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Forced Exposure New Releases for 4/21/2014

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New music is due from Motorpsycho, Jac Berrocal, Ben Vida, Ich Bin N!Ntendo, and Sarah Davachi, while old music is due from John Harrison, King Tubby, and Dillinger.


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50 034EP

GARNIER: AF 4302 EP 12" (50 034EP) 14.00
Garnier, the Grand Seigneur of Techno, surprises with his first EP for 50WEAPONS. Known as a pioneer of the global electronic music scene, an internationally-respected DJ, and the undisputed godfather of the French techno scene, Garnier is always in touch with the emergence of new artists and genres. Here, Garnier reiterates his close working relationship with the underground and shows his skill and rigor as a producer. Typical Garnier bass lines flirt with the retro charm of Chicago and the roots of house music as well as his own. This EP is distinguished by an organic, raw, acid-flavored techno sound that explores unchartered territories.


AA 2029LP

MILLER, JACOB: The ''Killer'' Rides Again LP (AA 2029LP) 11.00
Originally released on VP records in 1976, The ''Killer'' Rides Again is a collection of tracks by Jacob Miller and The Innercircle Band. Miller was a protégé of Augustus Pablo known for his opera style vocals.

AA 948LP

VA: Reggae Veterans Volume One LP (AA 948LP) 11.00
Tracks by Sugar Minott, Anthony Johnson, Early B, Little John, Super Cat, Triston Palmer, Jah Thomas, Al Campbell, Buro Banton, Carlton Livingston, U Brown, Barry Brown and Jim Brown.



DE FREITAS, ROEBIN: Doubt 12" (RASA 001EP) 14.50
Roebin De Freitas' two original tracks spread out between the classic techno floor-filler "Twitch" and "Doubt," a hybrid take on techno and IDM. On remix duties is Irish duo Lakker with their serious twist on "Doubt," transforming it into a 105 BPM post-house rework that comes from outer space. Stanislav Tolkachev unleashes his trademark techno on his remix of "Twitch," which sounds like being stuck in a maze with its quirky and twitching arpeggios and percussion loops.



MARSHALL, INGRAM: Fog Tropes/Gradual Requiem LP (ALE 002LP) 23.00
Essential piece of modern composition from American composer Ingram Marshall, using tape delay, Serge synth and foghorn field recordings reissued on Arc Light Editions. Described by John Adams as "the antithesis of the human voice against the vast becalmed presence of the natural world." Originally released in 1984 on Foster Reed's influential New Albion label (which also released work by John Cage, Pauline Oliveros, and Morton Subotnik) it has not, until now, been made available again on vinyl. Fog Tropes began life as a series of field recordings of foghorns around the San Francisco Bay, made in 1979 for performance artist Grace Ferguson. These were then manipulated, added to, and expanded for performance with a brass section, which acts in sonorous call and answer with its industrial counterpart. In the record's original sleevenotes, Marshall recalls: "A lot of people are reminded of San Francisco when they hear this piece, but not I. To me it is just about fog, and being lost in the fog. The brass players should sound as if they were off in a raft floating in the middle of a mist-enshrouded bay." The tone is somber, the rhythm tidal, the sound world an affecting piece of tape collage and modern/minimal composition, with echoing brass, gulls and sirens in the mist. Gradual Requiem is dedicated to Marshall's father, Harry Marshall. The piece is split into five parts, and includes a Serge synthesizer, with John Adams conducting. Tape delay and electronics are used in the sparse composition, a liminal spirit world, where familiar acoustic sound sources are processed lightly with electronic and tape manipulations and the hollow sound of the gambuh. Marshall began playing the two pieces together, later compiling them for this release. Together they mark a key moment in composition, bringing together environmental sound recordings, ethereal voices, brass and gambuh (Balinese flute), with Serge synthesizer and carefully executed tape manipulations.


BEC 5161785

PLAZA FRANCIA: A New Tango Song Book 2LP+CD (BEC 5161785) 30.50
Catherine Ringer (from Rita Mitsouko) sings Müller & Makaroff (from Gotan Project) This is the story of two worlds sizing each other up, meeting and getting to know each other. On one side, the Argentinean Eduardo Makaroff and the Swiss Christoph H. Müller, the two pillars of Gotan Project, looking for extracurricular activities: to establish a bridge between tango and pop music, with original themes. To help them do this in style, a few female singers agreed to step out of their usual repertoire (rock? jazz? flamenco?). So they started to write for these singers and established a list of singular and prestigious vocalists outside of the world of tango. The Gotan pair brought her the lyrics and arrangements for two songs. She recorded the vocals. They were amazed by her ease. Christoph Müller called it "organically natural." Catherine loved the project, and has a penchant for all things Latin: remember "Marcia Baila," one of Rita Mitsouko's most emblematic songs, a tribute to Marcia Moretto, an Argeninean dancer based in Paris with whom Catherine had worked before starting Rita. She also sang in a musical by Argentinean director Alfredo Arias. And it's clear that "La Ringer" loves to perform and change styles, and with a soupcon of French accent, it's absolutely perfect. They asked her to sing -- in Argentinean Spanish, of course -- on the entire record. They called it Plaza Francia. According to Gustavo Beytelmann, the legendary Paris-based Argentinean tango arranger, who worked on Plaza Francia: "She has a tango personality, which is rare." This untraditional tango reaches out to pop music with a rhythm close to Catherine's musical past and with climatic effects in the orchestration. This is all ensconced in Beytelmann's silky setting of piano, bandoneon, and strings. It's more than tango, it's France meets Argentina, Piazzolla meets Santana. The lyrics speak the language of tango: heartbreak, drama, exile -- and love. This is no small event, for with this record, Catherine Ringer opens the doors to the Americas, opened one century before by another French lady, Edith Piaf. Deluxe gatefold double LP with printed innersleeves and a CD version featuring two bonus tracks.



CHANIC, ALLISON: Painlessly in Love 12" (BDN 001EP) 19.00
"A spectacular curtain-raiser for this imprint 'based in the desert.' 'Painlessly in Love' is a magnificent, swirling, multi-rhythmic evocation of heartbreak; with a clarified, haunting, motorik remix by Lakker. The second piece, 'Realm,' is super-deep funk: a shimmer of alarms, intimacies, starbursts and strangulations, uneasily shot through with kit-drumming. Tiny run, 180 gram vinyl."



Tel Aviv's Deep'a & Biri and Iran-born producer Aril Brikha unite on Deep'a & Biri's Black Crow label, from which proceeds will be donated to an Israel/Palestine peace project organization. With their shared love for the deeper sounds of Detroit techno, Brikha's collaboration with Deep'a & Biri on the second Black Crow EP was the logical next step to follow the duo's 2013 debut LP Emotions Visions Changes on DJ Hell's International DJ Gigolos. The 12" features both acts contributing an original track and remix, with Brikha's signature melodic progressions and Deepa & Biri's dub techno atmospherics brought to bear on each side.


BZJ 7501LP

VA: Turkish Freakout: Psych-Folk Singles 1969-1980 2LP (BZJ 7501LP) 24.00
2014 repress; 2LP version; no longer with the 7". Gatefold jacket includes original sleeve artwork & liner notes. "Turkey is often referred to as the meeting point between East and West, a statement verified by this selection of choice Turkish grooves. The western rock, psych, funk and jazz influences that began to be incorporated into traditional Turkish sounds during the late 60s and 70s can be heard here, as the Anadolu pop sound of Turkeyma balanced these new elements with the complex sounds and rhythms developed over many years. All tracks are referenced from their original 7 inch releases, painstakingly tracked down from various sources in and around Istanbul. The marriage of these styles is original, captivating and bound to freak you out." Artists: Okay Temiz, Kardaslar, Cem Karaka, Apaslar, Beyaz Kelebekler, Alpay, Erkin Koray, Ajda Pekkan, Sevil & Ayla, Baris Manco, Rifat Oncel, Ersen, Onder Bali, and Arif Sag.



DUSTY KID: Anatome EP Vol. 2 12" (BOXER 096EP) 12.50
Dusty Kid's The Anatome EP Vol.1 from 2007 was played madly in clubs around the globe at that time and even more many years later. These tracks come back to life here, remixed by Dusty Kid and Alva Noto (Carsten Nicolai from Raster-Noton). While the Dusty Kid remix of "Kore" is an incredibly atmospheric but straight dancefloor pusher that seems to come straight out of Moria (the cave of the dwarves in Tolkien's Lord of the Rings), Alva Noto presents you to 300 ft. tall high-voltage electricity towers. You can almost feel the prickle on your skin with deep, cross-layered strings.



DAVACHI, SARAH: August Harp Cassette (SAUNA 017CS) 9.50
August Harp is Sarah Davachi's second release, and is reflective of her ongoing exploration into the topography of spectrally immersive textures and aural environments. The compositions on this album consider notions of sustenance, shifting harmonic spectra, psychoacoustic derivation of artificial resultant tones, and interior movement within a semblance of stasis. Over the past five years, Davachi's compositional projects have been primarily concerned with disclosing the antiquated instruments and forgotten sonics of a bygone era in analog synthesis; her work on August Harp puts forth offerings from Buchla & Associates, Sequential Circuits, and EMS (London), subsuming transitions that took place between 1968 and 1981. Informed by the lush electronic tapestries of experimentalist-era synthesis pioneers, her music often exudes the sorts of wandering transformations inherent in real-time performance with analog equipment. August Harp exploits the innate instabilities of these instruments, constructing layers of texture that seem to pull each other apart as the discrepancies in frequency of the merged sound gradually swell and wane. Coupled with acoustic instruments such as cello and organ, Davachi seeks to direct the experience of timbral coalescence: mutual acoustic identities are brought together; cocooning the listener into a space that is at once physical, yet invariably out of reach. As a composer of electronic and electroacoustic music, Sarah Davachi engages in practices of analog and modular synthesis and psychoacoustic manipulations. Her compositions focus on the experience of enveloped sonic dwelling, often utilizing extended durations and drones, gradual transformations in texture, fluctuating and spectrally-rich timbres, and simple harmonic structures that emphasize variations in overtone complexity and natural phasing patterns in order to approach distanced and altered landscapes. Davachi holds an MFA in electronic music and recording media from Mills College in Oakland, California and, since 2007, has worked for the National Music Centre in Calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. Her writings on experimental music and phenomenology have been presented and published within Canada, the United States, and the United Kingdom, and she has held artist residencies at The Banff Centre for the Arts, STEIM, WORM (Rotterdam), and EMS (Stockholm).


ROCCHETTI & PIETRO RIPARBELLI, CLAUDIO: Three Quarter Tone Piano Pieces Cassette (SAUNA 018CS) 9.50
This work was created using short wave radio signals, field recordings, dusty analog devices, as well as samples from Three Quarter Tone Piano Pieces by the American modernist composer Charles Ives (1874-1954) as central sound source. Pietro Riparbelli is a philosopher, composer and sound-multimedia artist based in Livorno (Tuscany). His compositions have been published by Touch (UK), Gruenrekorder (DE), Radical Matters Ed/Label (IT), Utech (US), Afe Records (IT), Boring Machines (IT), and Cold Spring (UK). He is working in Italy with the Enrico Fornello Contemporary Art Gallery. Riparbelli's performances and installations have been presented at D'Amelio Terras contemporary art gallery (NY), Equinox Festival (London), Nuit Blanche (Paris), Magazzino d'arte moderna (Rome), Palazzo delle Papesse (Siena), Flora (Florence), Fundació Tàpies (Barcelona), and Base progetti per l'arte (Florence). He works with performances, sound installations and recorded works and in the last three years he has been collaborating through selected projects with Massimo Bartolini, Nico Vascellari, Philippe Petit, Fabrizio Modenese Palumbo, Francisco Lopez, Christina Kubisch, Seth Cluett, Yannick Franck, and others. He is a curator/executive producer of the independent music label Radical Matters -- Editions Label with the new series "Metasound," and he is the curator of the project AEDO "Curatorial and Sound Practice" to investigate the dimension between music and contemporary art. The work of Claudio Rocchetti is a deep plunge into thick sound, investigating its innermost workings. Using a variety of devices such as turntables, audio cassettes, samplers, radios, and microphones, often incorporating other objects and traditional instruments, Berlin-based Rocchetti builds compelling structures that employ sound as sheer matter, mass, and impact. "I have a very direct approach to sound, trying to act on instruments and devices," he says.


