2012 on Aycock's own Scissor Tail Editions. These spectral, cinematic soundscapes are a future vision of the guitar's past. Black Coral Sprig is the first work in Preservation's limited edition series called Circa for 2014, unearthing and unifying underground artists. Only 300 copies of each release in the series will be available and will feature a unique design by Mark Gowing. Each design realized using an abstract alphabet that creates an interlocking grid, determined by artist and volume number for something both fixed, random and unified across the entire series. Limited to 300 copies only.


BARLOW, MATTHEW: Sun Showers CD (CIRCA 214CD) 14.50
The Preservation label presents Sun Showers, the debut full-length album from Matthew Barlow. Inspired by porch life living in the mountain town of Asheville, North Carolina, Sun Showers has a simple aim in its warm and abstract take on the passing of a day, and it's sweetly rendered with compelling resonance. Shrouded in foggy ambience and cut with synth echoes, shuffling rhythms and field recordings, Barlow's muscular and hypnotic guitar sits at the core of this magnetic quartet of pieces as well as giving it their edge and force. Switching to piano is a point of calm in Sun Showers' insistent pulse, and the heightened mood-states Barlow creates are bracing, reflective and wholly immersive overall. Sun Showers was originally released as a very limited two-track set on cassette and has been expanded for this release. Barlow also runs the Twin Springs Tapes label. Sun Showers is the second work in Preservation's limited edition series called Circa for 2014, unearthing and unifying underground artists. Only 300 copies of each release in the series will be available and will feature a unique design by Mark Gowing. Each design realized using an abstract alphabet that creates an interlocking grid, determined by artist and volume number for something both fixed, random and unified across the entire series. Limited to 300 copies only.



EDIT SELECT: Phlox 2x12" (PRG 006LP) 27.50
Edit Select is the project of Scottish DJ Tony Scott -- one of the pioneers of deep-driven, hypnotic techno. Already confirmed with tracks like "Bauer" on Ostgut Ton or tracks on his own label Edit Select Records, Tony belongs to the best and most respected techno producers in the world. Nearly all of his techno tracks have been played and charted by all of the most prominent techno DJs. But that wasn't the reason Prologue signed the album Phlox -- in fact, Edit Select, with all his passion for deep techno, is more than a perfect fit into Prologue's label philosophy. Tony's ability to design hypnotic tracks has long been recognized, and Phlox is an extremely dope mixture of emotional ambient tracks and very effective sci-fi tricks moving to hypnotic monsters for the dancefloor. Also included is a new version of "Bauer," one of the best techno tracks, ever, as well as a collaborative track with label-mate Dino Sabatini.


PP 004EP

BELL TOWERS: Territory 12" (PP 004EP) 14.00
This is the fourth offering by Public Possession. It's the second EP recorded and sent to them by Bell Towers from Melbourne, now based in London.



SCHAEFFER, PIERRE: Le Triedre Fertile LP (REGRM 001LP) 22.00
2014 repress. Recollection GRM is one more label within the Editions Mego family of labels. Its aim is to make available on vinyl the vast archives of Groupe De Recherches Musicales (GRM). Being released in batches of two every three months, it will present both known and lesser-known works. All releases will be re-cut at Dubplates & Mastering and packaged in new artwork by Stephen O'Malley, featuring bi-lingual (French/English) texts. Some of these pioneering works have been out-of-print in this format for over 30 years, and would be a valuable addition to any serious collection of electronic music. It is worth pointing out that this series is neither a re-run of the original Collection INA-GRM series or the Phillips Prospective 21e Siècle series, but something new altogether. This is Pierre Schaeffer's Le Trièdre Fertile, full version 1975-1976, with the participation of Bernard Dürr. This trihedron, Schaeffer's last piece, echoes the physicists "reference trihedron," linked to the three fundamental measurements of sound: frequency, duration and intensity. The basic signs of traditional sol-fa that enable the transcribing of pitches, rhythms and nuances also correspond to these three measurements. However, it is precisely outside or beyond these parameters that, all through his life, Schaeffer researched music. Hence, qualifying this trihedron as "fertile" is the confession "of a late repentance." On the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by Bernard Dürr. It is Pierre Schaeffer's only purely electronic music work. Here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012. Layout: Stephen O'Malley.


