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Forced Exposure New Releases for 4/28/14

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New music is due from Fennesz, Dalhous, Chris & Cosey (remixed by Carter Tutti), and Kreidler, while old music is due from John Cage, Karlheinz Stockhausen, and Borbetomagus.


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BORBETOMAGUS: Seven Reasons for Tears CD (AGARIC 1993CD) 15.00
1993 CD release. Reissue of this classic Purge/Sound League LP by Borbetomagus, recorded 12/6/1987. "Seven Reasons for Tears beautifully documents the most simultaneously fierce and accessible periods of the band's history. Converts and heathens can both bathe luxuriously in the radioactive improv-beauty-stream that lights up a room when the record is played at 'special' volume. Tears is the living spirit of Borbetomagus' numbered days as a quartet with bassist Adam Nodelman. Days to be cherished. The brobdignagian wall-motion of Jim Sauter and Don Dietrich's free-roving horns and Donald Miller's evil-minded guitar-abuse have always had a tendency to hit me above the belt. The textured furrows their howl historically carved into my flesh began at the navel and trailed bloodily up into the aether. Nodelman's terricolous presence gave them full access to listener's aesthetic genitals for the first time and Tears proves they can wreak remarkable damage in this area. It would be the height of irresponsibility for me to suggest that any of this disk's spontaneous outpourings might encourage some sorta social action. Not even the most extreme hippie-style derv-jerk includes a language of gestures explosive enough to coexist with the same incredible buckling of sonic structures here. Still, something like the intro to '7b' has the same semblance-of-approachability that makes even 'outside' rock music a relatively populist proposition. And you could certainly splice chunks of '3' and '6' onto a live tape of MC5 doing a Sun Ra cover without making John Sinclair roll over in his bathtub. So 'mere' rock fans have nothing to fear. Which isn't to say that Tears doesn't have spurts of unprecedented density. I thought they had closed the book once and for all on overtones and 'found' feedback harmonics with their previous record, New York Performances (Agaric 1986), but there are sections here that sound like a dozen distinct and angry zebra trying to burst out of Ed Koch's lower bowel. But it's only the four of them. And they're humans. They're just so goddam intent on what they're doing and so capable of transporting themselves through their hands and brains and lungs that their one beats yr three. It's a simple matter of shamanism -- a quality sadly lacking in most everything you hear today. Imagine this record as a log that's been sharpened by magic, hardened by fire and is just aching to drive itself through yr chest." --Byron Coley, Forced Exposure, 1987


NMN 076-1CD

MARCHETTI, WALTER: La Caccia CD (NMN 076-1CD) 19.50
2010 release. Alga Marghen very proudly presents the only authorized reissue of all Walter Marchetti's original recordings previously released by Cramps Records. The recording of La Caccia, one of the most radical in the neo-avant-garde panorama for 35 years, is divided in two tracks: "Versione All'aria Aperta" and "Versione Per Uno Spazio Chiuso." The sound is generated by hunting calls for birds and other animals. According to Steven Stapleton, this is one of the best records ever published. The CD includes "La Caccia" (1965) as well as two extreme electronic ZAJ pieces, "Adversus" (Home-made electric music) (1966) and "Osmanthus fragrans" (Home-made electric music) (1973). The 16-page booklet presents the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original La Caccia LP layout. All texts are published both in English and Italian. First included in an LP-sized 4CD box set together with three other CDs titled In Terram Utopicam, Natura Morta and Vandalia, plus the new book by Walter Marchetti titled De Musica Inversa, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.

NMN 076-2CD

MARCHETTI, WALTER: In Terram Utopicam CD (NMN 076-2CD) 19.50
2010 release. Walter Marchetti is one of the most original and controversial pre-Fluxus authors. In this work he frees all of his sophisticated poeticism. In Terram Utopican includes "J'aimerais jouer avec un piano qui aurait une grosse queue" (1974/75) and "Per la sete dell'orecchio" (1981). The 16-page booklet presents the original score of "J'aimerais jouer," photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original In Terram Utopicam LP layout. All texts are published both in English and Italian.

NMN 076-3CD

MARCHETTI, WALTER: Natura Morta CD (NMN 076-3CD) 19.50
2010 release. A very simple sequence of piano accidents, according to Robert Ashley one of the most beautiful piano pieces ever recorded. Natura Morta includes the piece with the same title from 1980. The 8-page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled In My Music. All texts are published both in English and Italian.

NMN 076-4CD

MARCHETTI, WALTER: Vandalia CD (NMN 076-4CD) 19.50
2010 release. With Vandalia Walter Marchetti focuses his concrete and radical themes. Also including is an homage to John Cage. Action Music! Vandalia includes "Perpetuum mobile" (1981), "Song for John Cage" (1985) and "Le secche del delirio" (1989). The 8-page booklet presents the photo of the "Perpetuum mobile" performance at Musicalia in 1981, the score of "Song for John Cage," the photos of two "Musica Da Camera" installations, as well as the reproduction of the original Vandalia CD layout. All texts are published both in English and Italian.



ZOUMBAS, ALEXIS: A Lament for Epirus, 1926-1928 LP (AMA 004LP) 22.00
RSD 2014 release. "Alexis Zoumbas' expressions of longing are so raw and unmediated that I suspect anyone who has ever yearned for anything -- who has ever gazed dolefully out a window, or sighed audibly over a cup of whiskey, or felt subsumed by a certain kind of ache -- will feel these songs like a club to the back of the knees. They are immediate, destructive, and stunning. That Christopher King was able to collect and contain them for us is an extraordinary gift." --Amanda Petrusich; Years of research and obsession have resulted in this, the first collection of recordings by the legendary and masterful Greek folk violinist Alexis Zoumbas. Very few pre-War musicians have tapped deeper into the human soul than Zoumbas and this volume presents his most profoundly hypnotic and unearthly pieces. A deep set of notes is accompanied by previously-unpublished photographs as well as original artwork by R. Crumb. Respectfully crafted by Christopher King and Susan Archie for Angry Mom Records. Deluxe triple-gatefold packaging.



DALHOUS: Visibility Is a Trap 12" (BLACKEST 029EP) 15.50
Visibility Is a Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix. Though recorded after Will to be Well, the tracks on Visibility Is a Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While "Information Is Forever" and "A Change of Attitude" are firmly in the ambient mode, "Active Discovering" fizzes with arpeggiated energy and a battery of percussion disrupts the calm surface of "Sight of Hirta." Something is up. All is not as it seems.


BB 161CD

AUTOMAT: Automat CD (BB 161CD) 17.00
Three pilots. A recipe. A construction manual. Machine. Apparatus. Jochen Arbeit, Achim Färber, zeitblom = Automat. Arbeit, Färber, zeitblom have been collaborating under the name Automat since the end of 2011. Their debut album features Lydia Lunch, Genesis Breyer P-Orridge & Blixa Bargeld. A Berlin Affair. Just to untangle the threads: Jochen Arbeit, the guitarist who came to world prominence with Die Haut and Einstürzende Neubauten; Achim Färber, a sought-after drummer with the likes of Project Pitchfork, Prag and Phillip Boa; and finally, the bassist zeitblom, known from Sovetskoe Foto and through his award-winning radio-play works, especially in collaboration with author/publisher Michael Farin, with whom the piece "Kyffhäuser/Unternehmen Barbarossa/Träume vom Tod!" was musically adapted by Automat for the Berlin Volksbühne in 2012. Automat, a constant groooove. An album, as you would imagine flying to if you have never flown: a steady glide from leaving the apartment to reaching the destination. No waiting, no queuing, no turbulence; a smooth check-in, easy border controls, unhindered boarding. Take a seat and take off. Automat tells of Berlin, once a city with four airports. "Tempelhof" makes the start: reverberating cowbells, an urgent bass sequence, chopped meanderings, an evil recollection that reminds of THF in its heyday. "Schönefeld," where the guitars flange and the delays bounce. "Gatow" swings to the Ebow. And "Tegel." No question. "Tegel" grooves most elegantly. Three narratives -- of a lake with a menacing name, of an enchanted mountain, of strange roads -- feature within Automat's otherwise instrumental epic. Three guests, three additional voices and storytellers to speak to us: Lydia Lunch, Genesis Breyer P-Orridge and Blixa Bargeld. Guests, yes, but actually they are much more: old acquaintances, good friends, trusted colleagues. You can hear how they work their way into the pieces without taking them over, but lending that certain something and thus contributing to the idea of a band. Lighthouses. Automat is naturally the sum of its parts, and all of them have learned and taught during the post-punk era. One may recall the time during the mid-1980s, when the UK industrial-oriented artists discovered dance music. Automat docks onto that -- sawing, ringing guitars and dub-reggae bass lines meet in empty hangars with harsh, slow breakbeat rhythms garnished by ticking percussion instruments from the most exciting and remote places on earth -- and takes the dance into the present day.

BB 164LP

DORAU, ANDREAS: Silbernes Ich (Raritaten 1981-2014) PIC. DISC (BB 164LP) 34.50
2014 RSD release. Previously only available as a limited bonus disc for Andreas Dorau's 50th anniversary retrospective Hauptsache Ich, Silbernes Ich features rarities, outtakes, demos and unreleased songs from the career of the German Ausnahmemusiker. Available on stunning picture vinyl and limited to 500 copies.

BB 165LP

LP version. Includes a CD copy of the album. 2014 marks twenty years of Kreidler. The band has outgrown adolescence, but remains juvenile, reckless, impetuous. They recorded their new album ABC in Tbilisi, Georgia. And there will also be a film by Heinz Emigholz, who accompanied the last album Den with film clips. Six tracks characterized by elliptical shifts, where suddenly the bass and drums take over the helm -- or a choir appears. Kreidler worked together with Georgian singers: either hovering freely in the meditative pop piece "Ceramic," or defining a new space within a space, as in "Nino." Nino perhaps most clearly suggests that the album was recorded in Tbilisi, Europe's southeasternmost metropolis, on the former Silk Road at the intersection of East and West. "Nino" opens the album -- a piece made for setting off in a convertible with the top down, moving at the steady pace through the speed-limited traffic zones with the speakers pumping. A female voice takes over for "Alphabet" and the mood rises. It rocks as only Kreidler can rock. Then a short pause with "Destino," which displays a melancholy longing that leads to abstract no wave funk. "Modul" is similar to Nino, yet even more relentless. "Tornado" concludes ABC. A scruffy smoothness unifies the tracks, which rely less on layers or the shifting of variable patterns, and more on riffs. Yes, riffs. But not hashed-out on guitar or bass -- Alex Paulick is more the sequencer, the lead sound, or the cloud. It is the synthesizers of Andreas Reihse and Detlef Weinrich that provide the definitive propulsion. And wasn't it the case with Den that Kreidler even considered making a record without drums? What a peculiar endeavor. Once again, Thomas Klein's distinctive playing was destined to press the songs further forward, onward, ahead. As always with Kreidler, ABC is about the exploration of freedoms within a previously determined framework. It is a formulation of convergences, of possibilities within a procedural movement, based on a notion of democracy, with socialism in mind, where one understands that restraint is not merely a strategy of a conceptually inclined band, but that it serves to strengthen the validity, precision and majestic authority of expression. The cover uses photographic works by Thea Djordjadze. The Georgian artist usually works directly within a space, combining sculpture, painting and found objects into ensembles. Many of her photographic works are comparable, arranging diverse elements in a black (or white) box. Her works reflect art and cultural history, refer to Georgian folk art, or even Soviet modernity.