CT 085LP

KING TUBBY: Meets Rockers Uptown LP (CT 085LP) 11.00
2014 repress. Reissue of the 1976 historic collaboration between producer instrumentalist Augustos Pablo and dub engineer King Tubby.

CT 3022LP

KING TUBBY: Explosive Dub LP (CT 3022LP) 11.00
2014 repress. "There are very few people who define a genre the way King Tubby defines dub. From the early days of dub in the 1960s, King Tubby (born Osbourne Rodduck) influenced a generation of producers across a variety of genres and continued to do so until his death in the late 1980s. While King Tubby was known for experimenting with different sounds, he was also truly never one to settle for mediocrity. Flexing his signature dub muscle on 1975's Explosive Dub, a compilation of various Tubby gems 19 tracks long, the true beauty of his ability is brought to light. It's obvious to the listener that King Tubby spent hours perfecting each track and remix before releasing it to the public. Explosive Dub, a previously hard to find collector's item is a shining example of King Tubby's work. Though many of these tracks have been previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Explosive Dub features audio mastered from the original analog tapes."

CT 805LP

PABLO, AUGUSTUS: Ital Dub LP (CT 805LP) 11.00
2014 repress. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.



SHADOW MOVEMENT: I.D. 12" (DOC 002EP) 14.50
Shadow Movement is a project which started in 2012. After working as solo artists, both Rafael and Raul decided to share their ideas in a new experience. From house to techno, at this new stage they seek to take their music, loaded with melody and breakthrough content, to the next level. Their influence comes from great electronic music classics to '70s and '80s progressive rock. 2014 is the starting point for the duo to hit the road, along with releases scheduled for the first part of the year which promise to surprise the public.



CUARTERO: Abandonado 12" (DESOLAT 024X-EP) 14.00
The Desolat X series presents a package of peak-time house rollers by Spain's rising star Cuartero. Both "Abandonado" and "Children's Game" are perfectly-executed examples of peak-time hedonistic house, and their thumping beats are characterized by driving drums, pulsating bass, spoken-word samples and percussion flourishes throughout. "Strike" slows down the tempo, adding exotic sounds and samples that create a brooding, tense house record. "Sweet in the Morning" again operates at a slightly slower BPM, with a deeper groove and percussion spirals sweeping throughout the track. Normal service resumes on "Remember Then," which rounds off the EP in fine style.



VINCENZO & LANGUAGE: Merry Go Round 12" (DES 120EP) 14.00
Vincenzo returns to Dessous Recordings with "Merry Go Round," featuring the stunning vocal talents of Language aka Kaori Kaneko. Built on dream-like, evolving pads and textures, the vocals are reminiscent of the best work of Tracey Thorn, rising and falling over the 7-minute duration of the original mix. After some minutes, a crisp, chugging, mid-tempo beat develops and lifts the track yet further. The Reprise Mix is a totally beatless mix, emphasizing the pads, guitar and piano work. The third track sees Axel Boman on remix duties, who primes it for the dancefloor with a loopy, hypnotic rework.



SOLOMUN: Samson EP 12" (DIYNAMIC 070EP) 14.00
Diynamic boss Solomun is back with a fantastic new two-track EP, Samson. "Medea" is a deep, trippy, peak-time monster with a twist of house and techno. A bittersweet melody is dirty and tumultuous and comes in stabs and skewed slurs. "Samson" is a slower and deeper cut layered up with plenty of serene and widescreen pads. The epic breakdown is what really stands this track apart, though. A teary-eyed and super-emotive strings-only version complete with choral singing is also included and rounds out what is sure to be one of Solomun's biggest releases yet.



FLUXION: Broadwalk Tales 2LP (ECHO 060LP) 26.50
Double LP version. Echocord presents the third album by Fluxion. In the beginning of 2013, K. Soublis (aka Fluxion) met Jamaican vocalist Teddy Selassie in NY. After a brief discussion, they started exchanging music and lyrics and by the end of 2013, the Broadwalk Tales album came to life -- an album of musical pieces that visit the roots of reggae and dub music with the distinct Fluxion production aesthetic, combining them with more ambient atmospheric tracks as well as techno and more experimental productions. In the words of the artist: "I wanted to make something more than the usual dub techno tracks with a hint of manipulated voices every now and then. Teddy Selassie came in and gave a breath to the whole material, made it more alive, broadening the journey."



FARBEN & JAMES DIN A4: Farben Presents James DIN A4 LP (FAITICHE 012LP) 18.00
LP version. Housed in a gatefold sleeve. Faitiche is very pleased to present a new album and, at the same time, a well-known name: Farben Presents James DIN A4. In the summer of 2013, Farben (Jan Jelinek) remixed his way through the extensive oeuvre of the sample and collage artist James DIN A4 (Dennis Busch) -- and gathered 10 of his favorite titles here. Find out more in the following interview: Jan Jelinek: Dennis, you're a musician and an artist who creates audio and visual collages, as well as designing fashion. Could it be said that the principle of collage is what underlies all of your activities? Dennis Busch: Yes, that's the common thread running throughout my output. I shake the kaleidoscope and don't know what the result will be. If I don't like it, I keep shaking -- until some sensible nonsense appears. JJ: Your tracks meander from position to position, and have the effect of seeming to lack concentration -- in a positive sense. What's interesting is that in nearly every track there is one constant: a straight beat. Is this comparable to the white sheet of standard DIN A4 paper on which the collage snippets are spread out? DB: Four-four time is a kind of diametrical baton. It creates structure and acts as a kind of hostel warden to keep the pubescent samples in line. This is important in order to conjure up a fitting little dress for the playful bumblebees and weeds that are the samples. In fact, a track may sometimes present itself as slightly unfocused, but only under the fullest concentration and dedication. A track that starts off as a swimwear vendor at the North Pole may indeed fade away as a gravedigger at the end of an exploding rainbow."



ANDHIM: Hausch (The Remixes) 12" (GPM 267EP) 14.00
German DJ duo Andhim brought us The Wizard of Us in 2013, making their debut on Get Physical Music with the two-track EP. While the title-track was a small hit in its own right, it was the B-side, "Hausch," that stole the stage with its sunny vibes and feel-good atmosphere. Now the boys have given the track to fellow Cologne artist Dürerstuben, Denmark's Kölsch and American techno-legend George Morel, for a highly-anticipated remix treatment.



SLY & ROBBIE: Underwater Dub LP+CD (GAP 116LP) 21.00
LP version, pressed on 180 gram vinyl. Includes a CD copy of the album. Following the successful Blackwood Dub from 2012 is the next chapter in the relationship of Sly & Robbie, producer Alberto "Burur" Blackwood of Slam Records and Groove Attack. Again, studio time was booked at the legendary Harry J Studio and recordings started with Mikey Chung, Radcliffe "Dougie" Bryan, Daryl Thompson, Robbie Lyn, and Uziah "Sticky" Thompson -- but be warned -- the album features a set of 10 tracks of analog recording sessions and is a special listening experience for real -- Underwater Dub.



MORELLI, RON: Periscope Blues LP (HOS 405LP) 18.00
Comprising eight tracks, Periscope Blues from Ron Morelli is the culmination of a mission gone wrong. Music for the stranded, the lost, those backed into a corner with nowhere to go, or maybe a reflection of sad individuals panicking on a tropical vacation gone awry. Somber yet very tense drifting off-radar machine electronics that feel like a blistering sun beating down on decaying beach remains as time crawls on. That or the equivalent to working the grill summers at Jones Beach and stealing from the register just to get a little more. Mastered and cut by Matt Colton.



ASTRO SONIC: Come Closer and I'll Tell You CD (HUBRO 2530CD) 17.00
The rocking synth trio Astro Sonic have focused on a broad sonic spectrum on their debut album Come Closer and I'll Tell You. The music on the group's first album is fearless, and most of the tunes are improvised. It evokes associations with experimental ambient, Krautrock, synth improv and Bo Hansson's instrumental music of the 1960s. The atmosphere of the music moves effortlessly between the upper stratosphere and abandoned mines deep within mountain caves, from viscous planes of sound to explosive rhythmic drive. The three members of the group have been collaborating for quite some time, but it was not until 2008 that they decided to establish Astro Sonic. Erlend Slettevoll's (Grand General, The Core) synths really get the opportunity to shine in a soundscape that is at times whipped onwards by a powerful rhythm section comprised of Rune Nergaard (Marvel Machine) on bass and Gard Nilssen (Susanne Sundfør, Lord Kelvin) on drums, both of whom have been playing in the power trio Bushman's Revenge for over 10 years.


URHEIM, STEIN: Stein Urheim LP+CD (HUBRO 3529LP) 22.00
LP version. Includes a CD copy of the album. The Bergen-based guitarist Stein Urheim (b. 1979) made a profound impression with his album Kosmolodi, which was released in an extremely limited edition on vinyl in 2012. Now he is back, with a playful and cohesive eponymous album where he takes his very idiosyncratic instrumental music to new and subtle heights. On this album, in addition to guitars, Urheim plays a wide variety of stringed instruments from different corners of the world. Urheim's music is permeated by a kind of exoticism. It is thoughtful without losing its sense of humor. The influences of jazz, North American and West African blues, and folk music from all over the world are obvious. Urheim himself says that among his sources of inspiration are the American composers Lou Harrison and Steve Reich, Chinese gu qin music, langeleik (Norwegian zither) music from Valdres, and Ornette Coleman. While Kosmolodi was recorded over a period of time in a number of different places, Urheim decided to take a different approach this time. Much of the album was recorded with sound technician Audun Strype in Lysøen, the magnificent home of the legendary violinist Ole Bull outside of Bergen, in January 2013. The wooden house, ice-cold at that time of year, has a fantastic atmosphere and warm acoustics. The recording was later completed and mixed at Duper Studio in Bergen with technician and producer Jørgen Træen. Stein Urheim has already released two critically-acclaimed albums on Bugge Wesseltoft's Jazzland label together with singer and musician Mari Kvien Brunvoll. He has been a member of Gabriel Fliflet's band Åresong and HP Gundersen's highly-respected drone band The Last Hurrah. Stein Urheim: guitars, flutes, harmonica, slide tamboura, fretless bouzouki, gu qin, mandolin, langeleik, charango, banjo, analog synths and effects.


1982: A/B LP+CD (HUBRO 3532LP) 22.00
LP version. 180 gram vinyl with CD. The improvisational trio 1982 consists of Nils Økland, Sigbjørn Apeland and Øyvind Skarbø. The trio has already released three critically-acclaimed albums. On their previous album, the musicians collaborated with pedal steel legend BJ Cole. This time they have invited wind players Fredrik Ljungkvist (Atomic), Erik Johannessen (Jaga Jazzist), Sofya Dudaeva, Hanne Liland Rekdal, Matthias Wallin and Stian Omenås (Stian Omenås Klangkammer) to participate in an unusual collaboration. As the title of the trio's fourth album, A/B, indicates, it is divided into two parts. The album is built up with the classic LP structure of an A-side and a B-side, with a long piece, 18:16 minutes, filling the entire A-side. This piece clearly stands out as the most distinctive in 1982's discography up to now. Taking his point of departure in improvisations recorded by the trio, trumpeter and composer Stian Omenås has "expanded on" the idiom and has composed and arranged music for a wind sextet that has been layered on top of the original improvisation. On the A-side Tobias and Henrik, the sons of Sigbjørn and Nils, respectively were pulled in to help, and on the B-side we once again hear 1982 in the form of a trio, with several new ideas that serve to enlarge the 1982 universe. Sigbjørn plays piano on one track, and Nils Økland sings. These recordings were made at Grieghallen Studio in Bergen just before the studio was closed down in the summer of 2013. The wind sextet was recorded at Rainbow Studio in Oslo with technician Jan Erik Kongshaug. Nils Økland (Hardanger fiddles, violin, voice); Sigbjørn Apeland (harmonium, piano); Øyvind Skarbø (drums, percussion).