PARMEGIANI, BERNARD: L'Oeil écoute/Dedans-Dehors LP (REGRM 003LP) 22.00
2014 repress. L'Oeil écoute (1970): "From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. Perhaps, in looking too hard, man eventually stops listening. And, as I said when creating the piece in 1970, the eye, now a 'solitary wanderer' only has ears for what assaults it." Dedans-Dehors (1977): "When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluidsolid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some while it takes us away from others: each with their own inside." --Bernard Parmegiani; Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012.


PARMEGIANI, BERNARD: De Natura Sonorum 2LP (REGRM 009LP) 29.00
2014 repress. De Natura Sonorum (1975): Premiered at the Salle Wagram in Paris on June 3rd 1975. A suite of 12 movements, divided into two series of six. "The first series comprises six related movements, usually organized in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances bring into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources. Here, 'incidents' are opposed to one-off 'accidents' in the second movement: 'Accidents/Harmoniques' ('Accidents/Harmonics'). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap. Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. 'Géologie sonore' ('Sound Geology') is similar to a flight over an area where different 'sound' layers come to the surface one after the other. When seen from high above, instrumental and electronic sounds seem to fuse. 'Dynamique de la resonance' ('Dynamics of Resonance') is a microphonic exploration of a single sound resonating through different forms of percussion. 'L'Etude élastique' ('Elastic Study') places together various sounds produced by 'touching' elastic or instrumental skins (balloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this 'touch,' using electronic processes to generate white noise. 'Conjugaison du timbre' ('Conjugated Tone'), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. 'Incidences/battements' ('Incidences/ Beatings') is a reminder of the first movement in the first series, which then quickly moves into 'Natures éphémères' ('Ephemeral Natures'): an ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. 'Matières induites' ('Induced Matters'): just as molecular effervescence triggers changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes. In 'Ondes croisées' ('Crossed Waves'), the pizz vibrations interfere with somehow 'visible' water drops on the surface of a similar material. 'Pleins et déliés' ('Downstrokes and Upstrokes') can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow 'bubbles' and points bring together some people's gravity and others' downwards movements. The work finishes with 'Points contre champs' ('Reverse Angle Points'). Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle -- and the chanted sound -- to grow." --Bernard Parmigiani; De Natura Sonorum whose title echoes Lucretius' De rerum natura, similarly explores the multiplicity of sound possibilities. This profuse work, with countless discoveries and dazzling intuitions, has influenced several generations of composers and remains a truly seminal piece in the experimental music soundscape. De Natura Sonorum, one of Parmegiani's masterpieces, has left an indelible mark on the classical period of electroacoustic music. At last, it is being reissued on vinyl and for the first time this includes the whole of its 12 movements." --Christian Zanési & François Bonnet. Housed in a gatefold sleeve.


RM 024EP

DERILL, MYK: Pavement EP 12" (RM 024EP) 14.00
The latest drop from Retrometro is not for the faint-hearted, as Germany's Myk Derill brings the metal machine music. "You Are" is a stomp-and-grind monster, with speaker-troubling kicks and torture-chamber soundscapes. "Zerone" is a brutal, relentless Berlin warehouse workout, with deep reverbs, on-point percussion and a juicy roll on the low-end. "Alert" brings yet more of the factory floor pump, with its white noise build-ups and decayed percussion. The caustic rhythms and haunting synths of "Between" bring another dynamic to the EP.