BB 166CD

DIE PARTEI: La Freiheit des Geistes CD (BB 166CD) 17.00
In 1981 Tom Dokoupil and Walter Dahn, two young and wild protagonists of the German underground, got together to create a new music project entitled Die Partei. Using his Siluetes 61 alias, Dokoupil was already known as something of a musical eccentric and as a member of The Wirtschaftswunder. Walter Dahn, a star pupil of Joseph Beuys, collaborated with Dokoupil's brother Georg in the Mülheimer Freiheit art group, and played music in the Cologne scene which emerged around Can. A chance meeting between Dokoupil and Dahn led to their teaming up. They met in Dokoupil's Studio 61, The Wirtschaftswunder's workplace. Die Partei was christened a few sessions later and a plan made to create a concept album according to strict rules: they would record on a single weekend, the music would be instrumental, electronic and danceable, sprinkled with a few film quotes. Dokoupil and Dahn knew exactly the moods they sought to conjure up with their tracks. They only allowed themselves the use of certain instruments and adhered to a duality of contrasts: good/evil, beautiful/ugly (in terms of sound), fast/slow, rightist/leftist politics (with reference to the artwork). The last piece of the puzzle was an album title: La Freiheit des Geistes (trans. "The Freedom of the Spirit"). And here's what Sounds magazine wrote about the album in January 1982: "La Freiheit des Geistes is quite an accomplishment. Dokoupil and Dahn have succeeded in making a cheerful, relaxed dance record without resorting to funk or DAF. Warm sounds abound, mechanically swift rhythm machines barely register, sparse guitar, bursts of trumpet and saxophone. Topped with little melodies, as simple as they are memorable, not dissimilar to Yello."

BB 168EP

MOEBIUS/NEUMEIER/ENGLER: Wohlauf (Maxi Version) 12" (BB 168EP) 11.00
2014 RSD release. The track "Wohlauf (Maxi Version)" is an unreleased version taken from the project Other Places (BB 153CD/LP) by musicians Dieter Moebius (vital protagonist of the Krautrock/avant-garde scene i.e. Kluster, Cluster, Harmonia since the late 1960s), Krautrock stalwart and Guru Guru drummer Mani Neumeier and Ju?rgen Engler (from the epicenter of Germany's post-punk scene as a member of Male and later head of steel machine musicians Die Krupps). "WFMU Stream Test" is a new track by Dirk Dresselhaus aka Schneider TM (electronic pioneer involved in countless music, film, radio and various other sound projects). Limited to 500 copies.

BB 169EP

KREIDLER/AUTOMAT: Snowblind 12" (BB 169EP) 11.00
2014 RSD release. 2014 sees the 20th anniversary of German electronic pioneers Kreidler, who are celebrating with a tour, a movie by Heinz Emigholz and new album release ABC, recorded in Tbilisi, Georgia. Featured here is an unreleased outtake from the album session. Jochen Arbeit, Achim Färber and Georg Zeitblom have been collaborating under the name Automat since the end of 2011. Featured here are three unreleased outtakes from their debut album. The song "Berlin Wall" is a collaboration with Throbbing Gristle's & Psychic TV's Genesis Breyer P-Orridge. Limited to 500 copies.

BB 170EP

SCHNAUSS & MARK PETERS, ULRICH/PYROLATOR: Remix of Rainbirds 12" (BB 170EP) 11.00
2014 RSD release. Ulrich Schnauss, internationally acclaimed indietronic musician and producer, and Mark Peters, guitarist of the band Engineers, have been colloborating on two full album releases for Bureau B: Underrated Silence and Tomorrow Is Another Day. Here's an unreleased remix they recently produced. The flip features two unreleased gems by Kurt "Pyrolator" Dahlke, music and computer specialist, co-founder of the Ata Tak record label and publishing company, and member of Fehlfarben.



SOULPHICTION: Glitz 12" (CCS 085EP) 12.50
Circus Company adds another legend to its roster: SoulPhiction. Michel Baumann has long been a steadfast measure of everything 4/4 electronic music should be, both as SoulPhiction and Jackmate and as a curator of Philpot Records. "Glitz" comes rocking in on the kind of kinky groove that tickles our limbs just right, taking time for the beat to settle before unfurling a sumptuous funk lick and a bittersweet vocal hook. "Jinx," remixed by Patrice Scott provides a futuristic acid treatment, laying out a rigid drum machine mantra and bubbling 303 as a backbone.



ELA ORLEANS/SKITTER: De Flechettes LP (CDR 021LP) 23.50
A new collaboration LP between Ela Orleans and Liam Stefani (Skitter). Here the confluence between electronic and noise music/melody and brutality is explored. Noise textures meet manipulated violin, voice and keys/synths, bringing surprising results.


C&S 008EP

2014 repress of the first Darkside release, originally released 2012 (both tracks are exclusive non-album material). Dave Harrington and Nicolas Jaar are Darkside. This EP begins innocently enough, but as it progresses, it feels like searching for pleasure where you know you shouldn't. The beat in this clandestine affair has just enough restraint, and you know the catharsis is worth the sin. "...from dreamy electronic music inflected with impressionist piano, gently digitized French singing, lobby-jazz, and cave sounds to the terse, rugged dub-funk of Darkside, all while still sounding totally Jaar: nocturnal, cerebral, sensuous, paradoxical, and intuitive." --Pitchfork (8.0)



CARTER TUTTI: Remix Chris & Cosey CD (CTI RSDUK01) 22.00
RSD 2014 release. Features five new extended Chris & Cosey remixes by Carter & Tutti: 01. Cowboys in Cuba (Remixed), originally released on the album Trance In 1982; 02. Dancing Ghosts (Remixed), originally released on the album Elemental 7 in 1984; 03. Deep Velvet (Remixed), originally released on the album Trust in 1989; 04. October (Love Song) (Remixed), originally released on vinyl 7" & 12" singles in 1983; 05. Lost Bliss (Remixed), originally released on the album Megatropolis in 2000.


DC 062LP

RED KRAYOLA, THE: Coconut Hotel LP (DC 062LP) 17.00
"Coconut Hotel hails from 1967, when it was recorded for International Artists in the wake of the international success of The Parable of Arable Land. Too far out for its day (!), Coconut Hotel was eventually issued on Drag City in 1995 and features the original Red Crayola at their most extremely experimental, while still retaining the air of whimsey ('One-Second Pieces') that permeates all their releases."

DC 257LP

RED KRAYOLA, THE: Singles 2LP (DC 257LP) 25.00
"Eight years later, and in another era entirely, a summing-up occurred with the compilation of short-play Krayola records, Singles. Spanning the years 1969 - 2004, Singles contains many Krayola klassics of the pre-punk, punk, post-punk, etc. eras once represented by labels like Texas Revolution, Rough Trade, Konkurrenz, and uh, Drag City. This comp was released on CD only ten years ago -- imagine that! Here it is for the first time on vinyl."

DC 572EP

BLACK BANANAS: Physical Emotions 7" (DC 572EP) 5.50
"It's a banger, baby, from fore to aft! On the A-side, the roiling of downtown terror and multi-channel frequency overspill that flows freely through Black Bananas' sound has been combed up into a glamour 'do, ready to groove through a night on the town. Waves of the late light beam across the water, cool in the evening as we head out to tha club, where the guitars are MIDI, the synths bump 'n' grind the beat and arc melodies high above the crowd's head, and the gasping of the clubbers is always on the one. Jennifer's sweet delivery is an ode to the stone soul joy of being out on the tiles. This track's a blast from an alternate dimension of weirdness, perfectly nailed from top to bottom. Top of the charts man! Black Bananas will have you slippin' on the dance floor with their all-new sound, 'Physical Emotions.'"

DC 583CD

DEATH: III CD (DC 583CD) 13.50
"Five years after the second life of Death was started with the release of their revelatory 1976 album, For the Whole World to See, Death III slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching, in high-fidelity, rich bottomed, studio-grade sound. Alongside songs from 1975, 1976 and 1980, Death III contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they'd stopped playing together. Death III serves as a companion piece of sorts to the A Band Called Death documentary, tracking the band's movement from spiritual young rockers to older and wiser, bruised-but-undefeated brothers, in pure musical terms."

DC 583LP

DEATH: III LP (DC 583LP) 15.00
LP version.

DC 590LP

PURLING HISS: Dizzy Polizzy LP (DC 590LP) 18.00
"Discerning ears will link Dizzy Polizzy to Public Service Announcement (recorded in 2007) since they were made more or less back-to-back, and we wouldn't disagree. Dizzy is kind of the more innocent sister to PSA, sweet songs and mini-ragers, a baby version of the squalor that would soon grow too much hair in all the right places. Dizzy Polizzy serves up the beginnings, going all the way back to 2004, building off solid, breakfast-of-champion prototype-sounds from the likes 'Halen and Neil Young and head-butting them in a Hissier direction. This album reissues the cassette compilation on LP for the first time ever, to tide Hiss-heads over while Purling Hiss works on their next LP that melds the evolutions of Water on Mars with the devolutions of the now-defined Dizzy Polizzy strain."



FLUXION: Broadwalk Tales CD (ECHO 013CD) 17.00
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."



WALLS/ORAM: Sound Houses LP (ELP 005LP) 22.00
Sound Houses is an album that sees Walls exploring the sonic archive of the late Daphne Oram -- composer, inventor and founder of the BBC Radiophonic Workshop. Oram's otherworldly sonic experiments with synthesis and music concrète primarily in the 1960s were decades ahead of their time, her musical legacy unjustly overlooked until recent years when the increasing fascination of modern culture with all things analog has cemented her status internationally as a pioneer and key figure in the development of electronic music and the recording studio. Anglo/Italian electronic duo Walls were permitted to select choice recordings from Daphne's voluminous tape archive of sounds following a commission from the BBC -- these fearsome otherworldly drones, alien FX and violin and cello-esque tones were harnessed, shaped and sculpted into new forms, with additional augmentation of further synthesizer wash, guitar loops, found sound and treated voice by Walls to create unique new pieces of music that join the dots between 1960 and 2013. Indeed, the duo through their reading discovered Oram's fascination with Sir Francis Bacon's noted tract from 1640 "Wee also have sound houses," which Oram had pinned to the wall of the BBC Radiophonic Workshop wall for inspiration. In his prophetic piece, Bacon predicts some of the workings of the modern studio, through flights of fancy and the idea of transformation of sound -- ideas which ring through the years still today. "We found the poem immensely alluring and inspiring" explains Walls' Sam Willis, "the language is so magical it really resonated with us in its primal, and imaginative description of sound." The resulting album, Sound Houses is a unique splicing of Walls' modern/vintage sound palette with Oram's 1960s futurism to create an unprecedented sonic journey for the listener. First pressing limited to 500 copies on clear vinyl.