MOSKUS: Mestertyven LP+CD (HUBRO 3535LP) 22.00
LP version. 180 gram vinyl with a CD of the album. Salmesykkel (HUBRO 2518CD/3518LP), the debut album of the group Moskus, received glowing reviews and was nominated for two Norwegian Grammies. In their eagerly-awaited second album, Mestertyven (trans. "Master Thief"), the trio, comprising pianist Anja Lauvdal, bassist Fredrik Luhr Dietrichson and drummer Hans Hulbækmo, are taking giant steps in a new direction. The music on Salmesykkel had been in the trio's repertoire long before they went into the studio, but this time they chose an entirely different approach. The venerable Atlantis Grammofon Studio in Stockholm was exchanged for Risør Church, the grand piano for an upright, and well-rehearsed pieces for untried material. Risør Church is a cruciform wooden church built in 1647 that is used as a concert venue every summer during the Risør Chamber Music Festival. "We set ourselves up in the church with sound technician Audun Strype, without any tunes ready, but with plenty of ideas after several tours and a lot of experimentation at a rehearsal venue." The fact that the ideas evolved then and there, and that the tunes were created while the "tape was running," helped to give the album a very special atmosphere. The hours of recorded material were later trimmed down, resulting in an album with a far broader range, greater wealth of ideas, and more madness than the previous one. The sense of melody and playfulness that was apparent on the trio's debut album is still very much present on their second. The decision to exchange the rich tonal palette of a grand piano for the more everyday sound of an upright might seem radical, but it felt very natural for the band. "The sound of the upright piano feels more intimate and more ordinary, and it has a different tonal palette. A little harder. The sound gives associations to old recordings that we have listened to a lot, made in cafés and restaurants. And last, but not least, we feel more equality as a trio without a grand piano. More like a unit." Moskus, on the trio's new album, are fearless, intuitive and ingenious -- a bit like most master thieves.


SKADEDYR: Kongekrabbe LP+CD (HUBRO 3536LP) 22.00
180 gram LP version with CD. Kongekrabbe is the democratic/anarchistic band Skadedyr's debut album. They have swiftly gained a reputation as one of Norway's most exciting ensembles. Skadedyr consists of a total of 12 musicians and an even larger assortment of instruments. With a brass section, guitars, keyboards, vocals, two drummers, strings and an accordion, the musical images and narratives just pour out of them. Skadedyr was founded by Heiða Karine Jóhannesdóttir Mobeck and Anja Lauvdal, who also played in the now-disbanded group Your Headlights Are On. These two musicians are also the driving force behind the inventive material on Skadedyr's debut album. The members of the band rehearse and arrange all the music jointly -- without notes, but with wide-open ears and eyes. Young, promising musicians from bands such as Moskus, Broen Ósk, Karokh, Snøskred, Skrap and Hullyboo are also part of the ensemble. The album was recorded live in the studio in the course of only one day with producer Andreas Mjøs (Jaga Jazzist), and bears witness to an extraordinarily coherent and original band with an appreciation of both the psychedelic, progressive and outrageous and the earthy and melodious aspects of music. The musicians in Skadedyr accept no limits and deny themselves nothing. They derive inspiration from every type of music that they love, and the large number of players enables them to let themselves loose in a correspondingly broad musical landscape.


BUILDING INSTRUMENT: Building Instrument LP+CD (HUBRO 3541LP) 22.00
LP version. 180 gram vinyl with CD. On the eponymous debut album by Building Instrument we encounter a band that has taken plenty of time to distil its essence into a distinctive mode of expression. This is a rare quality in our modern day, whose underlying mantra is that everything must happen NOW. The concerts they have presented have made a lasting impression on many audience members. After one concert, the Irish Times wrote: "[I]t's a pleasure to discover their creativity and cheerfully aggressive attitude to music ... It's exciting to watch, very accessible and highly emotive." The members of the trio Building Instrument are Mari Kvien Brunvoll (vocals, sampler, zither, percussion, kazoo), Øyvind Hegg-Lunde (drums and percussion) and Åsmund Weltzien (synthesizer, electronics, melodica). Drummer Øyvind Hegg-Lunde plays in the Big Almost and Crab Is Crap, with Ståle Storløkken, and is currently on a world tour with José Gonzalez and his band, Junip. Åsmund Weltzien plays with Thea Næss. Vocalist Mari Kvien Brunvoll sings in Norwegian for the first time on this album, and is even using her local Molde dialect. She has been described as "an exceptional talent" by pianist Bugge Wesseltoft, who released her first solo album on his Jazzland label. The trio began to play together in Bergen in 2008, and their original idea was to explore electronic music. This project was quickly abandoned in favor of a more acoustic and home-grown focus. The members of the trio have now found their own self-defined niche within a genre that could be described as a no-man's-land. Their material is largely improvised and playfully invented as an ensemble. One of the trio's most striking features is their mastery of the art of both self-restraint and boldly letting everything loose. The musical leaps taken by the trio seem to be entirely seamless -- from catchy rhythms through freely-improvised sections to emotionally-charged melodies.


SPACEMONKEY: The Karman Line LP (HUBRO 3543LP) 22.00
LP version. Pressed on 180 gram vinyl, housed in a gatefold sleeve. sPacemoNkey is the duo project of pianist Morten Qvenild and drummer Gard Nilssen. They enjoyed collaborating in Mathias Eick's band, and quickly decided to try playing together as a duo. During the past 10-15 years, Morten Qvenild has been one of the most creative, ground-breaking and innovative musicians in Norway. He has participated in bands including In The Country, Shining, Jaga Jazzist, Trinity, and Susanna And The Magical Orchestra. Gard Nilssen, on his part, is one of the most active and highly sought-after drummers in the business, having played with Bushman's Revenge, Astro Sonic, Puma, the Trondheim Jazz Orchestra and Susanne Sundfør's band. "Basically, I find the duo format extremely appealing, and have worked quite a bit together with singers. Working with a drummer gives me a wide scope and a lot of freedom to take the music in a number of different directions," says Qvenild. And he is taking advantage of this freedom with a vengeance in The Karman Line. This is spacy, stimulating and lovely music, full of surprises and exploring new soundscapes. sPacemoNkey's debut album, The Karman Line, is entirely improvisational, and was recorded at Propeller Studio in Oslo. "We used the studio as a tool in the process of discovering what we could accomplish with the duo. A lot of trial and error. A lot of discussions about our direction. During the process a band suddenly crystallized," says Qvenild. The album was later completed, produced and mixed at Duper Studio in Bergen together with Jørgen Træen. Morten Qvenild (hyperpiano, electronics and programming); Gard Nilssen (drums, gongs, bells, vibraphone and electronics).


MEIDELL, STEPHAN: Cascades LP (HUBRO 3545LP) 22.00
Impressive debut album from adventurous guitar player Stephan Meidell is a guitarist and improviser and plays with the bands Cakewalk, The Sweetest Thrill, Vanilla Riot and Krachmacher. He's from Kristiansand but resides in Bergen. This is his solo debut release. "This project began in January 2011, when I wanted to test out the acoustics of an old margarine factory and meat storage space that was being built into a culture house. The second floor was big and spacious, and would later be used for concerts, exhibitions, etc. The acoustics of the space was going to be treated with plates to dampen the reverb, so I had to act quickly. Music studios were already up and running in the house at this time, so to be able to record, I had to start around 6:00 in the morning, before they came to work. Placing mikes all around the room, I had no special plan -- just improvise and see where it got me. I did this for four days straight, and in the end I was exhausted -- both by the cold (the room had no heating), and trying to wreck my brain to find new ways of exploring the factory-like acoustics. I ended up with a lot of hours of material, and gradually started going through it the following months. I later did some recordings in my studio, and have been working on this music on and off for the last two and a half years. In 2012, I performed a commission for Ny Musikk Kristiansand at a big silo at the Architect School of Bergen, and found that some of the material from that space worked great together with the material from Bergen Kjøtt. 'Suspire' is a layering of recordings from that concert and the Bergen Kjøtt sessions with parts re-recorded in the vast space of the big freezer hall of Bontelabo. It is -- at the core -- the sound of three different room characteristics (mis)treated by an improvising guitarist. This layering of sounds has become the foundation for Cascades. Putting together material from different improvisations, adding rhythm to some, changing the tonality to others, etc. It is not merely free improvisations, but I have tried not to treat the music too surgically. You can hear some noise from the room, from the effect pedals and me moving around, and minor 'accidents' along the way. --Stephan Meidell, Bergen, September 2013. Pressed on 180 gram vinyl. Comes with a printed inlay.



MAMACITA: No eres tu 10" (HUNTLEYS 009EP) 15.50
Huntleys + Palmers would like to present you with No eres tu. Some of you may remember Mamacita's guest appearance on Auntie Flo's Future Rhythm Machine. Here is her debut release, chock-full of amazing '80s Chicago house via Santiago, Chile. Ana Helder delivers a blinding remix, at once retaining the best qualities of the OG, while making it her own.


IP 012EP

QOSO: Jura 12" (IP 012EP) 16.00
"Caustic, laconic, long-faced techno thumpers. Less single malt than paint-stripper (albeit expertly applied with a sex-machine)."



MORALEZ: Our House 12" (GIGOLO 293EP) 12.50
Moralez, an up-and-coming producer from Russia, gets his first EP on Gigolo. Leaving everything unnecessary behind, Moralez delivers stripped-back, analog house somewhere on a highway leading to the borders of techno. "Our House" is an ode to the drum machine and synth-laden beginnings of house. A cut-up vocal sample lies on top of the jacking pulse bass line, and subtle, mesmerizing pads. Moralez also takes Kings Of The Universe's eclectic "Acid Is the Answer" and strips the song to its bones and rebuilds it with a more functional, deeper sound: the result is a dangerous peak-time tool.


KRUDER, PETER: Die Wiener Festwochen 12" (GIGOLO 297EP) 12.50
International Deejay Gigolo turns one out for Peter Kruder. "Best single ever!" --DJ Hell


WESTBAM: You Need the Drugs (DJ Hell Remix) 12" (GIGOLO 299EP) 12.50
"Surprise comeback featuring The Psychedelic Furs singer Richard Butler. An anti-drug anthem from Westbam, straight out of Berlin. Video of the year 2013, Berlin night life craze in full effect!" --DJ Hell. Here it is with a DJ Hell club mix. Two legends prove again how it should be done correctly.



KING TUBBY: The Roots of Dub CD (JRCD 035CD) 14.00
2010 release. Dynamic Sounds upgraded to 16-track recording in 1972 and King Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him a far wider scope to work with, and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby's dub plate experiments began to make it onto vinyl and the first-ever King Tubby album releases would feature a collection of his mixes to a selection of Strikers' rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.