JIMI JULES/KALABRESE: Hello Asshole/Kafi Lied 12" (RUMP 003EP) 12.00
Jimi Jules' "Hello Asshole" comes with a crispy, swinging groove, which sounds like a sweeping breakbeat. A compelling guitar riff appears and together with the voice and a bold synth-line, it lifts you to new heights. Kalabrese's "Kafi Lied" is an ode to coffee-drinking. The voice of Sarah Palin, singer of Rumpelorchester, gives the song energy. The Rumpelorchester guys join in with choir and Kalabrese adds the right groove and his characteristic analog synth pads.


RB 046LP

KRAFT, SUZANNE: Missum LP (RB 046LP) 20.00
Ambient mini-LP from Suzanne Kraft, Los Angeles. Limited to 500 copies only. Pressed on 180 gram vinyl.



PAN-POT: Cells 12" (SNDST 001EP) 12.00
Pan-Pot are back, this time with the Cells EP on their newly-formed label, Second State. The new label sees Pan-Pot taking full creative control as they move into the second phase of their career, and both tracks here are keen indicators that the pair are starting a new chapter of their sonic journey. Similar to a cell starting in its simplest form and expanding, "Cells" builds into a peak of full dynamic and volume and is packed with a variety of frequencies. "Third Eye" will make its way into your head with its addictive bass line.



SMASH TV: Robogeisha 12" (SOUVENIR 064EP) 14.00
Holger Zilske and Kai Preussner (aka Smash TV) get down to business with three brawny, burning-hot grooves infused with their signature flavor. Oscillating between smooth and rugged, techno and house, dubby and in-your-face, Smash TV's assured and organic style has earned the support of legendary producers and DJs alike. "Robogeisha" combines thumping kicks, cosmic stabs, stuttering percussion and Geisha vocal samples all into one pot. "Fluffer" directs its attention straight at the dancefloor with a no-nonsense, head-down stomp. "I Won't" brings equal destruction with pitched-down samples pinned down by tight percussion, and a wandering bass line.


SP 034LP

NAUCKE, BRETT: Seed LP (SP 034LP) 20.00
If previous releases for Nihilist, Arbor and his own Catholic Tapes established Chicago's Brett Naucke as one of the more accomplished practitioners in the American synth underground, Seed, his debut LP for Spectrum Spools, is a veritable career apex, brimming with sonic ingenuity, detail, and mastery over both instrument and musical form. It is hard to fathom due to the sheer diversity of sound and affectations of the eight individual pieces on the album, but Seed was recorded -- almost impossibly -- with the same synth patch, slightly modified for the unveiling of each track. This testifies to the intensity of Naucke's macroscopic conceptual vision for Seed. Each track's complex arc points towards a mind rooted in academic electronic processes, keenly trying to surprise and disarm by prying open new textures, rhythms and structures. But Naucke has struck a perfect balance that unites this avant-garde intuition with a compositional sophistication -- bringing each unique molecule of sound into cohesive songs and further still into a supremely listenable and closed album that operates entirely on its own logic. Recorded at home, as well as an isolated environment in Miami, Florida, and then mixed tediously over a six-month period, Seed is a record displaying Naucke's instrumental proficiency as much as it points to his painstaking studio dedication. The results are nothing short of startling. Naucke achieves a perfect synchronicity between the intrigue of each shimmering, crystalline sound that seems to exist infinitely within its own micro-habitat, and the larger organic whole to which it contributes. Combining delicate ambient synthscapes, snarled electronic pulses and subtle and beautiful melodic phrasings, Seed hovers in an emotional sphere very much of its own. Each piece stitches together resplendent widescreen atmosphere with an intricate coldness and mournful elegance. Over the course of this album, Naucke has come as close as any to making the machines he has used sprout from the same soil as the organic landscapes he so perfectly renders on this album. Mastered at Dubplates + Mastering, Berlin, by CGB, January 2014.



MEIER, DIETER: Out of Chaos CD (AKT 749CD) 15.50
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.