BEC 5161807

VA: Ed Banger Classics 5x10" BOX (BEC 5161807) 56.00
2014 RSD release. Deluxe 5x10" edition with ten single tracks for the first time released together on an exclusive 10'' format which is a wink to the 10-year anniversary of Ed Banger celebrated in 2013. Housed in a box which imitates a locker you can open with vinyls inside. Download card included. Artists include: Mr. Flash, Krazy Baldhead, Feadz, DJ Mehdi, Justice, Sebastian, Uffie, Breakbot, Mr. Oizo, and Busy P.



SHANGRI & LA: Plitz Kidz Klub EP 12" (TAIN 015EP) 14.00
Neo Romantico dance music by Shangri & La. Inspired by a club and a scene that never was, we hear roto acid, bongo boogie, future reggae and candid club cuts that equal the Fantastic Four. Great-sounding music for good-looking people.



FENNESZ: Bécs CD (EMEGO 165CD) 15.50
The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was Endless Summer. Now, in 2014, Editions Mego is extremely proud to release the conceptual follow-up to that landmark of abstract pop. Bécs (pronounced "baeetch") is Hungarian for "Vienna" and is the first full-length Fennesz solo release since 2008's Black Sea (TO 076CD/LP). Eschewing the more drone-oriented works of Black Sea, Bécs returns to the more florid pop mechanisms as deployed on Endless Summer. "Static Kings" features the extra leverage of Werner Dafeldecker and Martin Brandlmayer, who deploy a range of atmospheric abstract effects to shape a bewitching sound-world. The 10-minute centerpiece "Liminality" (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. "Pallas Athene" creates a sanctuary of hovering beauty which leads into the title-track. Emotional and assured, the track "Bécs" is an astonishing contribution to contemporary pop. "Sav," co-written by Cédric Stevens, (aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where on the closing "Paroles," a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature. A singular work by a singular artist. All tracks by Christian Fennesz, except *by Cédric Stevens & Christian Fennesz. Modular Synthesizer on "Sav" by Cédric Stevens. Bass on "Static Kings" by Werner Dafeldecker. Drums on "Static Kings" by Martin Brandlmayr. Drums on "Liminality" by Tony Buck. Recorded & mixed at Amann Studios, Vienna, 2013/2014. Tony Buck's drums recorded by Martin Siewert at Garnison7, Vienna, July 2013. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, February 2014. Cover design by Tina Frank.


FENNESZ: Bécs LP (EMEGO 165LP) 20.00
Gatefold LP version.


SCHMICKLER & JULIAN ROHRHUBER, MARCUS: Politiken der Frequenz CD (EMEGO 191CD) 15.50
Following a hypothesis according to which "Music and Economics share a fundamental object: number," Marcus Schmickler and Julian Rohrhuber's project Politiken der Frequenz circles around the acoustic rendering of number concepts. Inspired by Alain Badiou's Le Nombre et les Nombres, and accompanied by mixed choir, the piece attempts to question the apparent immediacy of numbers that allows calculation to govern today's economy, social sciences and everyday life. "Change, flexibility, and movement are considered desirable today, while the static, rigid, and unchanging tends to be met with reservation or is implicitly opposed. Movement, perhaps even chaotic movement, or some form of change of the change of the change, appears promising: it suggests the invention of the new, rather than the discovery of the already-there, it is taken as the core of the revolutionary, or at least of the progressive. The unchanging, then, is only a brittle ladder to be used and then thrown away, a dead tool that merely points to life, or even a conservative prison of standardization. By consequence, what seems to exist in movement and nothing more, indeed appears in a favorable light: sound. Be that as it may, such a positive evaluation of the potential of change mirrors a contemporary economic understanding of change and/or growth, where it is precisely what constitutes value as such. For algorithmic trading, success means the appropriate bet on a trend, for the employer, flexibilization and casualization of labor. And even though the appropriation of change as surplus value implies the arrest of its movement, this capture is only an intermediate unproductive precondition of investment in the expected dynamical behavior of free agents. The commenting chorus in Politiken der Frequenz (trans. "Politics of Frequency") is an attempt at exposing this mutual ideological support, by introducing a third element, namely the concept of number. A number and its properties can be considered either as an outcome of a dynamic process, like measurement or counting, or (and) as something that exists independently, and is a precondition necessary for such operations in the first place. From both perspectives, however, the numerical is outside the frame of variation, something unchanging and infinitely resistant. It is in this role that it can serve as a middle and common ground of sound and economy, excluded, but necessary as a mere tool applied to provide external stabilization. What if number is taken as an object of investigation instead, an object of sound, one of mathematics? Can there be an alternative to the eternalized value of change, an alternative to the false dialectics of movement and arrest? Certainly, drawing from the history of mathematics, a sonification of number brings to light something fundamentally different, namely its acoustic shimmer, its glint." Another version of the piece was commissioned by WDR3 Studio Akustische Kunst. Premiered November 2011. A joint release between Editions Mego & Tochnit Aleph.


EF 058LP

KZA: Dig & Edit 2 2LP (EF 058LP) 27.50
repressed; double LP version. Together with his buddy DJ Kent, the Japanese producer and ardent record collector KZA made music history. Under the name Force Of Nature the two friends from Tokyo created a rich oeuvre of fresh music using their extensive vinyl collection. Besides their own work, they produced and remixed artists such as DJ Shadow, Five Deez, Sly Mongoose, and Keiichi Sokabe. KZA, who started his career as a hip-hop and funk/soul DJ, released a solo album and a string of highly-acclaimed 12" EPs on Endless Flight. Now he is ready to release his second solo album Dig & Edit 2 -- an album whose title says a lot about the production itself. Like Dig And Edit (EF 004CD), KZA used a voluminous record collection and his highly developed listening ability to shape these unique, sample-based arrangements. He went through his vinyl library with new eyes and ears between midnight and morning, searching for miscellaneous rhythms, harmonies, and melodies that he could turn into something fresh and singular. As he is in love with loops and was trained through the work of sample grandmasters such as Pete Rock, Large Professor, and Marley Marl, he knows exactly where to cut and edit -- a skill that keeps his music from sounding like a conventional edit production. With plenty of studio artifice, the help of his friend Kuniyuki, and some super tight additional bass and rhythm programming, he produced tracks that gently sway between breezy disco fever, laid-back Balearian slow-mo emotions, and high-flying house attacks. Each of them is full of sensual grooves and is charged with catchy folk, rock, disco, and library samples whose origin can only be deciphered by those who dig records as deep as KZA does. Of course, listeners who aren't into record digging will find plenty of pleasure here, too, because it is not necessary to know which mysterious source KZA has used to make his music. One can easily be carried away by his arrangements without thinking about where they originated. Some of the tracks evoke the feeling of a sweaty disco night, some feed hungry house floors with real deep fodder, and others are ready to function as sunset soundtracks wherever the sun goes down.

EF 059EP

EDDIE C: Want to Please 12" (EF 059EP) 14.50
Eddie C is back with excellent sleazy disco house on Endless Flight. "Want to Please" is funky, disco-sampled house stuff. It's an all-around great DJ tool. "First Chair" is slow-mo cosmic house for fans of everyone from Daniele Baldelli to Theo Parrish. "Help Me" is Eddie C's typical beatdown house and "Help You" is almost like a dub version. All tracks are simple and well done, which is a rarity these days.


ES 779LP

SPENKING: Bad Blood, Good Blood LP (ES 779LP) 20.00
"Like a (colorful simile), Spenking is Spencer Kingman making his vinyl debut after more than a decade of (way of saying house shows/DIY venues) and playing with Dirty Projectors, Flaspar, Viking Moses, Low Skies, Deer Tick, Castanets and Jana Hunter. Kingman sings lively, unencumbered melodies in a lovely high-register over inventive guitar work. His arrangements are direct and sparse. This inviting, intimate sound is contrasted with dense rhyming lyrics charged with an obscure sense of catastrophe, disorientation, and dread. Recommended for fans of the Harry Smith Folk Anthology, Patti Smith, Gil-Scott Heron, The Mamas and the Papas, Rufus Wainwright, Leonard Cohen, and Diane Cluck. Another high quality vinyl release from Ethereal Sequence Records (Konrad, Paula)."



FARBEN & JAMES DIN A4: Farben Presents James DIN A4 CD (FAITICHE 012CD) 15.50
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."



WEISEMANN, SVEN: Falling Leaves EP 12" (FAUXPAS RSD014) 15.50
2014 RSD release. For the blackest day of the year, Record Store Day, we will be releasing the first official Sven Weisemann EP on Fauxpas Musik. We are also proud to announce that included is a special remix by the prominent ambient master, Gigi Masin. The label could not be more excited to release this track.


FE 002LP

TWILIGHT NUAGES: Twilight Nuages LP (FE 002LP) 24.00
"Folk Evaluation continues to mine the DIY home-recorded pop underground with its second release, an authorized reissue of the seldom seen but highly sought-after 1977 album by Connecticut's best-kept secret: inter-generational dream-pop outfit Twilight Nuages. Based around the songwriting talents of high school music teacher Bill Last, the band features a supergroup of friends and students, including four incredibly gifted 16-17 year-old girls sharing lead and backup vocal duties throughout. The ten-piece-strong band recorded live in Bill's parents' basement straight to 1/4" stereo tape with no overdubs whatsoever, and the end result will leave even the most jaded of listeners with their jaws hanging in disbelief. From sunshine pop to country swing to devastatingly sincere piano ballads, the amount of heart and pop ingenuity on display is simply staggering. Imagine if the kids from the Langley Schools Music Project grew up to be in the Olivia Tremor Control and you're part way there. Originally pressed up in an edition of 200 copies and given away to friends and family, this deluxe reissue comes in a high quality tip-on jacket, features remastering from the original 1/4" tapes by Josh Bonati, and comes with a download for the full LP plus two never-before-heard cuts from the vaults, extended interviews and sheet music."



VA: Frijsfo Beats Volume 4 12" (FRJ 015EP) 16.50
DJ Oslek continues his mission compiling Frijsfo's special vinyl series, equipping you with the most vinyl-deserving of their substantial two-step arsenal. Artists include: Buzzin 10, Sully, Point B, and Warlock.



TAMES: Vivid Elements 12" (GAL 004EP) 14.00
Galdoors co-boss Tames steps into the arena. "Vivid Elements'" astral acid and machine gun snares rearrange your mind while the pads take you H-I-G-H-E-R. On the B, "Episodes" drops it down and rides through with weighty organs, ratcheting rimshots, and much more. "Squeeze" wigs it out: acid, crisp kick and hi-hat chatter, bubbling over to madness, bringing proceedings to a close. Heavy support from King of the UK's Ben UFO, amongst others.