KING TUBBY: Dub from the Roots CD (JRCD 036CD) 14.00
2010 release. Osbourne "King Tubby" Ruddock was born in Kingston, Jamaica on January 28, 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's National Technical College and also in two correspondence courses from the U.S.A. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother's home. His work in the early days included winding transformers and building amplifiers for Kingston's Sound Systems. Tubby built his first Sound System in 1957 playing jazz and rhythm & blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the '60s drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room. Lovingly restored and with a few extra gems added to the CD editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.


PERRY, LEE: Dub Treasures from the Black Ark 1976-1978 CD (JRCD 039CD) 14.00
2010 release. Lee "Scratch" Perry's Black Ark Studio opened its doors in 1974, situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic equipment, a Teac 4-track recorder, a Soundcraft mixing desk, an Echoplex delay unit, and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo, he managed mixing down the tracks from 4-track to 2-track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios. On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' "Curly Locks" and in 1975 the massive crossover hit, Susan Cadogans' "Hurt So Good," which reached #4 in the UK charts. 1976 saw Island Records releasing Perrys' vast output -- timeless material like the Heptones "Party Time," Max Romeo's "War Inna Babylon," Bob Marley And The Wailers' "Jah Live," "Punky Reggae Party" and Junior Murvin's "Police and Thieves," to name but a few. But sometimes missing out were a few classics like Perry's own "Roast Fish, Collie Weed & Corn Bread" and possibly one of the best reggae albums of all time The Congos' Heart of the Congos. Dub releases like Revolution Dub (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalog of tracks to work on. Here are culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Ark history. Sounding like Junior Marvin in parts and Max Romeo in others, but still carrying a distinctive falsetto voice. Some classic tracks were recorded with the cream of musicians at Lee Perry's disposal. Mr. Perry works his magic that gives these songs that distinctive feel that his output carried around the mid-1970s.


KING TUBBY: King Tubby's Lost Treasures LP (JRLP 001LP) 14.00
2014 repress, originally released in 2001. 2001 release. Lost Treasures is an essential selection of rare and previously-unreleased dubs from the legendary King Tubby. Taken directly from master tapes, these heavyweight versions of Bunny Lee-produced Aggrovators rhythms have only previously seen the light of day as sound system dub plates or rare Jamaican 7" B-sides in the mid-'70s. This is the first in a series that includes similar releases from Augustus Pablo, Lee Perry, Studio One, Channel One, Sly & Robbie, and the Wailers.


SOUL SYNDICATE: Niney The Observer Presents Soul Syndicate Dub Classics LP (JRLP 022LP) 14.00
2014 repress, originally released in 2006. LP version. A selection of classic Niney The Observer-produced King Tubby dubs from the late '70s featuring the rhythm section talents of the Soul Syndicate. Includes previously-unreleased dubs of Barry Brown's "Fittest of the Fittest," Horace Andy's "You Are My Angel," an earlier version of Pablo's "555 Crown Street," and Cornell Campbell's "Stars."


KING TUBBY: The Roots of Dub LP (JRLP 035LP) 14.00
LP version.


LP version. 2010 release. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. After discovering a mistake that was made into a "serious joke" they went on to release the first pressings of this new musical genre, named "Dub Music." Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard... the remix/version cuts to an existing vocal tune. "Tubby did three original dub albums, Dub from the Roots, The Roots of Dub and Brass Rockers with Tommy McCook 'pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named Shalom Dub, you can call Tubby's, too, because he mixed the versions as they were off 45s.'' --Bunny "Striker" Lee


PABLO, AUGUSTUS: Rockers at King Tubby's LP (JRLP 053LP) 14.00
LP version. Augustus Pablo's unique sound which was created around playing what could best be described as a child's musical toy, the melodica. It made him a very popular session player in the late 1970s and early '80s. It was not only his unique talent of playing the instrument but also his talents on the piano and the keyboard. Pablo worked on a variety of sessions for all the top Jamaican producers, but especially for King Tubby at his studio in the heart of the Waterhouse district of Kingston, Jamaica. Jamaican Recordings have compiled a set of rhythms that have King Tubby and Phillip Smart at the controls and Augustus Pablo adding his musical flavor to the mix to make what many believe to be a great album.



VA: Rocksteady Fever LP (KSLP 016LP) 14.00
2014 repress, originally released in 2008. Rocksteady fever hit Jamaica around 1966 when the jerky ska rhythms slowed down to a more leisurely pace, some say due to the extreme heat that hit the island that year. Whatever the reasons were, this two-year period that ran until 1968 would see some of the power escape from the three big producers, Clement "Coxsone" Dodd, Prince Buster and Duke Reid. They had to finally make room for the new wave of up and coming producers who had something to say. Such names as Joel Gibson (Joe Gibbs), Sonia Pottinger, Derrick Harriot and the most prolific of them all, Mr. Bunny Lee, would unleash some fine music in this fascinating, if short-lived period in reggae's history. Here Kingston Sounds have compiled some of the biggest hits from the rocksteady era alongside some lesser known cuts that deserve to be re-evaluated." Artists include: Roy Shirley, Uniques, Delroy Wilson, Pat Kelly, Glen Adams, Lester Sterling, Raving Ravers, Dawn Penn, Winston Samuels, Bill Gentiles, Cynthia Richards, and Ken Parker.


U ROY: I Am The Originator LP (KSLP 019LP) 14.00
2014 repress, originally released in 2009. The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. U Roy moved into the recording arena firstly cutting two discs for producer Lee Perry: Earths Rightful Ruler and OK Corral, and then following this with Dynamic Fashion Way and Riot for producer Keith Hudson. Producer Duke Reid, seeing the potential in this new found form, brought U Roy to his Treasure Isle Studios to voice over his back catalog of rocksteady hits. His first three releases for Duke Reid Wake the Town, Rule the Nation and Wear You to the Ball held the top three positions for 12 weeks in early 1970s. Here, Kingston Sounds have compiled some of U Roy's best-loved cuts from his mid-'70s period, when all were still looking at him for guidance. The opening cut "Call on Me" sees him working over Delroy Wilson's "Got to Be There." "You Never Get Away" gets U Roy answering Delroy Wilson's "Keep on Rocking." Johnny Clarke's "Time Gonna Tell" with a roots-y bass line turns into "Every Knee Shall Bow." A fine collection of the Daddy of all DJs, who said, "I Originate, so you must appreciate, while the others got to imitate." That says it all, really.


SKATALITES, THE: Treasure Isle Time LP (KSLP 027LP) 14.00
LP version. 2011 release. When talking about ska music, one group of musicians whose name always comes to the forefront of the conversation are The Skatalites. Formed around 1965 and named originally after the Soviet space satellite which was big news at the time and with a little help from band member Tommy McCook, making a play on the characteristic "ska" sound made by the guitar when following the "after beat" of the music. The band would have a name to go with its distinctive musical style. The group had honed their skills by playing under various guises around Jamaica in numerous "Hotel Bands." When the big Sound System operators of the day, Sir Coxsone Dodd, Duke Reid and King Edwards needed new material to play out, they turned to this group of musicians to provide it. Their usual source for the material was beginning to dry up, namely the American R&B records of the day, due to tastes in the USA changing. They began by getting the group to record their own set of tunes in this still popular sound in Jamaica and also cut some tracks with the popular singers of the day, Delroy Wilson, Alton Ellis and Lord Creator, to name but a few. Their knowledge of the old mento tunes and an understanding of jazz and the R 'n' B sound under the tutelage of their official band leader and main musical director Don Drummond made this possible and created a sound that was to dominate the Island from the early '60s to around 1966 when the music would slow down to become rocksteady. The time span of The Skatalites' career considering their output of hundreds of tunes was a relatively short one of around two years. The line-up consisted of Don Drummond (trombone), Roland Alphonso (tenor saxophone), Tommy McCook (tenor saxophone), Johnny "Dizzy Moore (trumpet), Lester Sterling (alto saxophone), Jerome "Jah Jerry" Hines (guitar), Jackie Mittoo (piano), Lloyd Brevett (bass), and Lloyd Knibbs (drums). Here is a great set of tunes that the band cut at the legendary Treasure Isle Studios. Built out of wood and positioned above Duke Reid's liquor store, it somehow worked in getting a great sound out of the band, or maybe it was the intimidating sight of Duke Reid and his ever-present loaded gun that he carried at all times that provided some inspiration. Whatever the reasons, the band cut some mighty fine tunes, a selection of which are cherry-picked here, for your musical pleasure.


DILLINGER: Hard Times LP (KSLP 028LP) 14.00
LP version. 2011 release. Dillinger is one of the most consistently successful DJs to come out of Jamaica, fondly remembered for his massive "Cocaine in My Brain" hit from the great CB 200 album and the later-reworked "Marijuana in My Brain," which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow. Dillinger (born Lester Bullocks, 1953 Kingston, Jamaica) began his musical venture around 1971, working as a DJ to Sound Systems run by Prince Jackie and El Brasso. 1974 saw his first vinyl release in the form of Freshly for producer Yabby U and in 1975 he came out with the great Brace a Boy for the young Mr. Augustus Pablo. But his first album release was through Coxsone Dodd's Studio One set-up, where he let Dillinger fire some vocals over classic rocksteady rhythms. It took the form of "Ready Natty Dreadie." It was his time at Joseph "Jo Jo" Hookim's Channel One Studio that produced his second album set, the timeless 1976 classic CB 200. It contained three big singles in "Plantation Heights," "Cocaine in My Brain" and "Crank Face." The reworked "Marijuana in My Brain" even became a #1 hit in Holland in 1979. This set of tunes come from his classic '70s period when Dillinger could do no wrong. Alongside the big "Cocaine" and "Marijuana" hits, the great opening track "Love Is All I Bring" sees him working over Alton Ellis' "Still in Love With You," which Itself turned into "3 Piece Suite." On "Money Alone Is Not All" he works over Barry Brown's "Mr. Money Man," and on "Hear and Deaf" he works over Johnny Clarke's "Nobodies Business." "King Pharaoh Was a Baldhead" has him working Frankie Jone's "Jesse Black" cut. "Concubine" reworks the Mighty Diamond's "Mother Winney" and "Time So Hard" sees Dillinger telling it like it is over Ronnie Davis' original " Time So Hard" cut, empathizing the points in fine style. A classic set of tunes from the master of rhyme himself.


VA: Listen Up! - Rocksteady LP (KSLP 033LP) 14.00
LP version. 2012 release. Welcome to the rocksteady sound from Jamaica. Toward the end of 1965, some say due to the extreme heatwave that was hitting the Island, the people that followed the Sound System dances demanded a slower beat so they could still move and groove to the all-night musical affairs. So the jerky ska swing was slowed down to a steady beat that also allowed the songs cut at this time to shine through. So sit back and enjoy the tunes that rocked the Island between 1966-1968. Tracks by: Roy Shirley & Glen Adams, Uniques, Sensations, Pat Kelly, Dawn Penn, Slim Smith, Delroy Wilson, Roy Shirley, Glen Adams, Winston Samuels and Ann Reid.


VA: Listen Up! - Roots Reggae LP (KSLP 035LP) 14.00
LP version. 2012 release. Welcome to the roots reggae sound -- a period in reggae's history that followed the two year supremacy of rocksteady, which began to tail off around the end of 1968. The reggae sound many say did not come initially from the chop of the guitar but from the stabs from the keyboard/organ that produced that reggae/jerking feel. The roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some roots reggae straight from the heart of Jamaica.Tracks by: Johnny Clarke, Barry Brown, Cornell Campbell, Leroy Smart, Horace Andy, Linval Thompson and Delroy Wilson.



MIND AGAINST: Avalon 12" (LAD 016EP) 14.50
Two fresh dancefloor killers are presented in Mind Against's Avalon EP. With sounds that seem plucked from an early '80s children's filmstrip gone very wrong (or perhaps very, very right) Mind Against weave a dark, inspired charge into the black of night with both sides of this stunning EP. "Several Times" is a techno gem that comes out of the gate at breakneck pace with solid drums, bass, and a rhythmic synth pulse Over on the B-side is the EP's namesake with a simmering sound and an analog synth that casts its spell on the listener, framed by delayed chords and a foreboding low-end growl.