AS 914EP

FE, DON: Jericho/Weep Not 12" (AS 914EP) 12.50
Handed to the legendary Channel One Soundsystem in exclusivity over a year ago, Don Fe's "Jericho" has been on constant rotation around the globe ever since. Cut to dubplate by Mikey Dread, this tune has been securely locked down and spun exclusively as Channel One's last tune at places such as Notting Hill Carnival and many of the soundsystem's international sessions and festival appearances. Steppas Records are extremely pleased to be able to offer this plate to the world, pressed to 12" vinyl.



YAABA FUNK: My Vote Dey Count CD (STCD 1121CD) 16.50
Yaaba Funk is currently one of Britain's most popular Afrobeat bands, and one of the most distinctive -- because while others imitate Fela Kuti's Nigerian sound, Yaaba Funk starts with highlife, the more upbeat (and guitar-led) Ghanaian dance style, and brings in James Brown grooves, Sun Ra jazz, Parliament-Funkadelic jams, and more than a hint of mind-altering dub. Coming out of London's multi-culti Brixton neighborhood, Yaaba Funk made its name at parties, dance clubs and festivals, mixing showmanship and social activism with a spirit of fun, recalling the 2-Tone movement of 30-some years ago and the Swinging London scene of the '60s. "Yaaba Funk in concert," Songlines declared, "can be as exciting as the young Rolling Stones." The band's debut album, Afrobeast, which Blues & Soul championed for its "majestic sound [and] infectious rhythms," became a DJ favorite and won fans throughout the UK. Yaaba Funk's new album (its first to be released in North America) has all the dynamic dance inducements of its predecessor, and takes them even further with a set of original compositions sung in Akan and English by two compelling lead singers, Richmond Kessie and Helen McDonald, and performed by a mighty band of guitars, keyboards (including a thumb-piano), horns galore, and a panoply of drums, shakers, bells and whistles. Everyone's vote counts here -- yours as well.


SBM 5603LP

COB: Moyshe McStiff & The Tartan Lancers of the Sacred Heart LP+CD (SBM 5603LP) 26.50
Deluxe vinyl edition, 180 gram LP with 17-track CD and booklet. Featuring Incredible String Band founder Clive Palmer, COB made some of the most imaginative and moving music of their time, and this 1972 masterpiece is considered by many to be the finest folk record ever to emerge from the British Isles. An overwhelmingly beautiful and compelling collection of songs set to Eastern-tinged arrangements, it's presented here in its definitive vinyl edition, including the original gatefold artwork, a large illustrated color booklet telling the band's story in their own words, and a CD with the original album and seven bonus tracks. Remastered from the original tapes at Abbey Road.



Presenting a debut full-length album from Berlin's house institution and Suol founder, Chopstick & Johnjon. This is an album in the classical songwriting sense. Fortified by house predilections taken from the musicians' obsessively detailed and intoxicating dancefloor beats, the album presents its own clearly compacted and self-contained realm of sound. It's an album which, besides the collaboration with Boston's E-Funk wizard Tanner Ross on two songs, mainly arose with the cooperation with the English singer and musician Chris James. James, who has released tracks with his band Stateless on Ninja Tune and !K7, among other ventures, greatly contributes to the strength of the album. His warm voice and intuitive vocal arrangements blossomed immediately under the concepts of both Berlin producers, resulting in 11 tracks on Twelve which were developed by the trio. A decade has passed since the masterminds behind the Suol label, Chi-Thien Nguyen and John B. Muder, set out as Chopstick & Johnjon with a clear mission: to blaze a trail through the international house and techno scene. Those 10 years seem to have passed in the twinkling of an eye. Both as joint label managers and as a production team, they've come a long, long way. Techno, electro, house, hip-hop -- during their early years in particular, the duo set about exploring electronic music like kids in a candy store. Fearless and bold, they surrendered themselves to the moment, but with the Suol label they seem to have found their spiritual home for the time being. Suol's forerunners, Criminal Records and Baalsaal, were important stages in allowing them to hone their profile and gradually acquire the necessary know-how to develop an internationally successful label. We learn from our mistakes, as the saying goes, and all those diverse influences crystallized aesthetically, too, as they gradually created a collective sound concept, which is based on their shared experiences. Over time, their collaborative tracks started to become slower and more organic. What is today commonly known as slow house was for Chopstick & Johnjon a natural outgrowth of their passion for hip-hop and groove in particular. The creative pair compliment each other perfectly -- both in the studio and behind the decks. Thien, the classically-trained "muso" and John, the former hip-hop DJ with an ear for tight, compact arrangements. The chemistry is just right: tracks like "Clear Eyes" from their Friday Night Lights EP, "Keep on Keepin' On" with label mate Fritz Kalkbrenner on the microphone, or their biggest hit to date "Listen" are all proof of that. And as DJs, Chopstick and Johnjon are consummate experts at bringing the party to a boil at 116 bpm.