GET 54043LP

GENIUS/GZA: Liquid Swords 2LP (GET 54043LP) 24.00
2014 black vinyl repress. "According to legend, when the Wu-Tang Clan formed like Voltron on their debut album in 1993, GZA happened to be the head--an appropriate place for a man also called 'The Genius.' Yet at the time few could have predicted that his 1995 masterpiece Liquid Swords would be considered 'one of the most substantial lyrical journeys in hip-hop history' (Chicago Tribune). At the peak of his powers as a producer, Wu-Tang mastermind RZA crafted the album's distinctive soundtrack at his basement studio in Staten Island; a haunting landscape of dusty samples, sharp snares and menacing urban gloom, with frequent interludes of dialogue from the classic Samurai flick Shogun Assassin. Cerebral, strategic and precise with his words, GZA crystallizes a range of influences--from chess to kung-fu films to mob flicks and Eastern philosophy--into sharply delivered rhymes. The album features appearances by the entire Wu-Tang Clan, and includes the auspicious debut of Killah Priest on 'B.I.B.L.E.' Acknowledged as one of the '100 Best Rap Albums' (The Source) and 'Top 100 Records of the 1990s' (, Get On Down is proud to present Liquid Swords as it was intended to be experienced, on double vinyl with audio remastered from the original source tapes and the original iconic cover artwork from DC Comics artist Denys Cowan." Includes poster insert.


VA: Taang! Records: The First 10 Singles 10x7" BOX (TAANG 211EP) 67.00
2014 RSD release. "Hand-picked and lovingly curated and annotated by label founder Curtis Casella, Taang! Records: The First 10 Singles consists of ten 7" records, a 24-song CD, and a 24-page booklet, all housed in a deluxe outer case. It tells the stories of the artists who built one of the most impressive music catalogs in all of American punk and hardcore. Each 7" is housed in a full recreation of its original sleeve, and all musical selections are also found on the CD included in the set. From snot-nosed Gang Green anthems like 'Alcohol' and 'Terrorize' to the Lemonheads' melodic, proto-alternative 'Glad I Don't Know' and Slapshot's instant mosh-pit creator 'Same Mistake,' these 10 groundbreaking singles are what made Taang! an undeniable force to be reckoned with."



SLY & ROBBIE: Underwater Dub CD (GAP 116CD) 15.50
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. CD includes a 6-page leporello booklet.



BREADWINNERS, THE: Far As I Can See 12" (HORUS 003EP) 15.00
"Ace label Horus presents fresh forays in the Upsetter legacy. Lovely, warm, rich, analogue disco-mixes, gloriously old-school style and fashion, out of the Bakery Studio in Stockport."



RED AXES: Ballad of the Ice CD (CLICHE 056CD) 17.00
Red Axes is Niv Arzi and Dori Sadovnik, two young men who have always lived in Tel Aviv and have been making music together since the noughties. Ballad of the Ice is their debut album. Their artistic travels have taken them from the rock scene to the dancefloors, and to creating an album. More than a summary, this LP is an invitation to discover a singular musical identity: a ballad of the ice, a song as light as love and cold as a tunnel, springy as a dance step and deep as nostalgia. Originally, the two young men were part of the band Red Cotton. Their musical obsessions were very distinct and have never really left them since: post-punk, new-wave, synth-pop, gothic rock, Italo-disco and all the other styles with double-barreled names that flourished in the underground of the Western world at the turn of the '70s and '80s. They were barely born then, and Israel was hardly a promised land for these musical trends. Nonetheless, today the people who love these styles, at the forefront of which Cosmo Vitelli, founder of the label I'm a Cliché who signed them, recognize Red Axes' talent for creating tracks that are not only impeccably referenced, but also terribly current, in their production and in their intentions. In 2009, house and techno made a noisy entrance into their lives. They were DJs by then and Tel Aviv was all hedonism and crazy parties. Red Cotton was over and Red Axes began. In 2012, I'm a Cliché introduced them into a community of people who enjoyed what the musical press could refer to as "cold-rave." Four EPs were released on the French label that discovered sharp acts such as Yuksek, Azari & III and Simian Mobile Disco. Add to these a bunch of edits that went spinning on everyone's turntables -- remixes and originals that attracted labels such as Kill The JD, Throne of Blood, Correspondant, Clouded Vision, Relish and others -- these built Red Axes' reputation as the makers of solid dancefloor tools. Meanwhile, being resident DJs of the Bootleg in Tel Aviv gave them the ability to broaden their scope. It also allowed them to rub shoulders with some of their favorite DJs, from Ivan Smagghe and Jennifer Cardini to the Cómeme crew. These established DJs quickly became major supporters. But Red Axes didn't get lost in a loop of never-ending clubbing. The extent of their research is evident on the album. Apart from beautiful vocals by Abrão, a member of various Brazilian punk bands of the '80s, Arzi and Sadovnik handled all the instruments and machines. After "Head Like Glass," a pure cold-wave intro, Red Axes take us on a repetitive stroll of light percussion with "Kicks Out of You." Then comes the rock track "Watkins," followed by a brass dub "Only a Clown Can Catch an Axe." The poignant "Papa Sooma" feels like it's coming out of an old cassette player, and "Road to the Hills" is all intimate house feelings. "Neon" will make you feel like you're on the set of an urban Western, while "Candy" is a toe-tapping Mancunian devil. "Bela Lugosi's Dead," a Bauhaus cover, adds a layer of groove in the bat cave, and finally, "Dreams Like a Tale" closes the album in a psychedelic mist.


ID 004EP

ITINERANT DUBS: Non Material Space 12" (ID 004EP) 17.00
"Tech dub, hissing and decombobulated, cloudier than the crisp improvisation of previous outings. 'Non Material Space' is a side-long march recalling 2000-black-vintage Dego; 'Last Snare' is a percussive stomper, with the sampled vocalese of classic Chicago house; 'Dub Echoes' is a homage to the basement-session continuum."



PABLO, AUGUSTUS: Rockers at King Tubby's CD (JRCD 053CD) 14.00
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. CD version includes two bonus tracks.


KING JAMMY: Dub Kings (King Jammy at King Tubby's) LP (JRLP 047LP) 14.00
LP version. 2011 release. Two "Kings" for the price of one!, King Tubby the master of the dub cut, has had many protégés that trained and worked with him over the years, as his services became more and more in-demand. Producer Scientist, singer Pat Kelly, Prince Phillip Smart, etc., all served their time at King Tubby's studio at his home on 18 Drummile Avenue, Kingston, Jamaica. But the person who would take his production skills on to another level and had cut his musical teeth with Tubby was Prince Jammy, who would soon be renamed King Jammy. King Tubby's (b. Osbourne Ruddock, 1941, Kingston, Jamaica) fascination with all things electronic grew out of working and repairing radios and TV sets. This would eventually lead to working with amplifiers and the lucrative work of winding transistors, a job that was much in-demand in Jamaica and work that Tubby carried on with throughout his career. This knowledge of the way sound/music was made and transferred, Tubby would adapt into groundbreaking ideas, like removing various parts of the recordings: for example, the vocals and distorting elements of the sound like the bass line or drums and adding delays and echo to enhance and reshape the song. King Jammy (b. Lloyd James, 1947, Montego Bay, Jamaica), then named Prince Jammy, took up the vacant spot as engineer at King Tubby's request around 1975, after what turned out to be a 5-year hiatus in Canada. Jammy had worked with Tubby for many years previous to this and had built a great working relationship, but Jammy had taken a work opportunity that would see him actually staying in Canada for 5 years. It was Tubby's offer of full-time work and missing Jamaica and family that would lead to his return. This would enable Tubby to continue his electrical business, knowing full well that Jammy could be trusted to run the studio sessions smoothly. Jammy was always the first to arrive and the last to leave during the hundreds of sessions he oversaw at Tubby's studio, honing his skills, that again, with Tubby's blessing and guidance, would lead to building his own studio not a stone's throw from Tubby's in the Waterhouse district of Kingston. Here is a selection of tunes that were worked on at King Tubby's with King Jammy at the controls. Yes, two Kings at the top of their game.



GILSON ET MALAGASY, JEF: Gilson et Malagasy 4CD BOX (JMAN 065CD) 23.50
RSD 2014 release. Over recent years, Jazzman has delved deep into the life and work of the late French jazz pioneer Jef Gilson. The outcome has been two double albums featuring the best of his life's work, and has included many previously-unreleased tracks. As well as spending his days (and nights) composing, recording, producing, arranging and performing, part of Gilson's life involved the study and exploration of music, and in the late 1960s his curiosity led him to the ex-French colony of Madagascar, the island just off the south eastern coast of Africa. Indeed, Gilson was fascinated by all kinds of music, not just jazz, and his thirst for musical knowledge led him to make several trips to Madagascar not only to study the indigenous music, but also to spread his passion for jazz. His absorption of Malagasy culture and the strength of his personality would eventually result in the release of three exceptional albums of Malagasy jazz, as well as a string of Malagasy concerts, events and radio shows performed across France. Here, Jazzman presents in their entirety all three of these albums, as well as two further albums of previously-unreleased Malagasy material, in an attempt to address the profound contribution that Gilson and Malagasy have made to world jazz. Early experiments in ethnic jazz were created as a direct result of Jef Gilson's expedition to Madagascar in 1969. Three LPs of super-rare Malagasy jazz restored and available again for the first time in 40 years. Two LPs of unheard and previously-unissued Afro-Spiritual jazz. An impossibly rare 7" single made available for the first time ever outside Madagascar. All tracks full licensed and digitally restored. The 4CD set comes with a 24-page color booklet with comprehensive liner notes with information on each track and stories direct from Jazzman's interviews with the musicians involved. Includes a free digital download card. Liner notes in English and French.


KI 012CD

LOFFLER, CHRISTIAN: Young Alaska CD (KI 012CD) 17.00
Christian Löffler presents a fresh EP on Ki Records. The German producer once again unveils his unique soundscape to the fullest and delivers seven tracks that are deeply intense in harmony and emotion, underlining his organic sound structure once more. Despite intense touring and gigs at clubs and festivals all over the world, Löffler sticks to his melancholic and calm approach to electronic music. He has proven in his live-sets that emotions control the dancefloor sometimes, even more so in order to create euphoria. This experience is reflected in an autobiographic way on Young Alaska, which is inspired by the places around the world he has seen. From the peaceful landscapes of the title-track to the very melodramatic heights of "Mt. Grace," he took "Notes" back home to transfer the impressions into his music. Songs like "Beirut," "Veiled Grey," and "Alpine Sketch" are very diverse but come together on this EP so harmoniously. Just like his debut album, on "All Comes" and "Beirut" he collaborates again with Danish vocalist Gry and Me Succeeds lead-singer Mohna. If this wasn't an EP it could be Löffler's second album, which tells the story of his recent journeys.



VA: Rocksteady Hits the Town LP (KSLP 023LP) 14.00
LP version. 2010 release. The mighty sound of rocksteady hit Jamaica around 1966, shone like a star and blasted out from the dancehalls for two years before reggae music took a different path and evolved into another of its chapters. But in this two year period up to around 1968, it ruled and produced some of Jamaica's finest sounds. During this period, the jerky ska rhythms of old slowed-down to a more sedate pace. Some say due to the extreme heat that hit the Island in that year, making the frenzied dance routines all that much harder during the all night Sound System sessions. Whatever the reasons, this period would see some of the power wrestled from the big three producers, Clement "Coxsone" Dodd, Prince Buster and Duke Reid, who up until now had ruled the waves, making room for the upcoming new wave of producers who also had something to say. Such names were Joel Gibson (aka Joe Gibbs), Sonia Pottinger, Derrick Harriott and the most prolific of them all, Mr. Bunny Lee, would unleash some fine music in this fascinating if not short period in reggae's history. Here are compiled some of the biggest hits from the rocksteady era alongside some lesser-known cuts that deserve to be re-evaluated. A great period that is sometimes overlooked but contained some great tunes that also in their own way rocked the dancefloors not only in Jamaica but around the world.