HOTEL LAUER: Brudis 12" (PLAYRJC 029EP) 14.50
On a rainy late September day in the mid-'80s, 7 year-old Phillip Lauer didn't know what to expect from that little newborn, G, who was referred to as his brother Jacob. On the other hand, Baby Jacob wasn't very sure of what to make of this -­ back then still-sporty -­ youngster either, who behaved like his boss. To make a short story long... it took them almost 30 years to finally find out -­ behind the helm of the infamous Pyramide 2 Studio when conducting this fine piece of home-made dance music: the Brudis EP.



HOOD, ROBERT: Mark Broom Edits 12" (MPM 019EP) 12.50
Robert Hood celebrates the 20th anniversary of his M-Plant label with a sequence of EPs featuring classic M-Plant releases and rarities remixed and re-edited, a compilation bringing Hood's huge body of work together. Kicking off the EP releases, UK techno stalwart Mark Broom delivers these exceptional edits of "Untitled 1" from Hood's series Moveable Parts and "One Touch" from the Minimal Nation album. Mark Broom's edit of "Untitled 1" adds even further depth and a dirty funk feeling to this hypnotic dancefloor killer. His edit of "One Touch" plays with the bass and chops up the beats to intensify this dark mover.



DRIFTER, THE: Again 12" (MAEVE 004EP) 14.50
Maeve is the record label run by three close friends, Mano Le Tough, The Drifter and Baikal. This is The Drifter's debut on the label, and his first original music since late 2012 for Permanent Vacation. "Again" showcases a tougher side to his productions. The Again EP consists of two tracks, both aimed firmly at the dancefloor. "Again" is a rolling 10-minute trip, with some twists and turns along the way. "Blocks," with its tougher, ahem, blockier beats and soaring synths is a more upfront affair.


MA 077LP

PEARLFISHERS, THE: Open Up Your Colouring Book 2LP+CD (MA 077LP) 28.50
Gatefold double LP version. Includes a CD copy of the album. It's the return of the magnificent Pearlfishers. After a long hiatus since their last album Up with the Larks (2007) -- the band from Glasgow is finally back with a brand-new album, their seventh for Marina Records. Open Up Your Colouring Book turned out rather epic -- in scope and content -- and it was well worth the wait. Welcome to a musical journey over 16 tracks and 67 minutes -- brimful with sophisticated arrangements, multi-layered vocal harmonies and extravagant key changes. It's proof that classic pop songwriting is alive and well in 2014. The album kickstarts with lovely "Diamanda." Perfectly building a bridge between the classic hook-laden Pearlfishers pop songs from their earlier albums to the slightly more reflective tunes of the new album, it bristles with chiming electric guitars and stacked vocal counterpoint. The trip continues with "To the Northland," full of acoustic guitars, timpani and a full-blown string section. The song recalls main Pearlfisher David Scott's days in the early 1980s and the social and political turmoil of that time. It's one of the many songs on the album that takes escape and flight as a central theme. "The Last Days of September" leaves the frosty streets and empty cafés of a dying town behind on a Midlake meets Mamas And The Papas choir. "Gone in the Winter" moves in the opposite direction, on the trail of disappeared music icon Bobbie Gentry to an epic finale recalling Dennis Wilson's Pacific Ocean Blue. The title-track is a trip of its own -- a widescreen landscape of musical sections and emotions, extremely rich in detail, showcasing David Scott's truly unique sense of melody, songwriting and arrangement. Continuing a good-old Pearlfishers tradition, the album includes a quirky instrumental. "Attacked by Mountain Cats" sounds like a lost Morricone theme from a late '60s Italian movie, including some mad whistling. The multi-stacked vocals and sacred beauty of "Silly Bird" recall the Beach Boys' Friends period. Over the years David Scott worked with the likes of BMX Bandits, Isobel Campbell, Norman Blake and Bill Wells. Open Up Your Colouring Book includes two of those collaborations -- both with New York City-based songwriters. "Chasing All the Good Days Down" was written with Amy Allison (with whom Scott released the album Turn Like the World Does, 2012). The heartbreaking ballad "I Don't Want to Know About It" was co-written with Erin Moran aka A Girl Called Eddy. "You Can't Escape the Way You Feel" sounds like a straight '70s AM radio smash à la Todd Rundgren -- with superb falsetto vocals and a great horn-driven outro. Two piano-based tunes close the album: The Jimmy Webb-ish "Her Heart Moves Like the Sea Moves" and "A Christmas Tree in a Hurricane" -- played on a deeply reverbed Wurlitzer piano -- bring the journey to a great emotional finale.


MG 096EP

SINNER DC: The Sonic Boom Mixes 12" (MG 096EP) 14.00
Until the collaborative album between Sonic Boom & Sinner DC entitled Maps is released, here are two colorfully mind-altering club versions by the one and only Pete Kember, more usually known as Sonic Boom, founding member of alternative neo-psychedelia rock band Spacemen 3 -- a main influence on the likes of My Bloody Valentine and Slowdive and producer of the likes of MGMT and Panda Bear. Pressed on clear vinyl.

MG 098EP

SINNER DC: The Ambient Mixes 12" (MG 098EP) 14.00
Four brand-new remixes off the album Future That Never Happened. The A-side is fully filled with Freund Der Familie's long and dark 10 minutes of haunting dub-techno. Flip on the B-side to find 20 minutes of mind-cooling chills and spine-tingling thrills remixed by Pedro Magina, Lungwah and Zwei Kreise in a pure "I think, therefore I ambient" tradition. Pressed on clear vinyl.



THIELEMANS, ERIC: Sprang LP (MIA 027LP) 18.00
LP version. Includes a download card. 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.



"In 1969 Nancy Dupree was running an after school music program in Rochester, New York. She helped the kids in the program write songs that related to there own experiences and feelings. The results are presented on this LP, and they are really something else. There are black power anthems, odes to stealing candy, a beautiful tribute to James Brown and an even more beautiful tribute to Martin Luther King. Not a novelty record with kids being goofy but rather a heartfelt work of art. Nancy Dupree sensitively accompanies the kids singing on piano. A real classic. The cover is a faux Folkways style wrap around print on an old school 'tip on' jacket. Includes a liner note insert. A co-release with our friends Moi J'Connais."


VA: Modern Mayan: The Indian Music of Chiapas, Mexico LP (MRP 068LP) 17.00
"In the mid-1970s Richard Alderson made these amazing recordings in Chiapas, Mexico. A very unique blend of ancient music and modern rhythms. Here we have modern Mayan people singing folk songs accompanied by guitar, ragged brass bands, and much more. A trip into a very beautiful world. The cover is a faux Folkways style wrap around print on an old school 'tip on' jacket. Includes liner notes. A co-release with our friends Moi J'Connais."



BANKS, ALEX: All You Could Do 12" (MONKEY 041EP) 12.00
The All You Could Do EP from DJ Alex Banks sees him exploring similar territory to his eclectic Monkeytown label bosses Modeselektor, fusing techno crunch with the electro-indie songwriting suss of groups such as Animal Collective. Plucked guitar comes together with pulsating machine rhythms, all made emotive by the melancholic vocals of Elizabeth Bernholz of Gazelle Twin. As well as the original "All You Could Do," there's a beautifully stark, pulsating remix by Phon.o, a slower "Alternate" take, and a brand-new tune called "Phosphorus" that comes on like the mighty Crystal Castles raving it up at a Polish warehouse party.


OT 007EP

MININNI, MICHELE: Tupolev Love 12" (OT 007EP) 12.50
Optimo Trax is an offshoot label of Optimo Music for tracks aimed at DJs/dancefloors. Like the parent label, Optimo Trax will release music by new artists and excavate forgotten classics. Michele Mininni cites his influences as Kraut, post-rock, new wave and electronic, and this is his debut release. "Tupolev Love" is a sub 100bpm cosmic trancer while "Telekomdisko" raises the tempo and heads off into sun-drenched space territory. The EP is completed by Boot & Tax's great acid-inflected remix of "Tupolev Love."



John Lacey is an important player in British electronic music and conceptual performance art; he was an early collaborator with Chris Carter, part of COUM Transmissions and collaborator with Chris & Cosey's CTI. Under the pseudonym John Gunni Busck, he was involved in co-devising a number of projects in the mid-1970s within the music and performance art collective COUM (formed around Genesis P-Orridge), acting as the group's technical director. Running concurrently to COUM was John's own group, Vacuum Productions. It was within Vacuum that John began to collaborate with Chris Carter, aiding each other in their live multimedia shows (Waveforms and The Missing Thinker), as well as creating soundtracks for John's films. It was John that introduced Chris to Genesis and Cosey Fanni Tutti and we all know what happened next. Armed with his homebuilt synthesizer, tone generators and a delay unit, he created the live soundtrack for the COUM Transmission "Music for Stocking Top, Swing and Staircase." The performance took place on the 1st of October 1974 at the Gulbenkian Hall, Royal College of Art, London and lasted 12 hours. The recording was captured in less than ideal circumstances (a portable cassette deck) with little bits of tape warble, hiss and external sounds appearing in this abbreviated edition, in keeping with the spirit of COUM. The music itself creates an evocative atmosphere and is at times hauntingly beautiful, providing an alternate glimpse into the work of COUM. Original 1974 recording remastered by Matt Colton. Edition of 300 copies, vinyl comes with a free CD containing an 80-minute expanded version of the recording. Limited availability, one per customer...


OP 010EP

ASHLEE: Ashes 2 Ash EP 12" (OP 010EP) 14.00
Like a dream you don't want to admit, F.A.G. Diarrhea Cult's "Ashes 2 Ash" is gut-wrenching, punchy, and frighteningly vague -- a dark, minimal collage of canned sound, bleak, unaccommodating lyrics and almost-there grooves. Meet Ashlee, your mother, your sister, the girl next door. Among gym-whistles, clipped chimes and noisemakers, she sings of an agitated encounter with a dog. In lazy autotune she tells you why you ought to sober up. She thinks you're her brother. For all the EP's DIY irreverence, there is complexity and richness in turn -- of vocal phrasing, of rhythm, of language.



WINK, JOSH: Are You There Remixes 12" (OVM 242EP) 14.00
Commencing Ovum's 20th birthday celebrations, Josh Wink digs into the vaults for a very special piece of the label's history, presenting three perfect reinterpretations of Wink's hyperkinetic acid techno classic "Are You There." Ben Klock presents an exclusive mix, and there is also a ROD remix by Benny Rodrigues. Ben Klock's remix retains the clattering amen breaks of the original, which sits over a cavernous sub-bass undertow. The ROD remix is dangerously stripped back, letting the vocal snippet take precedence against jacking handclaps and skittering hi-hats.



BASS CLEF: Raven Yr Own Worl 12" (PAN 041EP) 18.00
Ralph Cumbers' debut Bass Clef 12" for PAN sees the modular maestro stalking the floor with typical, technical suss and cheeky UK humor. This EP patches a lattice of reference ports between Radiophonic experimentation, bedroom electronica, classic dub production techniques, and the spirits of halcyon UK rave music. His "Self-Perpetuating Fun Loop" is razor-sharp acid funk in the tradition of Luke Vibert and the Rephlex hordes, and "Fluorescent City Shining City" is a playful piece of acid-dub strut. "Euphoric Nihilism" flashes glimpses of 'ardcore whistles and EBM in its tightly-coiled matrix, while "Adventures Unventured, Tenderness Untendered" is a blissed steppers' kiss-off meeting digi-dub and misty-eyed IDM.