CHOPSTICK & JOHNJON: Pining Moon 12" (SUOL 050EP) 12.00
Suol presents the first single from Chopstick & Johnjon's upcoming album Twelve. "Pining Moon" is arguably their most intently focused pop song to date. Recorded in collaboration with Chris James, whose projects include the band Stateless, the song features vocals from James and deeply emotional arrangements driven by a punchy kick drum and cleverly interwoven with dreamy acoustic guitar and cello cameos. Jay Shepheard delivers two different interpretations -- one airier, and one full of dancefloor groove. The Death On The Balcony remix is capped with a pulsating bass groove, which takes the song decisively in the direction of the dancefloor.



VA: Super MT EP 12" (SUPPLY 008EP) 15.50
The first Supply showcase: four label-newcomers range with veteran authority from deep house to driving techno. The opener from Line Cook is a grooving house burner: an infectious loop and low-slung drums build triumphantly. Anders Hellberg drops in some acid, with a strident 909 beat stalking an open, melodic soundscape. Kicking off the flip, label co-owner JB teams up with Bostonian Paul Morse in an icy, tantalizing variation of elastic, swinging deep-house; before Stojche's "Outward" opens up an ending, its pounding beat laced with bittersweet Detroit strings.


SB 023EP

YOUNG DAVID: Fuerte/Offshore Pt. 2 12" (SB 023EP) 14.50
Swedish Brandy Productions present Young David's new single Fuerte (Disco Dub) with Offshore Pt. 2 (Xtra Perc Dub). "Fuerte" is fierce, deep dub disco business with moving bass, excellent string arrangements, a great chord progression and piano hooks. "Offshore Pt. 2 (Xtra Perc Dub)" is atmospheric space disco with sweet synths and guitar. A slightly more chill cut with wonderful instrumentation and vibe, packed with percussion, spring and delay effects to set you in the right mood. Warm and analog-sounding, this is great on this loud-pressed 45 rpm 12".

SB 024EP

IFF, EVAN: Just Around the Corner EP 12" (SB 024EP) 14.50
Swedish Brandy Productions presents Evan Iff's Just Around the Corner EP. Deep, soulful and lush tracks with big warm pads, deep bass, strings, and a whole lot of sampling action. It could easily be described as deep house with a slight b-boy attitude. Evan Iff has been producing since 2010 with fellow L.A. DJ Neil G as Left Minded. He has also released music on labels such as Large Music and Dirt Crew. His music has already garnered play and support from Roberto Rodriguez, Kyodai, Nacho Marco, Dairmount, etc., and can be heard on radio stations from Kiss FM to Ministry of Sound.



WEICHHOLD & NAMITO: Zick Zack 12" (SYST 099EP) 12.50
Weichhold & Namito's follow-up to "Hick" and "Hack," Zick Zack.