FIELD, THE: From Here We Go Sublime 2LP+CD (KOMRSD 002LP) 25.50
RSD 2014 release. If we would have to name one thing Kompakt's fans have been consistently asking for, it's a vinyl version of The Field's legendary first album From Here We Go Sublime: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in Kompakt's artist fold saw a regular CD edition and an accompanying 12" sampler -- but never a full vinyl release. Enters Record Store Day 2014 and the perfect opportunity to finally present this stunning masterpiece the way it deserves. Axel Willner aka The Field joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt's classic '90s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a "techno pop landmark" by Pitchfork, From Here We Go Sublime almost immediately became a cult favorite, starting a trend that continues to this day -- as can be seen with The Field's most recent full-length offering Cupid's Head that has been lauded by critics and crowds alike. The most striking feat of From Here We Go Sublime must be its sonic cohesiveness, debuting a fully-formed artistic vision that -- seven years and three albums later -- hasn't lost any of its luster. As a fixture in The Field's discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else... except himself. Giving you a feeling of warmth and familiarity on first listen that you can't quite grasp, it's like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here. Pressed on 180 gram audiophile grade vinyl, including a CD version of the album.



CHAPMAN, MICHAEL: Playing Guitar The Easy Way CD (LITA 114CD) 15.00
"Along with Bert Jansch, Roy Harper, and John Martyn -- Michael Chapman is one of the most influential and important British singer/songwriter/folk guitarists of his generation. Like his peers, Chapman blended traditional folk influences with rock and jazz overtones for a unique sound that remains fresh to this day. Michael Chapman is also legendary for discovering electric guitar maverick Mick Ronson and recording with him before David Bowie did! Chapman also utilized string arranger Paul Buckmaster (whose name appears on early 70's LPs by Elton John, the Rolling Stones and Miles Davis). Following on the heels of LITA's previous Chapman reissues comes an ultra-rarity, 1978's Playing The Guitar The Easy Way - an instructional record (complete with a 20 page booklet of notation) making its CD debut and reissued on vinyl for the first time ever! For guitar geeks, it's one of the first instructional methods to deal with open tunings like DADGAD. For Chapman fans, it's merely a gas to listen to! Released with the direct involvement of Michael ? who supplied the original master tape as well as some new liner notes ? he still stands by this record as he told Thurston Moore during an interview for the Fretboard Journal: 'I still think it was a good idea. [But] it wasn't meant to be for people starting the guitar; it was for people who had maybe got bogged down a bit and then maybe wanted to write some songs, and here comes an interesting way to find some new chords, which is what I did, you know, I just went.' Now just about everyone can try Playing The Guitar The Easy Way."


LUSA 662882

BLACK BAZAR: Black Bazar Round 2 CD+DVD (LUSA 662882) 20.00
"Black Bazar, the brainchild of writer Alain Mabanckou, was formed in 2012 with the support of the label Lusafrica. The first album featured a return to the musical roots of Congolese Rumba. Audiences were enthusiastic and the numerous artists involved in the project were hailed as 'the new masters of the African scene in Paris.' Black Bazar Round 2 is based on compositions by the legendary guitarist Popolipo Beniko and the talented bass-player Michel Lumana. Each track is full of atmosphere and deeply rooted in musical tradition, while also opening onto new avenues described by the German press as 'dancehall Rumba,' orchestrated by the producer Francky Moulet." Includes a bonus DVD with a 5 minute music video.



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


MA 077CD

PEARLFISHERS, THE: Open Up Your Colouring Book CD (MA 077CD) 17.00
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.


MEME14 001LP

WRANGLER: LA Spark LP (MEME14 001LP) 18.00
Opening with a single repeated note beamed from an analog basement studio in Shoreditch, London, Wrangler's debut mini-album LA Spark reclaims lost technology to make new themes for the modern world. Wrangler consists of Stephen Mallinder, best-known for his pioneering work with Cabaret Voltaire, Phil Winter of Tunng and Lone Taxidermist, plus the founder of Memetune studios and synth-obsessive Benge. His studio's synth-rammed walls have created an environment where sounds are ripped from a golden era of analog electronic music to create forward-looking, new music. Wrangler formed in the wires of Memetune -- a post-LCD, Factory Floor-ed electronic funk machine with VHS tape distortion in its eyes but also capable of sleekness and beauty in the stripped-back beats. The tracks range from the satellite bleep and synth melody of "Theme from Wrangler" to the alien carnival rhythms of "Modern World" and the ambient "Peace and Love" (originally recorded for Tate Modern's Summer 2012 program "Tweet-Me-Up"). In between there's "Lava Land" -- all masked, half-gargoyle vocals and primitive drum machines; the gliding, noir and neon of the title-track "LA Spark" and the urgent, pulsing floor-filler of "Harder." There are ghosts and echoes of Mallinder's previous work in Cabaret Voltaire in these songs, especially in the vocals and lyrics, which run like his own internal movie. But the Cabs era it recalls is the unfairly neglected 1983-1985, when they released the likes of The Crackdown and Micro-Phonies. Oddly enough, this period has been getting re-discovered and re-evaluated via a recent Mute box set, just as Wrangler started mixing this new EP for release. Sometimes the landscape changes and you can find yourself in the right place at the right time through a mixture of luck and instinct. A closer look at the personnel: Benge has been releasing "pure" electronic recordings from his London-based electronic studio hub for many years, such as 2008's 20 Systems and as John Foxx & The Maths. Phil Winter has been recording, playing and DJing for a number of years and is a member of Lone Taxidermist, and Tunng released their fifth studio album Turbines in 2013. Stephen Mallinder has a long history in music, most notably as founding member of Cabaret Voltaire, who recently reissued their Collected Works 1983-85 to critical acclaim.



SIRIUSMO & ANSTAM: Jaja/Muckefuck 10" (MONKEY RSD2014) 15.50
RSD 2014 release. Limited 10" vinyl. Siriusmo with "Jaja" on the A-side. Teamed up with Anstam for the B-side, "Muckefuck."



KUCHARCZYK: Best Fail Compilation CD (MONO 066CD) 17.50
"Lots of wonderful things exist only because a weird accident occurred at some point. And that led to the appearance of beautiful animals, plants, kind figures," says Wojtek Kucharczyk. All these accidents at work made him create the "Best Fail Compilation" album. Why? Because the failed may often be the fabulous. He had not planned putting out anything new and yet he didn't stop recording music. He made up Bank Account -- a bandcamp playlist that grows larger and larger week by week. Realizing a complete form speaks louder, he prepared an extract of his virtual Bank Account, and enriched it -- and this is how his latest album was created. Best Fail Compilation is some sort of peculiar and dirty energy, multi-layered electronic music full of turning points, oddities and haunted sounds. It's a perfect soundtrack for those willing to dig through civilization's garbage in search of sound gems. "My intention was to break away from The Complainer legacy or to come full circle -- in other words, to go back to some previous ideas, but to develop them in a different, more mature and technically better way," the artist claims. Thanks to his effort, a failure has never sounded so successful. Wojtek Kucharczyk is a musician, designer, community artist, founder of unclassifiable music label Mik Musik, co-founder of Mo?r Drammaz, The Complainer & The Complainers, Retro*Sex*Galaxy, Pathman, and HWDJazz. He has made several dozen albums, exhibitions and plenty of unconventional, startling projects. His exhibitions have been presented in many different and exotic parts of the world such as Moscow, Minsk, Tel Aviv, Paris, London, New York, Miami and Mexico. He lives in Skoczów, Poland.


T'IEN LAI: Da'at CD (MONO 071CD) 16.50
"T'ien Lai" is a brand of cigarettes smoked by the main character in one of Philip K. Dick's novels -- loosely translated as "heavenly music" in Japanese. T'ien Lai is masses of reverbs, radio noises, and drone avalanches out of which rhythms, melodies, and even songs emerge. T'ien Lai are urban demons, whose excesses are supposed to disturb established hierarchies and social, economic and political orders. The duo consists of ?ukasz J?drzejczak (Du?y Jack, Alameda 4) and Kuba Zio?ek (Stara Rzeka, Alameda 4, Innercity Ensemble). They invite listeners to participate in an urban ritual of liberation and disorder in which kitsch and rubbish blends with sacredness and truth. This album consists of five pieces composed and produced using vintage PRL radio sets, guitar effects, synthesizers, voices, guitar loops, amplifiers, and a four-track cassette recorder. Electro-acoustic experiments meet drone and psychedelic repetitional soundscapes.


WE WILL FAIL: Verstorung CD (MONO 074CD) 17.50
We Will Fail is a project focused on the pleasure of wandering. Field recordings, tape samples, synthesizers and electronic drum kits are mixed together to find some peculiar quality, referring to techno aesthetics. The person responsible for this project is Aleksandra Grünholz, a graphic designer, musician, and audio performance artist. She has cooperated with many visual artists and musicians, and co-created the artistic group OKO and musical duo Tirips (with Piotr Tkacz) "I have intended to create something that doesn't leave the listener indifferent, something that affects him," says Grünholz about this debut album. Verstörung is primarily the result of her collector's passion. For many years the artists has built a broad library of various sounds -- from those generated by musical equipment to samples found on old audio tapes, to field recordings. "The idea of how to use and combine this collection in a coherent and listenable wholeness began to clarify at some point. Last year I had the proper amount of time and started to work on the album," says the author. All of the material is a multilayered patchwork of sounds, bonded together by a mesmerizing rhythm. Album title Verstörung is meant to be a trail that leads further: "In this case, it's a title of a book by Thomas Bernhard, which addressing the topic of the impossibility of communication."


POSTMARKS: National Parks LP (MONO 075LP) 22.00
LP version. Postmarks is a duo comprised of saxophonist Boris Hauf and pianist D. Bayne. Their first album Western Ave was recorded in Chicago (2005) and released as a limited-edition CD on Luminescence Records. The 100 copies were packaged in unique covers, each a handcrafted collage from 1920s Chicago postcards by T. Kellers of Studio Twelve 3. For National Parks, Hauf and Bayne went to Vienna, Austria to record with guitar experimentalist Martin Siewert. Musical outlines for the pieces were inspired by U.S. national parks and their representation in iconic posters from the 1930s and 1940s. Boris Hauf (London) works as musician, composer, curator and lecturer. He plays reeds, keyboards, computer-based applications, cymbals and bells and tours worldwide in a variety of bands, ensembles, and in various other performative contexts and, if necessary, as a solo artist. He also composes for large and small ensembles, performance artists, film, radio, soloists, video and installation art.