KALKBRENNER, PAUL: Das Gezabel 12" (PKM 012EP) 12.00
In 2012 Paul Kalkbrenner released the very successful single "Das Gezabel" from his album Guten Tag. For inclusion within the brand-new remix album, Berliners Pan-Pot picked this track for their remix. After joining Paul Kalkbrenner for his 2013 world tour, they deliver a classic piece of Pan-Pot production, which means elegant high-end techno, straight and direct to your head and for the dancefloor. The characteristic melodic lines from the original show up every now and then, making a nice counterpart to the heavy bass and beat orgy created by Pan-Pot for this futuristic approach to techno.



CLARK, HAL: Electro-Acoustic Works 1974-75 CD (PRISMA 716CD) 15.50
Composer, sound designer, and curator/researcher Harold (Hal) Clark emigrated to Norway from San Francisco in the early 1970s to carry on his musical studies and career. In 1972 he was hired as a producer, recording engineer and tonmeister at the Henie Onstad Kunstsenter at Høvikodden, Norway. At the same art center he also co-founded the Norwegian Studio for Electronic Music (NSEM) with the late composer Arne Nordheim (1931-2010). Meeting with young Norwegian composers in regular salon-workshops and bringing with him the influences of the renowned San Francisco Tape Music Centre (studies with Robert Erickson), Harold commissioned technology artist Don Buchla to incorporate his series 502 digital-analog hybrid electronic instrument design into the completion of the NSEM studio in 1974. At the time it was considered one of the foremost advanced instrument inventions. Henie Onstad Kunstsenter, where the NSEM Studio was founded, has collaborated with Harold, publishing his works from this period as a legacy project. Part of Harold's electro-acoustic repertoire is exhibited with the release of this CD, capturing the essence of NSEM while revealing some of the composer's musical character. HOk is proud to present an unknown hidden gem in the history of Norwegian and Canadian electronic music. Harold Clark left Norway after 10 years and now lives in Vancouver, Canada, where he is writing a book on the ecology of contemporary music composition and the possible extinction of the modern composer as a socially relevant phenomenon in a world of corporate media.



BASS CLEF: Bugbranded EP 12" (PUBINF 013EP) 21.00
"Long-time wielder of the modular-flame, Ralph Cumbers has a distinguished CV for the likes of Punch Drunk and his own Magic+Dreams imprint. Here, across four extended sequences he shines, taking the crystalline drive and coarse groove of the acclaimed Reeling Skullways LP into hotwired groove zones. 'Sometimes the only way out is to go further in' starts the trip. Take care dear listener; once you're in track one, you may not want to escape from its grip, its cyclical riffs, its space dust licks, its buttered bass notes. Then, the sadness. The mournful minor key shuffle of 'elsewhen' is sheer blue-note Blade Runner melancholy. Then, the euphoria. Instant gratification hits you on 'faster than the speed of love' a click-pump-click-pump kick surrounded by jagged sawtones, straight to the chest. Through swirling, speed-addled melodies Clef then leads us - Detroit nights under Hackney sodium lights. Then, to a breath. Bugbranded arrives at an all too premature end with 'neon black and vulcane' a glistening collage of white noise splash, acidic whispers and head-nod-chug. This is techno how it was dreamed in Belleville, re-imagined by a genius with a synth or three. In Clef we trust, for all our magic and dreams. Limited edition of 500 in debossed house sleeve, individually hand numbered."


RY 033LP

MULLEN, GEOFF: Wind Chimes LP (RY 033LP) 19.00
"Limited pressing of 250 copies, on clear vinyl. Wind Chimes gathers material from a recent sound installation and performance. Following up on his last LP, Filtered Water, Mullen continues to use site-specific recordings as a means to explore the sonic characteristics of a given space; yet here the focus is on the idea of feedback-as-process. Using field recordings and staged acoustic environments, Wind Chimes introduces us to a familiar object - in this case, a pair of mass-produced bamboo wind chimes - and listens as they undergo a series of sonic and spatial manipulations. The original sounds are copied and altered, and eventually re-amplified in different spaces, until new forms emerge and collide with both real and manufactured fidelities. The LP version is presented as a series of miniatures, cut in mono, with liner notes and links to additional audio for a wide range of home-listening possibilities. Ideal for blending with your own home-electronics, HVAC's, and outdoor wildlife. Each record is housed in a white tip-on sleeve and comes with a color paste-on and insert."



BUCKETT, AUSTIN: Grain Loops LP (EDRM 423LP) 23.00
Rhythm is at the core of who we are. Second to second, day to day, year to year, our lives are a series of spiraling orbits governed by time. Time between heartbeats, between breaths, between meals, between visits with family, the list of cyclical activity goes on and on. It's as though our lives are merely expanding and contracting cycles, loops that extend onward until sharply cut by the edit of mortality. It's here, in these ideas of time, motion, and joyful repetition that Australian composer Austin Buckett hatched Grain Loops. Inspired in part by an introduction to the German word "rauschen" from editing the work of his past-mentor, Peter Ablinger, Buckett's Grain Loops borrows from techno and hip-hop methodologies, the sound pieces offering themselves both as discrete sound experiences and as "tools." Buckett's first exploration of "rauschen" was via his controversial New Music Up Late concert, "Everything Always," which focused on broadcasting "white noise" works on national radio. "Rauschen" suggests white noise but moreover encompasses broader connotations of complex sounds, like that of the sea, wind or a highway heard from a distance. These complexities led Buckett to a fascination with how texture can be framed and perceived, and also explored in terms of questions of performativity and gesture. Recorded in Canada at Banff during his residency there, Buckett limited his palette to four snare drums and sandpaper. He drilled deeply into these objects, drawing out a profound sense of detail from the skins through a variety of close microphone techniques. The resulting recordings are hyper-real, exaggerated, and so utterly detailed as to be confounding. This is an exercise in control, focus and repetition. Mastered by Lawrence English. Cut by Rashad Becker.


RCD 2154CD

KROKOFANT: Krokofant CD (RCD 2154CD) 17.00
Cross-breed a crocodile and an elephant and you might end up with an ungodly hybrid: a Krokofant. Familiar to Norwegians from a popular kids' song, a real life Krokofant would be a lumbering, trumpeting beast with a fearsome array of teeth in its snapping jaws. Which pretty much sums up the music made by the Krokofant trio on their debut LP for Rune Grammofon. The young, semi-improvising power trio -- Tom Hasslan (guitars), Axel Skalstad (drums) and Jørgen Mathisen (saxophone) -- typify a new and invigorating movement currently sweeping across the Nordic region: hard boiled improvisation and strong instrumental personalities bolted onto rock beats and driving rhythms. Live, Krokofant pull no punches, sounding off like some unholy three-way marriage of early '70s jazz rock (Mahavishnu Orchestra, Terje Rypdal, Ray Russell), the sprawling progressive odysseys of King Crimson and Henry Cow, and the fierce heat of Peter Brötzmann's harsh free jazz ensembles. Originally a guitar and drums duo, Tom and Axel met at a guitar shop in Kongsberg, a town in southern Norway famous for its annual jazz festival, where they developed a strong bond playing free music together. In 2012 they hooked up with saxophonist Jørgen, who already had a reputation in musical circles after playing in groups like Shagma, The Core, and Zanussi Five. When the duo eventually decided to capture their unruly sound at the proudly analog Engfelt & Forsgren Studio in Oslo, they invited Jørgen to join them, and the group was properly born during the sessions you can now hear on Krokofant. They ally a strong discipline (check the precision riffing of the intro to "Supermann") with wide, exploratory arcs (the closing, balladic epic, "Castaway"). Tom's agile guitar and Jørgen's snaking sax are always fighting to break out, just held in check by Axel's tough, rhythmic tumble (which gets almost funky on "Bodega"). "Our mission: more prog to the people!" says Tom. "Or having a good time playing what feels right in the moment." Krokofant: once bitten, never forgotten.

RCD 2155CD

MOTORPSYCHO: Behind the Sun CD (RCD 2155CD) 17.00
One day, in the 25th year of the Motorpsychodelic Union, the forces of D/Numbness were finally vanquished. Once again the intergalactic Four Norsemen of the Rock Avant could fly their veg zeppelin unchallenged across the solar plains, their mission complete and the righteous deed done! For still they held sway, and on this day at least -- somewhere Behind the Sun -- they were triumphant! For their previous album Still Life with Eggplant (RCD 2143CD/RLP 3143LP) they assembled some 20 songs of what Bent Sæther called "other music," simply songs from the last three years that didn't suit the operatic Unicorn behemot, but refused to be ignored. For most of the recording sessions the core trio was augmented by guitarist Reine Fiske. Best known for his work in Swedish psych-combos Dungen and The Amazing, Reine is an old acquaintance of the band, and his recent exploits with Ståle Storløkken's Elephant9 had made the pairing seem like a potentially interesting one for Motorpsycho as well. So well, in fact, that he tagged along for most live shows as well as the recording of the new magnum opus Behind the Sun. With nine tracks clocking in at just over an hour, the album also brings the "Hell, Part 1-3" from Still Life with Eggplant to a conclusion on "Hell, Part 4-6" and the closing track "Hell, Part 7." And as with Still Life with Eggplant, the recording was done in Brygga Studio in their hometown of Trondheim where they had recorded a few of their first albums 20 years ago. Guests this time, in addition to Reine Fiske, is Ole Henrik Moe on viola and saw and Kari Rønnekleiv on violin, both known from their Norwegian Grammy-winning album Ciaccona/3 Persephone Perceptions from 2007. It's safe to say that after 25 years, Motorpsycho has cemented their position as an institution in Norwegian music -- no rock band has even been close to achieving the same status when it comes to long-term quality, credibility, integrity and respect. It's also extremely rare to see bands and artists continue to flourish artistically after such a long time. In fact, we can't think of any.

RLP 3154LP

KROKOFANT: Krokofant LP+CD (RLP 3154LP) 22.00
LP version with CD.

RLP 3155LP

MOTORPSYCHO: Behind the Sun 2LP+CD (RLP 3155LP) 26.50
Gatefold double LP version. Includes CD of the album.

RLP 3156LP

Double LP version with CD. Includes an exclusive 10 minute track, "Steepest Hill." Who says experimental musicians can't play pop? Norway's Stian Westerhus is best known as one of Northern Europe's most fascinating abstract guitar stylists. His album Didymoi Dreams with vocalist Sidsel Endresen was a fascinating pairing of extreme guitar abuse with gibbering vocal explosions. As well as collaborations with Puma, Terje Isungset, Nils Petter Molvær, Jaga Jazzist, the Britten Sinfonia and others, he has released three acclaimed solo albums on Rune Grammofon since 2009. Stian now admits he's wanted to form a proper "band" for several years, and now he exhibits a totally different side of his musical personality. On Pale Horses, an electronic rock trio formed with keyboardist Øystein Moen and drummer/percussionist Erland Dahlen, songs are given the freedom to ebb, flow, elongate and contract, much like a more improvised set. Breaking out of a verse-chorus mould, debut album Maelstrom is a deluge of fluid and highly emotive tracks that rely on the superb musicianship and unforgettable vocals of the leader, who proves himself capable of expressing pain and joy in equal measure. Perhaps the most obvious similarities -- surprisingly -- are with the experimental side of Radiohead and Coldplay, but you'll also hear traces of Scottish bedroom romantics The Blue Nile and the psychedelic solemnity of late Talk Talk. A track like "Bed on Fire," which rises from subtle digital textures to a full-on guitar solo, fully reveals these players' exploratory backgrounds; while "Chasing Hills" might have sat comfortably on Radiohead's leftfield-swerving Kid A. Arranged around a lush base of guitar, piano, keyboards and drums, the songs on Maelstrom were recorded at Oslo's Klang studio for a deep surround-sound quality. From here to eternity: take the ride of a lifetime with Pale Horses. Stian Westerhus (vocals, guitars, Mellotron, piano, electronics), Øystein Moen (Moog, Mellotron, Prophet, MS20, piano, electronics), and Erland Dahlen (drums and all acoustic and electronic percussion).