TR 280CD

PRITCHARD, BILL: A Trip to the Coast CD (TR 280CD) 17.00
Bill Pritchard is a British singer/songwriter -- you may remember, you may not. He started writing songs for various bands at school but it wasn't until he spent time in Bordeaux as part of a college degree that his style flourished. He did a weekly show with two friends on the radio station La Vie au Grand Hertz (part of the burgeoning "radio libre" movement) and was introduced to a lot of French artists from Antoine to Taxi Girl. His eponymous debut album was released in 1987 on the Third Mind label, with a second following in 1988. He then signed to Belgian label PIAS Records. Working with and alongside the likes of Daniel Darc, Etienne Daho, Francoise Hardy, and Ian Broudie, Pritchard expanded his audience from Europe to the U.S., Canada, and Japan and became both commercially successful and a cult classic. In 1995 he formed the band Beatitude, his first collaboration with Tim Bradshaw as guitarist/keyboard player, releasing the single "Baby in Brylcream." In 1999 he released Happiness and Other Crimes, again with Bradshaw, which has become something of a rarity as the distributor of this album went bankrupt, although a few copies did escape. And then he disappeared a little before resurfacing with a new record deal and the more electronic album By Paris, By Taxi, By Accident, with versions both in French and English, and the album came out in France, Switzerland and Belgium on the Universal label. And then another little disappearance. Then something slightly strange happened. Tim Bradshaw moved to within a couple of miles of Bill's house in Staffordshire and after a gap of about eight years, there was suddenly the opportunity to work together again, something they'd talked about before. "We did the album together basically because we're mates and we thought we'd have fun doing it," said Bill, "with no label pressure we just did what we wanted to," he adds. "It was a time of change in my life and the album and the songs on it reflect that. And when Tim turned up out of the blue, it was perfect coincidental timing." A Trip to the Coast is the end of that period and the beginning of the next. Chapter closed. Chapter opened. The songs on the album are classic Bill Pritchard. Guitar pop, hooky chorus, melodic ballads and personal everyday lyrics about love, loss, and Stoke-On-Trent.


TSQ 2004CD

WALKER, RYLEY: All Kinds of You CD (TSQ 2004CD) 14.00
"Ryley Walker is a 24 year-old singer/songwriter and guitarist from Chicago. Having kicked around Chicago's experimental free/noise music scene for several years, Ryley recently turned to a folk-rock sound inspired by some of his heroes, among them Tim Hardin, Tim Buckley, and Bert Jansch. The result is a poised and accomplished debut album, recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave)."

TSQ 3175LP

WALKER, RYLEY: All Kinds of You LP (TSQ 3175LP) 16.00
LP version.



EULBERG, DOMINIK: Diorama CD (TRAUM 024CD) 15.50
2014 repress. This is the fourth full-length release from Bonn-based DJ, producer and park ranger, Dominik Eulberg. After the Heimische Gefilde (TRAUM 019CD) album, which won the German critic award as the first techno album ever on which comments by the artist himself appear in spoken word, Eulberg has this time aimed at an album which embodies various facets of electronic music. Diorama therefore resembles something totally new and original and can be referred to as an affiliation towards the real "authentic" Eulberg sound cosmos. He has accomplished this with the highest possible standard and contemporary sound aesthetic. Eulberg has set the bar at an extreme height for himself and the result will pile-drive even the die-hard fans into solid, rocky soil. Eulberg has unbuttoned his "techno coat" and has come up with timeless electronica no one would have expected of him. It is his first album where he has rather played music instead of manipulating it and it holds up that skill from the very beginning to the very end, non-stop. For Diorama, Dominik Eulberg has selected, in cooperation with Germany's nature magazine NABU, the 11 greatest wonders of domestic nature, because it is not only in exotic parts of the world that one can find incredible innovations of nature -- they can also be found at your front door. Their existence is concealed from many of us and only by means of closer examination and a raised awareness for their secrets can we discover this world full of miracles. For this world of hidden wonders, a graphic diorama was specially designed, depicting a well-known world full of unknown phenomena. For each wonder, Dominik Eulberg has composed a piece of music which reflects in sound and dynamic the accounted wonder.



MADE TO BREAK: Cherchez la Femme CD (TROST 127CD) 17.00
"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).