PAGLIAROLI, ALESSIO: The Bass the Days 12" (MOOD 2014EP) 14.00
Alessio Pagliaroli catapulted to the DJ community after his Moodmusic debut "Distactions," featuring vocals from Jinadu and remixes from Frankey & Sandrino and Moodmusic head Sasse. Plays by Mano Le Tough, Dixon, Jimpster, and many more, "Distractions" was one of the highlights of 2013. Now Alessio is back with his second Moodmusic EP The Bass the Days, featuring vocals from Chicago-based Jerome Stokes. Chicago-inspired grooves wrapped around inspiring vocals and a jacking bass makes the original a true peak hour missile. Remixes comes courtesy of Alex Attias and acid-meister Freestyle Man.



VA: Enjoy the Silence Vol. 3 LP (MUSIQ 172LP) 25.50
LP version. A touch of classical music, left-field electronics, ambient love affairs, and discreet dubby house emotions without a kick drum: the third installment of Mule Musiq's famed Enjoy the Silence sampler serial swings gentle, tricky, and multidimensional. This time, the atmosphere focuses on avant-garde textures with a touch of very diverse genres and styles. Koss, Lawrence, and DJ Sprinkles aka Terre Thaemlitz are part of a dove-like sound cruise that allows you to be in many spaces and places at the same time. Beside them, some new names appear like Vermont, Recondite, Petre Inspirescu, and John Roberts, delivering musical voyages that seem to be produced by unique subconscious decisions and not by assembly-line craftsmanship for art. The sampler kicks off with Hauschka and his composition "Wind," an arrangement in which the prepared piano player from Düsseldorf converges two dulcet melodies into a soulful arch of sweetness. Right after this sublime piano gem, the Romanian producer Petre Inspirescu melts classic and electronic into a tempting maelstrom that celebrates the freedom of leaving blanks. The very special magnetizing quality of his music can be felt twice. His second contribution seduces with starry-eyed violins, piano minimalism, and pulsating electronics. Koss plays profound piano and lets it flirt with glockenspiel, wind instruments, and softly-wiped drum brushes. The only remix work on Enjoy the Silence Vol. 3 is produced by the magic mind of Terre Thaemlitz, who re-edits a track by young Japanese artist Daisuke Masuo aka Primula into a deep, absorbing melancholic ambient piece which bedevils with a variety of submerging and emerging sounds. Recondite's track "Corvid" could be the main soundtrack theme of a futuristic psychedelic Western in a world with little light and loads of romantic hope. The freshly-formed duo Vermont, consisting of Innervisions artists Marcus Worgull and retro-futuristic German house pioneer Danilo Plessow aka Motor City Drum Ensemble, serve up "Leerer Rat," a playful crescendo arrangement guided by an airy feeling for Krautrock-ish proportions, an instinct for space melodies, and an emotional language between two souls spoken during sonic adventures on vintage analog synthesizers. The most nervous seducer on the compilation comes from John Roberts, who let trumpets, piano, and violin dance with fidgety percussions. Producers Roman Flügel and Lawrence mainly avoid classical approaches to ambient music in their compositional contributions. Even if the former touches on some classic atmospheres with his track, the stretched sounds and melodies in it are determined by a more typical ambient magic. The latter delivers a dub-loving tempter that comes around with a little hint of house while letting spheres of magical tones freewheel. Altogether, here are 10 tracks by nine children of Brian Eno, Cluster, Arvo Pärt, and Steve Reich, who all express something honest and unsophisticated while using their machines and instruments in a heartfelt way.


MR 342LP

'O' LEVEL: Pseudo Punk LP (MR 342LP) 21.00
RSD 2014 release. Munster Records presents, in a co-release with Discos Alehop!, the first vinyl reissue of the two official singles of British band 'O' Level: "East Sheen" (recorded in November 1977 and released on Psycho) and The Malcolm EP (recorded in December 1978 and released by the Kings Road label). This compilation also includes three tracks from February 1979 never released on vinyl before, plus a rawer alternative version of "East Sheen" dating from March 1978. 'O' Level was created in 1976 by London guitarist Ed Ball along with two friends from school, the Bennett brothers (John on drums and Gerard on bass), who would leave the band in March 1978. That same line-up plus Dan Treacy (another school friend of Ball's) recorded the first Television Personalities single in 1977, titled 14th Floor. 'O' Level self-released that same year a first single which included three tracks strongly influenced by punk's energy (Buzzcocks and Undertones guitars and melody on "East Sheen") and attitude (with ironic comments about fake punks on "Pseudo Punk"), but all of it as if seen from a distance, outside a decadent scene which had already been absorbed by the establishment. The single also features a sort of homonymous anthem called ''O' Levels." As a record collector anecdote, there are two versions of the single with different covers, which go for very high prices. Ed Ball, DIY superhero, returned in late 1978 with four more hits, displaying a sound more oriented towards '60s pop but with the new wave spirit of the time. On this occasion, he was accompanied on bass, drums, and backing vocals by... himself, Ball played everything! The single, titled The Malcolm EP, contains a new hit in "homage" to Malcolm McLaren, "We Love Malcolm"; a portrait of the scene, "Everybody's on Revolver Tonight" (where the pseudo punks and part-time punks make another appearance); and two tracks with '60s melodies: "Leave Me Alone" (with a very Love-esque chorus) and "Stairway to Boredom" (pure new wave sound). But Ed Ball's music career didn't end with this second single. After recording three more tracks in February 1979, which have never been released on vinyl until now, he continued developing the same strand of wonderful pop through the '80s and '90s with bands such as Teenage Filmstars, Television Personalities, The Times, and many more, ending with four records as a solo artist. 'O' Level was Ed Ball, a passionate pop artisan who deserves to be rediscovered.


NEOS 11306CD

VA: Schizzi di Orlando Furioso CD (NEOS 11306CD) 15.50
At first glance, it seems remarkable that present-day musicians allow themselves to be inspired by a literary work that seems so remote from our time as does the epic poem Orlando Furioso by Ludovico Ariosto, written from 1505 onwards. Orlando's world, in a constant state of upheaval, reveals in its multi-layered nature far more analogies to the present-day realities of life than might appear at first glance. For this reason, Ariosto's broad literary area of experience can ultimately be used as a mirror into which we may look in order to better understand the enigmatic moments of our own present-day world while having recourse to the aids of artistic reflection. The conception of the Schizzi di Orlando Furioso is to be understood as this kind of glance into the mirror: Béatrice Zawodnik (oboe, English horn), D.M. Visotzky (alto saxophone), Barry Guy (double bass), Brice Pauset (harpsichord), and Leonardo García Alarcón (organ) allow themselves to be stimulated by Ariosto's verses to create a multifarious succession of 26 short pieces for solo, duo, trio and quartet combinations. Their essential elements include the collision of varying idioms and stylistic traits resulting from the respective areas of activity of the participating musical personalities. Due to this type of action, opposing areas of musical discourse -- namely those of the New Music, jazz and the sacred realm -- enter into relationships with each other or overlap each other, resulting in a multi-layered texture at times having the effect of a labyrinth.

NEOS 11317CD

TAKEMITSU/TOSHIO HOSOKAWA, TORU: Works for Solo Guitar CD (NEOS 11317CD) 15.50
Toru Takemitsu, born in 1930 in Tokyo, and thus a contemporary of the avant-garde generation of Berio, Boulez and Stockhausen, was first and foremost a remarkable "self-made man," open to all forms of music and to engaging with other arts -- above all painting. Toshi Ichiyanagi acquainted the composer with the European avant-garde and Fumio Hayasaka introduced Takemitsu to the film director Akira Kurosawa, for whom Takemitsu produced several scores to film plots. Takemitsu taught composition at Yale University and received numerous invitations for visiting professorships from universities in the USA, Canada and Australia. He died in Tokyo on February 20, 1996. Toshio Hosokawa was born in Hiroshima in 1955. Between 1976 and 1986, he lived in Germany, studying music composition with Isang Yun and Klaus Huber. In 1980, Hosokawa participated for the first time in the International Summer Courses for New Music in Darmstadt. Since then, his career developed mainly in Europe and Japan, gaining international worldwide reputation as one of the leading Japanese composers. Many of his compositions were performed for the first time by major orchestras under the direction of leading conductors, like Kazushi Ono, Valery Gergiev, Franz Welser-Möst and Sir Simon Rattle, and many others, becoming part of important repertoires in each genre. Marco Del Greco is regarded as one of the most important classical guitar player of his generation. Born in Rome in 1982, he received his musical training in Carlo Carfagna's class at the Conservatorio "S. Cecilia" in Rome, where he graduated with "menzione d'onore." He post-graduated with a Master's Degree in concert performance with the highest honors at the Hochschule für Musik of the Basel Music Academy, Switzerland, under the lead of Stephan Schmidt. He won numerous prizes in international guitar competitions. Marco Del Greco is currently guitar professor at the Conservatorio Fausto Torrefranca in Vibo Valentia (Italy) and Artistic Director of the Rome Guitar Festival. Toshio Hosokawa: "Marco Del Greco is one of my favorite guitar players today. I met him for the first time in February 2013, when I stayed at the Wissenschaftskolleg zu Berlin. He played my "Serenade" with deep understanding and sensitive articulate technique. I was really moved by the great beauty of his singing guitar. Marco loves the music of my mentor Toru Takemitsu and he plays Takemitsu's great guitar music mysteriously and intimately. For this reason I am sure that the audience will love Takemitsu's performance. I am very glad that a talented musician like Marco will make the Takemitsu's sensitive, beautiful music known and loved by the next new generations."

NEOS 11401CD

Preludes to Disaster is the first release of the new series FIGURA Ensemble Edition. A mezzo-soprano, three instrumentalists, a composer, a poet and an architect, FIGURA Ensemble is a musical collective with a mind of its own. Their specialty is contemporary music, having performed since their founding in 1993 the world premieres of more than 200 works from Denmark and abroad, as well as a large number of Danish premieres. Each of FIGURA's seven artists is among Denmark's most respected: Helene Gjerris, Jesper Egelund, Frans Hansen, Anna Klett, Peter Bruun, Ursula Andkjær Olsen and Filippa Berglund. Together, over the last 20 years, FIGURA has challenged collaborators and audiences alike with exceptional concerts and modern music theater -- not to mention their "Small Composers" workshop productions, which reach out to the next generation of music-lovers. Alongside a history of tireless work in music, opera and education, FIGURA has performed in many countries. As evidenced by their current CD, FIGURA thrives on collaboration, both in Denmark and abroad. They have worked closely with composers such as Timo Kreuser, Derek Bermel, and Steingrímur Rohloff, who at the time of these recordings was composer in residence with FIGURA; with musicians like Garth Knox, Matthias Loibner, and Frode Haltli; and with ensembles like POING and the Seattle Chamber Players, their sister ensemble since 2008.