FLORI: Within Reason EP 12" (SECRET 013EP) 12.50
Secretsundaze present another stunning EP by the extremely talented Flori aka Jamie Taylor. "What It Is" starts off with a call to arms with its direct, brooding and muscular grunt. Slowly, waves of atmosphere lap into the mix, taking the track in a surprising, deeper direction, but never losing momentum before the menacing riff rears its head again, leading the track back to its low-slung, powerful beginnings. "Drum 1" is a perky number with its fizzing hats and sneaky synth line and "Baci" takes things on a moody and slightly sinister tip with its technoid groove and eerie pads.



VIDA, BEN: Slipping Control LP (SHELTER 038LP) 21.00
Slipping Control is Ben Vida's new LP. Slipping Control derives from the text piece "Tztztztzt Î Í Í...," written in 2013 by Ben Vida (and published as a book by Shelter Press). Composed to act as a score, a sound piece and as raw data for an electronic control source, "Tztztztzt Î Í Í..." became the intrinsic element that tied together some different pieces of art made by Ben Vida and presented at the eponymous show at AVA Gallery (NY, USA) in April 2013. "I was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. I wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record, etc.) and see how the original source material morphed and changed as it manifested in these different modalities. The process of developing each unique work involved setting the control paths for the text to be processed though. In terms of this path, the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control -- and this is where Tyondai and Sara come in..." A Control Path may look something like this: Text > Performer/Vocalist > Voiced Recording > Electronic Analysis > Reconfigured Text > Audio Synthesis > LP Record. Or maybe like this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation. Or this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation > Color Field Panel Display. Or more simply: Text > Poster. All music by Ben Vida, with Tyondai Braxton and Sara Magenheimer. Mastered and cut by Helmut Erler at Dubplates + Mastering. Pressed at Pallas in an edition of 500 copies worldwide.



BERGLJOT: Solen avloser regnet som avloser solen LP (SOFA 541LP) 22.00
The sound of Bergljot is in constant flux. Bergljot began as an acoustic jazz trio in 2008, quickly moving through free-jazz to acoustic improvised music and is now in the middle of a heavy electric period with synthesizers, electronics and electric bass. What hasn't changed is a strict and minimalistic approach of slow development with special focus on richness of sound and energetic, clear execution. Bergljot has performed widely in Europe, at festivals such as Jazz Fest Brno, Natt Jazz Bergen, Koktebel Jazz Festival and Jazzinec Trutnov, as well as venues in France, Sweden, Poland, Ukraine, Austria, Germany, Slovakia, Norway and Czech Republic. Vojtech Prochazka (piano, synths and electronics), Adrian Myhr (double bass), Tore Sandbakken (drums and percussion).


MYHR, KIM: All Your Limbs Singing LP+CD (SOFA 542LP) 22.00
Sofa is very proud to release Kim Myhr's first solo record. It has taken two years and many performances around the world for Myhr to find and develop the material for All Your Limbs Singing, which can be described as an orchestral exploration of the 12-string guitar. The music can remind the listener of the early music of Ligeti or Morton Feldman, but it also contains an energy and simplicity similar to American folk music. The warmth and the intimacy of a stripped, naked acoustic guitar is audible in the symphonic largeness. At the same time ethereal and corporeal, the music dances its way through the immense spaces that it creates. Kim Myhr has been a strong force on the experimental music scene in Norway the last few years, both as a composer and as a guitarist. All Your Limbs Singing is his long-awaited first solo release. Includes a CD version of the album.



LUNATIK SOUND SYSTEM: The Journey 2LP (SOME 025LP) 30.50
On this album deep drifting ambient scapes will take your feelings on an evolving enchanted journey to new horizons and wonderful melancholic places. Again Stephan Laubner aka STL is publishing here under his Lunatik Sound System alias, something very special. This double vinyl package comes with 10 soulful, dreamy listening pieces in an extended playing time and complete album feel. From cloudy and dusky drones to haunting, beautiful soundscapes, which goes right through to your emotions, this release covers a wide range of sounds on four continuous-playing sides. The Journey is meant for relaxed quiet times and will fascinate with its beatless yet well-functioning waves in order to drift weightless within silent orbits. Features a foldable inside/out album cover and comes in a limited edition of 500 copies. It's destined for collectors and quiet-minded listeners or anyone who feel the Something imprint and is looking for essential, impressive ambient worlds on the beloved vinyl format.



VA: Music from Planet Earth Volume 1: Martians, Ray Guns, Flying Saucers & Other Space Junk 10" (STAGO 043LP) 23.50
First in a series of three 10" records. Limited edition, comes with a sticker. Each copy also comes with 24x24 cm screenprint of the front cover. Signed by artist Marcel Bontempi. Back in the late 1950s and into the early '60s, everyone seemed to become obsessed with the possibility that science fiction might become science fact. Movie houses and drive-ins across America were fascinated by the idea of a Martian invasion, with a suitably Theremin-powered eerie soundtrack, not to mention the prospect of the rise of unruly robots. Never one to miss jumping on a trend, the prolific Jimmy Haskell produced a whole album of space-based tomfoolery called Countdown for the Imperial label. Similarly, in the UK, Joe Meek produced the concept album I Hear a New World to quench his intrigue in the stars, having already peaked the public's imagination with his "Telstar" hit with The Tornados. Meanwhile, in Belgium, in the process of developing new possibilities for sound recording, Tom Dissevelt and Kid Baltan produced the electronic pulse at the heart of "Song to the Second Moon." Aspiring rockabilly performers and early rock 'n' rollers in the southern states picked up on the phenomena while craning their necks upwards. Billy Lee Riley And The Little Green Men, The Wildetones, Buck Trail and Joe Tate all took the idea to new levels of incredulity, while Lynn Vernon's instrumental chops for the Tennessee-based Cover label just needed a suitable title to put it in the frame. But if those southern performers were looking to the skies for inspiration, legend has it that Sun Ra And His Arkestra were looking down on them from their own planet.


SR 345LP

LP version. Jac Berrocal has not released an album for 20 years. The legendary French trumpeter is back with his special atmosphere and feeling and lots of guests, too. Jacques "Jac" Berrocal (born October 22, 1946, Saint-Jean d'Angély) is a French trumpeter, singer and composer. He has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with Steven Stapleton/Nurse With Wound and collaborated with Sunny Murray, Pascal Comelade, MKB (F. J. Ossang), James Chance, Alan Shorter, Bernard Vitet, Lol Coxhill, Michel Portal, Lizzy Mercier Descloux). He has released a few important albums, mainly on his own label d'Avantage. He also founded and performed in the group Catalogue. Berrocal has also appeared in several films. In 2011, Sub Rosa released a unique collaboration between him, Ghedalia Tazartès and David Fenech (SR 321CD/LP).



EDWARDS, D.: Teenage Tapes LP (RAVE 005LP) 20.00
The Death Of Rave's fifth turn presents a lesser-heard aspect of L.A.-based producer, Delroy Edwards. While best known for making bangers steeped in raw Chicago ghetto house for L.I.E.S and his own L.A. Club Resource, Delroy's Teenage Tapes LP yields eight tracks built with a similarly stripped-down approach, yet with altogether different results owing more to minimal wave, noise, EBM, and black metal. Half of the release documents reel-to-reel and guitar pedal experiments recorded to tape while Delroy was at art college, which he's been saving for the right release. The other half stems from more recent sessions on his SH-101 and drum machine that didn't quite fit in with his pounding DJ tools. Those nascent, freeform noise pieces range from intense, bilious drones to vicious, combustible little buggers nodding to classic Prurient and The Haters, whereas the improvised, rhythm-driven cuts bear comparison with Liasons Dangereuses' EBM blueprints, the motorik momentum of Wold, and the obscure early '90s tape experiments of Tuning Circuits. Committed to worn-out tape in one-take shots over a number of years, it's all testament to the spirit of febrile spontaneity and disciplined dexterity consistent to Delroy's art, an aesthetic acutely at odds with so much anodyne dance music and manicured noise. Mastered and cut by Matt Colton.


WIRE 363

WIRE, THE: #363 May 2014 MAG (WIRE 363) 9.50
"On the cover: The Compiler, an ahistorical survey of paradigm-busting anthologies, compilations, playlists and other assemblages: from folk song compendiums to DJ led scenes, from The Rock Machine Turns You On to The Secret Museum Of Mankind, Wire writers give us their thoughts on the art of curating music. Inside the issue: Invisible Jukebox: Okkyung Lee (The nomadic cello virtuoso gets strung up with The Wire's mystery record selection); Marshall Allen (Val Wilmer reveals the true story of the Sun Ra Arkestra leader's formative years in the Paris interzone); Inga Copeland (Former Hype Williams vocalist doing it for herself); Officer! (The war's not over for ex-Rock In Opposition campaigner Mick Hobbs); Nat Birchall (The UK Saxophonist is evangelizing for spiritual jazz); Jack Ruby (70s New Yorkers who forged a path between punk and synth madness); Global Ear: Delhi (Josh Feola enters the Indian city's electronica underground); Cross Platform: Eric Chenaux (The Canadian musician amps up his AV project with Eric Cazdyn); The Inner Sleeve: Peanut Butter Wolf; Epiphanies: Arto Lindsay."



PHASE: Remixed 12" (TOKEN 040EP) 12.50
Ø [Phase]'s debut album Frames of Reference (TOKEN 033CD/LP) earned him outstanding reviews at Resident Advisor ("a display of real power and finesse" 4/5), in DJmag ("a calculated masterpiece" 9.5/10), at XLR8R ("sticks out as an alternate route to the heart of machine music's appeal" 8/10), Groove Magazine ("pulsating techno in which every sonic details fits") and more. Token now presents the last segment of the series with two remixes. Rødhåd delivers an epic 10-minute interpretation of the first single "Perplexed," while Robert Hood delivers a second, more minimalistic take on "Dirtro II."


KENNEDY, INIGO: Lullaby/Petrichor 12" (TOKEN 041EP) 12.50
Inigo Kennedy releases his first full length on Token, Vaudeville. In true, theatrical manner, Vaudeville is a collection of differing themes -- from the abstract and freakishly odd to the direct and resonant. And just as the Vaudevillian shares a common purpose with his co-stars as the "voice of the city" ("voix de ville"), there runs through the center of this record a clear narrative of the urban experience. Here is a single to portend the full show: Lullaby/Petrichor.



RASMUS, HANNES: Music fur funf Maschinen 12" (TRAUM 174EP) 14.50
Hannes Rasmus' EP Musik für fünf Maschinen refers to the equipment he used to write the music. The title of the tracks, however, refer to swimming pools. The opening track "Eine Leichte Brise Weht Über Das Sonnendeck" starts with a touch of early Detroit techno and then suddenly takes a big leap -- a kind of acceleration gaining a momentum of zero gravity and effortlessness. When another nice vintage synth kicks in, a nostalgic desire is expressed by a swaying sound doing all kinds of contortions but showing no clear direction.



CAVAAN: Kat EP 12" (TURDJR 004EP) 14.00
KÄT EP is the fourth installment by Cavaan on the young label Treat Your DJ Right. This release includes a remix by Gerd Janson together with his Arto Mwambe partner Phillip Lauer, under their Cocoon alias Tuff City Kids. Cavaan strive to prove their abilities in electronic production by capturing a Detroit deep house feeling combined with a story-telling character. Also, Cavaan deliver their typical slow build-ups for those who prefer the long mix in the DJ-booth. Tuff City Kids' remix provides a new twist with their more sophisticated "dope" pop-techno production.