WP 058

WAX POETICS: #58 MAG (WP 058) 11.99
"On the covers, front: Cee Lo Green, back: Action Bronson. Contents: Chicano Batman, KING, Leyla McCalla, K-Maxx, Thom Bell, Brian Jackson, Millie Jackson, Ron Isley, Freda Payne, Kool G Rap, Swamp Dogg."



OFFERMANN, OSKAR: Distance is Depth 12" (WHITE 024EP) 12.50
Oskar Offermann's first solo 12" on White since the infamous Apple Crumble EP. This beautiful wax comes along with three subtle deep house tracks which reflect the hours early in the morning when the peak-time is already over, and everything calms down on the dancefloor.



KJOFOL: Chemin des Cretes/Premature 12" (YGROK 001EP) 16.00
"This Russian imprint launches with two intricate, beautiful, house groovers. A journey in four variations, 'Chemin' tracks through hills and valleys with striking vision and fullness, propulsive yet restrained. 'Premature' takes a slower, deeper approach, packing its energy into a stomping bassline, whilst subtle melodies and relentless, bubbling sound course through, beaching us in a place both sinister and tranquil."


Y 011CD

STURGEON, DANE: Wild 'n' Tender CD (Y 011CD) 11.50
Like Kenneth Higney's Attic Demonstration, Dane Sturgeon's Wild 'n' Tender was recorded as a songwriting demo rather than a commercial release. Like Higney, it's one of a kind, legendary since the earliest days of private press record collecting. Wild tracks like "The Ghost of Bardsley Road" and "Queen Bee" drip with the garish, obsessive sexuality of a Russ Meyer movie. Tender songs like "Who's Gonna Hold the Wind" reveal a true tenderness hard to find. The album calls itself "folk-rock in a stone groove," but it's really early rock and roll channeled in the psychedelic era (1967) by a guy too busy getting loaded to notice how fast everything's changing -- in other words, timeless. Three recent living room recordings provide further proof of Sturgeon's sly mastery of metaphorical songwriting. Aaron Milenski, Acid Archives: "No other album has this particular sound -- for the most part this is great." Jello Biafra, Incredibly Strange Music 2: " Del Shannon singing with Joe Meek's Blue Men on the dark side of the moon."



2DEEPSOUL: Moody Sync 12" (YORE 030EP) 12.50
Yore presents a 12" from the Edinburgh-based outfit 2DeepSoul, which counts Brad Peterson and Rai Scott as its members. The two bring a wealth of experience to the project. "Intrinsic" spotlights a breezily swinging house groove, synth treatments that lend the music a dreamily atmospheric quality, a bass pulse lightly tinged with acid flavor, and a main synth melody that warbles like some lazer beamed in from some distant galaxy. "Flow Theory" derives its impetus from a chugging house groove and the aforementioned organ solo, and "Power" brings the duo's dreamier side to the forefront in the tune's enveloping production and warm, deep house vibe.


ZK 012EP

12" version with download code. One-sided release. Bushwick17 is a project by Costanza Francavilla and Alex Infascelli. It's a 17-minute improvisation session recorded in Bushwick on a summer afternoon with no additional edits, mixing, or effects. The idea is based on both artists' obsessions with the number 17: the concept was to freely capture 17 minutes of their day together, without any thought before the act or any extra sound manipulation after the act. Costanza placed two mics on the floor in the middle of the room -- facing the wall -- and played synthesizers while merging herself with dreamlike vocals into ambient floating textures. Alex turned on a fan that was abandoned in the studio, placed the electric guitar in front of it, creating ethereal drones, and moved from guitar atmospheres to abruptly exploding yet sultry drums patterns. The result is a hypnotic sonic journey into an indefinite condition of space and time.



STAVOSTRAND, MIKAEL: The Light of Morning (Decomposes Everything) 12" (ZBZ 003EP) 14.50
Words spoken in another land and in another time echo through Mikael Stavostrand's record. Before the light of morning shines over his world, he sings songs without words, madrigals for the petulant synths and austere drums, in an effort to stall out the first rays of the sun for just one more moment.

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