SILO: Work LP (NOVE 001LP) 21.00
LP version. Work is the first release in 12 years by Denmark's best-kept secret: digital power-rock trio Silo. Back in the 1990s the group -- Frederik Ammitzbøll (guitars), Mikkel Bender (bass) and Søren Dahlgaard (drums) -- were the most abrasive act signed by Swim Records, the independent label founded by Wire frontman Colin Newman and his wife Malka Spigel. After releasing two albums -- Instar (1998) and Alloy (2001) -- and appearing live with the likes of Godspeed You! Black Emperor, Sigur Rós, Trans Am and Pole, the group, who came together as students, drifted off into family life and gainful employment. Frederik works in IT and co-runs avantgarde menswear label Uncommon Creatures, Søren is a full-time artist and Mikkel works with patents. But now Silo have reloaded with their distinctive twisted metal sound, built on crunchy digitized guitars, beats that crack like a boltcutter and a sturdy industrial rhythm matrix. Work is the long hours and collective effort required to make music and keep a band together in the first place; it's what prevents musicians from coming back to it, too. Work is a summing-up of tracks they have been intermittently recording and reworking over the past decade. Jagged edges, distorted sound-clouds and swarming guitars are the trademarks, but the Teutonic-edged grooves make the whole thing fly. Hard labor goes into designing the guitar parts, which are digitally sculpted and processed. With its swooning chord changes and super-fuzzed guitar textures, Silo's immersive sound recalls groups like My Bloody Valentine and Band Of Susans, while packing the punch of acts like Helmet or Dälek. Thanks to their admiration for leftfield hip-hop producers such as J Dilla and Sa-Ra Creative Partners, their beats are cranky and off-center, and on "Cabinn Fever" (named after the Danish hotel chain where the track was recorded) Silo recruit High Priest and M Sayyid of Antipop Consortium for a channel-hopping rap taking in everything from Eric Clapton to 747s. Other guests include R&B/pop vocalist Maria Hamer-Jensen and Mew's Jonas Bjerre. And who can resist a title like "The Inexorable Sadness of Pencils?" The album's yearning, closing instrumental is inspired by a poem by American author Theodore Roethke. It describes the sadness of offices and public spaces where dust and boredom have accumulated -- echoing the album sleeve photo of a room piled with unread newspapers. Plug in to Silo and blow the dust out of the corners of your life.


OP 012EP

JUST FRIENDS: Don't Tell Me 10" (OP 012EP) 18.00
RSD 2014 release. 10" heavy white vinyl, limited to 1,000 copies. Just Friends is a duo comprised of Sasha Spielberg on vocals and Nicolas Jaar on production. Their first single was a cover of Leonard Cohen's "Avalanche."



RSD 2014 release. Pampa Records' exclusive release for Record Store Day 2014 pairs two of their most admired artists with two of their own most beloved -- Robag Wruhme & Stereofysh, Die Vögel & Tocotronic -- for a limited 12" remix release. Stereofysh's simmering spoken-word production "There Yet" is transformed into a classic Robag Wruhme delicacy. Tocotronic's masterful dream-pop number "Warte Auf Mich Auf Dem Grund Des Swimmingpools" takes flight and soars via Die Vögel's reinterpretation. This is sophisticated slow-burn deep tech-house, designed for dark and smoky late-night moments.



DOLLE JOLLE/JOHN TALABOT: Permanent Vacation Classic Vol. 1 12" (PVC 001EP) 12.00
2014 RSD release. Special release for Record Store Day 2014. Two of Permanent Vacation's all-time classics bundled on a special 12" vinyl, consisting of Todd Terje's remix of "Balearic Incarnation" taken from the Dølle Jølle vinyl PERMVAC 026-1 which came out in 2008, and John Talabot's "Matilda's Dream," taken from PERMVAC 058-1, which came out in 2010.



VOGEL, MICHEL: Une Petite Musique De Nuit LP (PLANAM 005LP) 25.00
2009 release. Planam proudly presents the first LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Vogel's artistic activities start in 1960 when, as a painter under the influences of Antoni Tapies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His researches develop with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and especially the Fluxus artists, supported and pushed him to carry on his acoustic explorations while his sonic creations get closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. For this first project, Planam selected, in direct collaboration with the artist, an improvisation for large size gongs "prepared" with metal rods, a little gong, a Chinese cymbal, and a caoutchouc ball, titled Une Petite Musique De Nuit. Recorded live with no over-dubbing the night of January 18th, 2002. A very deep, alpha-wave-oriented listening that will make you discover very intimate, as well as stellar new sonic dimensions. Features a full-color space cover and inner sleeve.


ERIKM & LUC FERRARI: Visitation LP (PLANAM 018LP) 25.00
2011 release. Visitation, created on April 1st, 2011 is a very unique kind of collaboration between two French sonic artists, master Luc Ferrari and eRikm. Here is eRikm's direct testimony about this work: "When the sun set on April 1st, 2011 I heard through the windows of my house the repetitive song of a night bird. Madeleine brought me immediately back to Luc Ferrari¹s electroacoustic piece Presque Rien N° 2. I became curious about comparing the bird that was officiating in the garden of Cap15 (in the North area of Marseille) with the bird of Presque Rien. My curiosity triggered the desire to play Luc's piece in the acoustic space of my house. With my rudimentary recorder I moved inside and outside the house, moving back and forth between both spaces. I played with the depth of field, the beat between these two birds separated by 34 years, and immersed myself in these acoustic events. This Ursprung or temporal Klein bottle was recorded and edited in one single sequence shot." It's very hard to compare anything with one of the all-time masterpieces of modern creation as Luc Ferrari's Presque Rien N° 2, but listening to this piece you immediately get the impression of a perfectly accomplished work, published now on LP on your favorite label. So here is the first-ever LP by eRikm, elegantly released with Presque Rien's iconic mouth picture on the sleeve; dedicated to Brunhild Ferrari and to Natacha Muslera. One-sided release.


VOGEL, MICHEL: Ronde matutinale à Amillis/Berenice LP (PLANAM 019LP) 25.00
2011 release. Planam proudly presents the second LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Michel Vogel's artistic activities started in 1960 when, as a painter under the influences of Antoni Tàpies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His research developed with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and especially the Fluxus artists, supported and pushed him to carry on his acoustic explorations while his sonic creations got closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. After the deep, cosmic night-music of Une petite music de nuit (Vogel's first LP) Planam decided to issue two more early-morning oriented realizations, or "Ronde mattinale à Amillis" and "Berenice." These alpha-wave improvisations for "prepared" gongs and self-built metal instruments, selected in direct collaboration with the artist, will make you enter into luminous sonic dimensions. Features a full-color space cover and inner sleeve.



KARMIL, MATT: Matt Karmil CD (PNN 007CD) 17.00
Matt Karmil -- to whom do we appeal? How do we learn through experience? What differentiates us from other animals? Who is confronted by freedom? Who is comforted by opportunity? Who was the pioneer? Who transcends verbal communication? A point of view of an avant-garde reality -- a transitory party. The world is not round, it is a disc. After years of working in various, shall we say, departments of music, Matt Karmil was almost forced into releasing his own first 12" -- a chance meeting with Ada after an invitation to play with Cologne Tape led to the release of the Reverse Peephole EP. With support from Barnt, DJ Koze, Axel Boman and Michael Mayer, amongst many others, things really couldn't have got off to a more surprising start. The somewhat nomadic Matt Karmil has been producing and DJing under many aliases and in many forms for years, but has now found a flow and sound that until now has recently eluded him. Releases on Tim Sweeney's Beats In Space, an EP, the mysterious HAF001 and now the debut album appearing on Cologne's own PNN, are sure to make 2014 a busy one for Matt Karmil.


PT 8023CD

SPIRIT OF JOHN MORGAN: Age Machine CD (PT 8023CD) 17.00
These devout blues rockers' second helping of psychedelic blues appeared in 1970 with confident swagger underpinned by the relative success of their self-titled debut LP from 1969. Mervyn Conn's Carnaby outlet was itself confident enough to issue the band's second installment of brooding blues to a marketplace that was becoming swamped with mega-stars and progressive pomp. Spirit Of John Morgan's affinity with Graham Bond is clearly evident throughout the songwriting and performances that signify the band's innovative approach and musical prowess. Digitally remastered with analytical liners and rare photos detailing the band's success and eventual demise, the Spirit Of John Morgan is being kept well and truly alive with this celebratory reissue of a significant and true lost classic. Includes a bonus track.



BRAINIAC 5, THE: When Silence Was Sound 1977-1980 CD (RECKLESS 101CD) 16.50
This timely compilation documents the first flourishing of psych-punks The Brainiac 5, born out of the free-flowing Cornish freak-scene of the mid-'70s. Highlighting the band's new wave smarts melded with lysergic guitar workouts influenced by the late-'60s San Francisco scene, the release comprises the band's 7"s along with sole album World Inside, all produced in the late '70s by Hawkwind drummer Martin Griffin, and live tracks recorded in 1980. Including a 16-page booklet with a full band history by archivist Colin Hill, NME 1978: "Lou Reed meets Country Joe And The Fish." The Wire 2013: "It's like finding something you never knew you lost."



BAD BRAINS: Bad Brains LP (RUSLP 8223LP) 14.00
2014 repress. "Legendary album from 1982, considered the definitive landmark for breaking the NYC hardcore scene. Number 16 on Spin Magazine's '50 Most Essential Punk Albums'!"



JACK RUBY: Hit and Run 2CD (CEC 002CD) 23.00
The collected recordings of legendary lost 1970s New York City band, Jack Ruby. Seen and heard by just a precious few, Jack Ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. None of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. Yet their legacy and influence can clearly be heard in bands that followed in their wake like Sonic Youth and Teenage Jesus And The Jerks. They have been variously described as "The Velvet Underground in a car crash" and the "art-punk Steely Dan." Formed in 1973 by vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, classically-trained viola player Boris (also known as Boris Policeband), and later joined by bassist George Scott (James Chance And The Contortions/8-Eyed Spy/John Cale) and new vocalist Stephen Barth, the first incarnation of Jack Ruby demoed two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit and Run" -- sounding like some unholy blend of Raw Power-era Stooges, Velvet Underground and J.G. Ballard's Crash -- and a bizarre number entitled "Mayonnaise," based around Boris' amplified viola and primitive electronic "beats" sequenced on Cohen's Serge synthesizer. These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Three more maniacal songs of arch art-punk with killer pop hooks -- "Bored Stiff," "Bad Teeth," and "Sleep Cure" -- were all recorded in one five to six hour session at Columbia Studios in May 1974. With Cohen patching musique concrète sounds through the Serge, set against Gray's banshee guitar-playing and Hall's snotty vocals, the Jack Ruby sound was formed. But a record deal evaded them. Cohen left and started a new career as a writer for Late Night With David Letterman and, later, as The Ethicist, a columnist for The New York Times solving readers' ethical problems. In 1976, Hall and Gray reactivated Jack Ruby as a live-performing unit with George Scott on bass. They played harder, faster and louder than any other band in New York at that time. Their rehearsals at Matrix studios, and dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray and Scott, became a cult draw for other NYC punk and no wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, by now the only original member, taking over vocal duties for a couple of shows alongside Teenage Jesus And The Jerks and the Fleshtones, before disbanding for good after one last riotous show with new vocalist Stephen Barth at Max's Kansas City, formerly stalking ground of the band's idols, The Velvet Underground. Hit and Run is a two-disc set of everything Jack Ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although 40 years-old still sound thrillingly urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974 -- nine short tracks that play like a library record, book-ended by two longer ones -- some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music -- hidden for decades, now-revealed -- constituting a previously-unheard secret history of the New York City music scene of the early 1970s.