TRIPEO: Anipintiros 2LP+CD (TRIP 001LP) 27.50
Dutch DJ, producer and Wolfskuil label boss Darko Esser presents his sophomore album, Anipintiros. The eight-track album comes four years after his debut and is his first as Tripeo, the techno-leaning alias he has been working under in recent times. Working as Tripeo has reinvigorated Esser, who under his own name has been producing his unique take on electronic music for a decade now. Tripeo's music is aimed squarely at the dancefloor, and there sure are some full-blooded cuts on the album, but there are also deep, dark passages and more leftfield experiments to help tie the whole thing together into one cohesive and coherent whole. "Like all albums, this is a very personal statement," explains Esser. "It's just me trying to translate the overwhelming inspiration I feel right now into sound. That, and making the record as diverse as possible without losing the purist identity of Tripeo." That identity shines through right from the off on the album, which has been made using a knowing blend of both soft and hardware. "Anipintiros #1" is a firmly-rooted, rubbery bit of deep techno that works you into hypnosis and comes detailed with plenty of otherworldly ambiance. From there, Tripeo explores gallivanting techno run through with celestial pads on "Anipintiros #2" and tripped out, ever shape-shifting and dusty minimal sounds on "Anipintiros #3." "Anipintiros #4" channels the widescreen and pumping techno of Detroit's finest while "Anipintiros #5" is a more industrial and muscular track of the sorts that would sound perfect in the bowels of Berghain. "Anipintiros #6" is one of the busier and more kinked techno rhythms with punchy drums and fax machine-like melodies, before "Anipintiros #7" thumps with real menace and "Anipintiros #8" hums and hisses, spits and stutters like the suitably epic and melodic comedown you need after such a captivating ride. Everything, though, is backed with serene synth-work and an otherworldly sense of alien spirit that runs through all great techno. There is plenty to get lost in throughout Anipintiros and it proves once again that Esser is someone able to coax far more feeling out of his machines than most. Includes CD version of the album.



ICH BIN N!NTENDO: Look CD (VAF 005CD) 14.50
Ich Bin N!Ntendo's debut release with Mats Gustafsson came out in 2012. It received great reviews from several magazines and blogs, which inspired the group to continue their work. Ich Bin N!Ntendo is a trio with drums, bass and guitar that plays purely improvised music. Founded in 2010, the three members continue to push their own and the listeners' boundaries with their music. Since they started, their aim has been to investigate different layers of musical expression, such as noise, punk and grindcore, and apply them in formless structures and improvised compositions. With a fearless interpretation of the noise/rock/no-wave genre, the gang in Ich Bin N!Ntendo is eager and ready to release their second purely improvised album. Look is about dirty old computers, screens flashing, and music so compact it becomes visual. It is about context and the connection between random elements. It is also a mockery of conceptual art and banal music. Ironically, it might end up becoming just that.


ICH BIN N!NTENDO: Look LP (VAF 005LP) 22.00
LP version.



SVENSSON, TOMAS: Am I Networked? 2LP (VIDAB 002LP) 23.50
2LP version. Berlin-based Vidab Records is pleased to announce the debut album from accomplished musician and producer Tomas Svensson. Titled Am I Networked?, the album takes us into the mind of a true synthesizer enthusiast, whose beautifully-played and precisely-sequenced tracks have previously only seen light on a handful of EPs for the label. Svensson, the Sweden-born long-time Berlin resident, has years of experience playing in bands, on keys, synths and drums, and also worked alongside Vidab co-founder Oliver Deutschmann on their Rhodes-driven electronic project Subbroom Association. After building a new basement studio in the heart of Berlin's northern Wedding district, Tomas set to work recording Am I Networked?, resulting in this glorious, warm and hardware-focused journey. Inventive, playful use of a small army of synths, drum machines and live drums breathes life throughout the 13 versatile tracks. From the opening arpeggios of the title-track, we are then guided into a melancholic and emotional synthesized world. Submerged atmospheres and complex intertwining melodies greet us on "Recovering Patterns," with its clear references to the techno-soul of Detroit emerging as a main theme throughout the album. Cosmically-charged cuts like "Transit Highway" and "Jupiter" offer a tranced-out, modern take on the spacey, leftfield end of the spectrum. Stand-out, focused moments like "Engine Bullets," or the devious deeper-techno of "Commander Cosmo" remind us that Tomas still aims his music firmly at the dancefloor. That's not to mention killers like "I Can't Do Any Circus," with its pushing synth stabs, or the moody arpeggios of "Perky's Vision," each working their own precision-crafted brand of deep-techno hybrid-house. Svensson also offers several moments of inner reflection, with lower-tempo tracks like the acidic "Walked Grey" or "Sunportal," all helping to bring together a complete picture of this producer's inner networking. The album is brought to a close with the rich synth textures of "Healing" and finally "Landed on a Desert Planet," easing us down from the ride. This is the work of a dedicated and talented musician, capable of bringing to life his own unique take on emotional, cosmic, higher-level house and techno.



DE TAPOL, AYMERIC: Winter Dance 12" (VLEK 015EP) 15.50
The Brussels-based Aymeric de Tapol is a prolific producer of audio across styles and mediums. With Winter Dance he's found a sound that's perfectly at home on Vlek. These six mossy drone compositions seem to reflect de Tapol's interest in "climatic" music: their ingredients are simple but there is a real sense of space and life to them, as if the producer has not created them so much as simply captured them in their natural habitat. Sounds blossom, proliferate and die away, their surfaces cracked and pitted with the everyday detritus of life; even the uncanniest moments have a strangely comforting warmth to them.



VA: That Ska Beat!: Made in Jamaica 1962-1966 LP (VOJ 001LP) 14.00
LP version. "Ska is still the backbone of Jamaica music, Right?"--Bunny Lee; The music of Jamaica has had a profound and lasting influence all around the world and reggae is the name by which it has become universally known. Although the term "ska" is often used to describe all Jamaican music before dub, DJs and dread in the mid-'70s the real Jamaican ska was made in Kingston between 1961/1962 to 1966. Artists include: The Skatalites, Don Drummond & The Skatalites, Lyn Taitt & The Boys, Tommy McCook & His Ska-Talites, Theophilus Beckford, Johnny "Dizzy" Moore, Roland Alphonso & His Ska-Talites, Lyn Taitt & The Baba Brooks Band, Daniel Johnson, The Tenor Twins, Lloyd Clarke, Baba Brooks & The Trenton Spence Orchestra.


VA: Do the Rock Steady 1966 to 1968 LP (VOJ 002LP) 14.00
LP version. "The greatest man that came from Jamaica and changed the whole beat from ska to rock steady was Lyn Taitt. He was from Trinidad but Byron Lee did come to Jamaica as an organist but he started playing guitar and the rest is history! We should call him Rock Steady... It's Lyn Taitt as he was the man! He played lead guitar and ska at the same time." --Bunny Lee; Rock Steady only lasted for a brief period from 1966 to 1968, but its significance to the subsequent development of Jamaican music is incalculable and it would go on to shape each successive musical movement over the next four decades. DJs, digital and dancehall all stepped to the tune and pace of rhythms whose origins were grounded in the Rock Steady beat and it is impossible to ever overstate its importance, or its beauty. CD features two bonus tracks. Artists include: The Uniques, Roy Shirley & Glen Adams, Cynthia Richards, The Sensations, Delroy Winston, Winston Samuels, Alva "Reggie" Lewis, Slim Smith, and Val Bennett.


WG 014EP

RESMANN, MARCO: Life About to Change EP 12" (WG 014EP) 14.00
Watergate Records introduces Marco Resmann's new EP, which starts off with a RAD feature: "Life About to Change" is a vocal-based track, whose dreamy synth-scapes wind around a deeply reduced beat structure. The second track, whose name is reminiscent of Marco's summer-Thursday-residency on the Waterfloor, begins playful and timid, but gradually picks up speed after its first break. "Thursdate" comes with a massive remix by the Pokerflat mastermind Steve Bug.

WG 016EP

CHANDLER, KERRI: The Watergate Files 12" (WG 016EP) 14.00
Following the release of Watergate 15 (WG 015CD) mixed by Kerri Chandler, Watergate Records offer up a vinyl sampler, featuring the exclusive new material on the comp from the man himself, and remixes from Voyeur and La Fleur. First up is "Mama (feat. Jerome Sydenham)", which takes on a classic Kerri format of swinging rhythms, a cosseting chord sequence, jazz-tinged low-end and piano lines, and Sydenham's spoken-word vocal stylings. "Think of Something" ups the energy slightly with a gritty saw-wave bass hook, stabbing pad samples and an amalgamation of chopped and processed vocal snippets.



HARRISON, JOHN: Creepshow (Original 1982 Score) LP (WAXWORK 004LP) 31.00
"Waxwork Records is thrilled to announce that their next LP release is the 1982 horror anthology classic, Creepshow. The film was directed by George A. Romero and written by Stephen King. The score was composed and performed by John Harrison (Day of the Dead, Tales from the Darkside). This definitive release of the film score has never before been released. The original master tapes of the Creepshow film score were lost for over 30 years, but with the efforts of composer John Harrison and Waxwork Records, the tapes were located in the attic of Jeree Recording Studios in New Brighton, PA. The tapes remained in remarkable shape over the years and were re-mixed and re-mastered for vinyl. The Creepshow score has never sounded this good. Pressed on 180 gram vinyl, housed in a casebound tip-on gatefold jacket with satin coating. A built-in booklet features production stills, artwork, and liner notes. Also includes a satin coated 12"x12" art print of The Creeper."


WO 001LP

VA: Wo-Land 12" (WO 001LP) 26.00
"Warmly recommended, wildly diverse showcase by this collective based in north-west Italy. Mass Prod from Werk is here, and faces from the Marmo contingent, alongside a flush of new names. Fresh and provocative; overflowing with bright ideas."



VA: Brazilian Guitar Fuzz Bananas 2LP (WPFC 102LP) 20.00
2014 repress. Deluxe gatefold 2LP version; 2nd edition, no longer contains the (marginally viable) 3CD glasses. Includes a download code that can be used to download all tracks plus a 24-page digital booklet (note: it no longer includes a physical booklet). Artists: Celio Balona, Loyce E Os Gnomes, The Youngsters, Serguei, Fabio, Tony E Som Colorido, 14 Bis, Banda De 7 Legues, Ton E Sergio, Ely, Com Os Falcoes Reais, Marisa Rossi, The Pops, Loyce E Os Gnomes, Piry and Mac Rybell.


ZK 013LP

DE RAYMONDI, EMANUELE: Ultimo Domicilio LP (ZK 013LP) 17.00
Ultimo Domicilio (trans. "The Last Domicile") is the new work by Italian composer Emmanuele de Raymondi in collaboration with photographer Lorenzo Castore. Castore began the photographic journey in 2008 documenting 5 "domiciles" in Europe and the United States, each with a strong connection to stories of exile and war in European history. The collaboration between these two artists has produced an 18-minute video that explores the concept of individual and collective memory through the five domiciles. Each home, photographed by Castore, corresponds to an original composition by Emanuele de Raymondi. The tracks are titled with the name of the place itself: Finale (Italy), Fontenay (France), Brooklyn (United States), Sarajevo (Bosnia) and Krakow (Poland). De Raymondi's music finds its place between chamber music and avant-garde, using piano, guitars, and samplers. Through the images of Castore, De Raymondi creates a highly evocative path in which the five domiciles become sonic places. At times, extremely dense and layered, other times intriguingly sparse and minimal. Places of sound, places of history, places of the past... last domiciles. Castore's photographs were "animated" by Daniel Spano. Includes mp3 download code.

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