VOGEL/T.RAUMSCHMIERE, CHRISTIAN: Lost in the Chase/Dampfer 10" (STRIKE 148EP) 14.00
RSD 2014 release. This exclusive and limited 10" vinyl contains one track each side by UK avant-garde techno producer Cristian Vogel and Shitkatapult founder T.Raumschmiere. It's colored vinyl and strictly-limited to 300 copies. While Vogel performs a dark post-post dubstep techno opera of music, T.Raumschmiere hits hearts and souls with his masterpiece "Dampfer" that he created together with his friend Ben Lauber: deepest half-tempo shit!



MARK E: Product of Industry CD (SPC 122CD) 17.00
Producer Mark E hails from the West Midlands, an area of the UK that was at the heart of the Industrial Revolution and was also hit hardest by the decline of UK industry in the 1970s, and again by the economic crisis of our own time. It's an area with a distinct sound and atmosphere, one that manifests in the music of artists as diverse as Black Sabbath and The Specials, and one that plays into many of the ideas behind Mark E's new record Product of Industry. The album's title is a subtle nod to the producer's past and heritage. He explains, "The name lies in the manufacturing past of the area I grew up, [and] the manufacturing past of my family. [It references] how the decline of industry in the Midlands UK changed the landscape physically and socially -- I'm now a music producer and DJ, and this is totally different to my grandparents who were truck drivers and sheet metal workers. [The title discusses] how things have changed, and it's also about how I came to be in this position, due to the current global financial situation. I lost my job due to it, [which led to me] trying out music -- and here I am, a product of industry, both currently and historically." As befitting its genesis, there's something distinctly mechanistic to the music on Product of Industry -- as Mark E says, "The music is grinding, continuous, heavy, relentless." You can hear this idea in the industrial clatter that underpins "Kultra Kafe," the grinding rhythm of "Bog Dance," the pounding beat of "Eganix." Part of this sound is generated by the album's reliance on classic machinery of a musical kind: "My approach was very different on Product of Industry compared to Stonebreaker," Mark E explains. "I approached it with an album in mind. The technique is [also] different -- this is majority analog, whereas Stonebreaker was 100% digital." But just as importantly, this reliance on classic analog synths also means that the sound of Product of Industry is shot through with a certain warmth, a reminder that there's humanity at the heart of this industrial environment and this industrial sound. The music, explains the producer, was designed to be "soulful and delicate," and in many ways its abiding warmth is a throwback to the classic sounds of Chicago house. They're firmly located on the other side of the Atlantic, though, and several tracks incorporate "vocal snippets of the language and accent of the West Midlands." The result is an album that's steeped in history -- both musical and social -- but also sounds utterly contemporary. It's a testament to the way the creative spirit can flourish even in the most adverse of circumstances, and also an album-long evocation of the idea that the machines we build are ultimately expressions and extensions of ourselves.


MARK E: Product of Industry 2LP (SPC 122LP) 23.50
Double LP version.



MERCURY: In & Out EP 12" (SPIEL 003EP) 12.50
Spiel presents one from Swiss indie dance/electronic duo Mercury. "In & Out" is an irresistible dancefloor monster built around a very cool vocal sample, and the dark and cold electro feel of this track combined with the warm, soulful vocal makes this a very special house tune. Mercury picks up the tempo and shows us their more techy side on the bouncing "The Session." The haunting vocals and sharp techno beats make this a real banger of a track. The slower and darker "Hommage" gives tribute to the 808, 303 and 909 machines, in a true Detroit electro kind of way.



MEMORY BAND, THE: Further Navigations 10" (VAN 272EP) 15.50
2014 RSD release. The Further Navigations EP is a continuation of the themes which informed The Memory Band album On the Chalk (Our Navigation of the Line of the Downs) also released on Static Caravan. Featuring remixes from Belbury Poly and Grantby and a brand-new Memory Band track, the EP draws inspiration from the ancient "lost road" that is the Harrow Way. The choice of collaborators are two producers who have had a profound impact on The Memory Band sound in different ways, but both bring to the fore the cinematic elements of Stephen Cracknell's approach to traditional music. For "Hobby Horse" Belbury Poly takes the blueprint from the Memory Band's version of the traditional funeral march "When I Was on Horseback," transforms it by speeding it up, flicking the swing setting and producing something that sounds like David Munrow making music for schools on analog synthesizers. Grantby takes the traditional ballad "As I Walked Over Salisbury Plain" and tweaks it into "The Ballad of Imber Down." The Memory Band original "Walk Along It" borrows heavily from the anonymous and haunting version of the traditional English tune "The Lincolnshire Poacher," broadcast from a shortwave numbers station and believed to be operated by the British secret services. Limited edition of 500 copies.



AMOROSO, GIANNI: Rhythm Is Only One EP 12" (STEP 002EP) 14.00
Spell PETS backwards to get STEP. Spell STEP forwards to find PETS going back to basics. STEP is the new concept label from the founder of PETS, Catz N' Dogz, that highlights the rawest forms and root functions of quality club music. STEP finds the fundamental groove with under-the-radar house and techno that isn't afraid to be rough around the edges. STEP is limited promo, zero hype, and all about the music. Each new STEP will be released every three months on vinyl, with a digital version available once the next vinyl STEP is released. This one's by Gianni Amoroso, featuring a remix by 3 Channels.


SR 345CD

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).

SR 385CD

TOOP, DAVID: Mondo Black Chamber 2CD (SR 385CD) 18.00
Sub Rosa recordings 1996-2003: the complete series of works made by David Toop for their label. David Toop (born May 5, 1949) is an English musician and author, and as of 2001, was visiting Research Fellow in the Media School at London College of Communication. He was notably a member of The Flying Lizards. He released New and Rediscovered Musical Instruments (with Max Eastley) on Brian Eno's Obscure label (1975) plus many solo albums including 37th Floor at Sunset (2000) and Black Chamber (2003) on Sub Rosa. He was a prominent contributor to the British magazine The Face. He is a regular contributor to The Wire. Toop published his pioneering book on hip-hop, Rap Attack, in 1984. Eleven years later, Ocean of Sound appeared, described as Toop's "poetic survey of contemporary musical life from Debussy through ambient, techno, and drum 'n' bass."


TR 285EP

KJELLVANDER, CHRISTIAN: The Painted Bird 7" (TR 285EP) 9.00
2014 RSD release. Having only just released his commercially and critically-acclaimed fifth solo record The Pitcher (TR 273CD/LP), here are two previously-unreleased outtakes from the album session from Swedish musician Christian Kjellvander. Recorded in an old church in the Swedish countryside, these sessions mark probably his most elegant and well-crafted recordings to date.



THING, THE: Boot EP 7" (TTR 001EP) 14.50
RSD 2014 release. Special 7" EP to accompany the band's new album, Boot! (TTR 001CD/LP). Two exclusive songs only available on this EP, recorded 2013. One-time pressing of 750 copies. Mats Gustafsson (bass saxophone); Ingebrigt Håker Flaten (electric bass); Paal Nilssen-Love (drums).



MOONRAKER: Lowjit Vagrants EP 12" (TRILOGY 009EP) 23.00
2014 repress. "Crafted, varied EP from Kenneth Lay and Jason Carr, out of the Metasplice milieu in Philly. A couple of ant nests, a droner with an mbalax tic, and a monster-crunchy, sun-up soundscape. Boot cyan lean."


ONDO FUDD: Coup D'Etat 12" (TRILOGY 017EP) 19.00
Ondo Fudd (aka Call Super) on The Trilogy Tapes.


A MADE UP SOUND: Night Owl 12" (TRILOGY 021EP) 23.00
Tracks: "Fortress (The Hague, 2005)," "Caustic Network," "Kovaxxxt," and "Situation."


TSQ 2998LP

CHANDLER, DILLARD: The End of an Old Song LP (TSQ 2998LP) 25.00
2014 RSD release. "Vinyl reissue of the 1975 Smithsonian Folkways LP. These a cappella performances from the North Carolina folksinger were recorded by musicologist John Cohen. One of the rarest records in the Folkways catalog, this LP reissue is presented with original artwork and booklet insert, housed in a deluxe Stoughton 'tip-on' jacket, as a limited edition of 1000."



SVENSSON, TOMAS: Am I Networked? CD (VIDAB 002CD) 17.00
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.



PASQUAROSA, ANTHONY: Solo Acoustic Volume Seven LP (VDSQ 007LP) 18.00
"12-string alchemy from the wilderness of Western MA, Pasquarosa's compositions trans¬x with hypnotic ¬finger picked melodies of a true occult nature. Known for his work under the Crystalline Roses moniker, his acoustic playing resounds with mysticism and unknown pleasures."


SHEPPARD, AARON: Solo Acoustic Volume Nine LP (VDSQ 009LP) 18.00
"A dazzling debut from Bay Area guitarist Aaron Sheppard whose virtuoso fi¬nger-picked six string attack is stunning in both its precision and melodicism. Sheppard's album is a bold introduction to a remarkable new talent in the world of acoustic guitar."


ORCUTT, BILL: Solo Acoustic Volume Ten LP (VDSQ 010LP) 18.00
"The blues, as abstract."



VA: That Ska Beat!: Made in Jamaica 1962-1966 CD (VOJ 001CD) 14.00
"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 CD (VOJ 002CD) 14.00
"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.


WER 6774

"In the1960s, Wergo made a name for themselves as a contemporary music label thanks to a series of ground-breaking recordings entitled Studio Reihe Neuer Musik. Wergo is now offering these gems from their early years on CD for the first time. Karlheinz Stockhausen's Momente, written for soprano, four choral groups and thirteen instrumentalists, was not designed as a fixed work with a clearly defined beginning, formal structure, and ending. It is a composition of independent events with multiple meanings. Premiered in May 1962, the composition underwent some changes in the following years which led to several variants, with this CD presenting 'Version 1965.' Performed by Martina Arroyo (soprano), Aloys Kontarsky (organ), Alfons Kontarsky (organ), Kölner Rundfunkchor, Kölner Rundfunk-Sinfonie-Orchester, and Karlheinz Stockhausen.

WER 6782

CAGE, JOHN: Sonatas and Interludes CD (WER 6782) 25.00
"Composed between 1946 and 1948, the Sonatas and Interludes for prepared piano are among the most famous works of John Cage. Several years earlier, Cage had already developed the technique of piano preparation to explore the possibilities of sound manipulation. At first, Cage tried to achieve a specified sound image -- an ideal which he later modified. Cage explains, 'When I first placed objects between piano strings, it was with the desire to possess sounds (to be able to repeat them). But... it became clear that not only are two pianists essentially different from one another, but two pianos are not the same either.' This recording from Wergo features illuminating readings of these masterpieces of modern music played by pianist Antonis Anissegos."

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