• Increase font size
  • Default font size
  • Decrease font size

Forced Exposure New Releases for 5/12/2014

E-mail Print PDF

New music is due from A Winged Victory for the Sullen, Acid Mothers Temple & The Melting Paraiso U.F.O., Alvarius B. (Alan Bishop), and Loudest Whisper, while old music is due from Chris Brokaw, Sonny Knight, Jonathan Richman, and The Fantastic Dee-Jays.


we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 219 Medford Street / Malden, MA 02148 / USA

for more information about shipping or ordering
please refer to our FAQ:

direct any questions to This e-mail address is being protected from spambots. You need JavaScript enabled to view it


200 027EP

KORABLOVE: Time 12" (200 027EP) 12.50
200 Records is back on vinyl with "Time" by Russian artist Korablove -- a long psychedelic journey with bells and acid lines in a magnificent dark atmosphere. Falko Brocksieper produced a sublime acid remix of "Time," as well as Cologne-based newcomers Steffen Otzipka and Manuel Aaron of Rough (a new techno project in Cologne). Their first track ever released is a deep dub-techno trip with a rave-y appeal.


3000GRAD 016EP

MOLLONO.BASS & FRIENDS: Part One 12" (3000GRAD 016EP) 14.50
Mollono.Bass freely employs all mediums of sound creation, and creates a well-balanced mix of dancefloor thrust and intelligent deepness. Still there is more to his music, a very special vibe between the frequencies of his organic grooves: Friendship -- serving as the backbone for this lead-off single from his new album. His friendship with Seth Schwarz finds expression through his virtuous violin playing. Together with Mollono.Bass' dubby beats and warm harmonies, it creates a flowing elegance of truly symphonic dimensions. The guitar chords of another friend, Jörg Schwenzer, fit into the driving rhythms perfectly, creating an atmosphere of jazzy mischief.


7S 007CD

VA: Secret Lounge 2: The Finest in Chill Out and Ambient Music 2CD (7S 007CD) 20.00
Secret Lounge -- the finest in chill-out and ambient music. Secret Lounge is a fantastic double set of the most relaxing chill-out groove sounds for the sensual hours. Friends of high-quality electronic music will get 31 of the currently-best tunes around on this exclusive collection. Smooth, sexy, Balearic-feeling. Includes the "Sunset Mix" of the top hit "All Around the World" by successful producers Dush & Jerry Ropero (feat. Gitano). Other artists include: Digital Project, Castlebed, Florian Fai, D-Chill, Deep Melange, Frisk & 5k0tt, Cedrik Zimmermann, Francis Milia, Sixty4, Arshia Alipour, Hadi Lalemi, Crystal Noise, Phazed Romance, Inusa Dawuda, Carpatica, Submission, Sinatic, Jacques Le Noir, D-Chill, e-Love, Flow River's, Digital Project, Erin Panto, Electric Moonlight, Hailey Sphynx, Niestolik & Richter, Oliver Backens & Stefan Grünwald, Ingo Herrmann, Music Hazard Inc., Digital Project, L.O.B., Perry Frank, Falko Niestolik/BK Duke/Ellie Jackson, Magma, Lemonchill, Dennis Landman, and Sunsplorer.



ALVARIUS B.: What One Man Can Do with an Acoustic Guitar, Surely Another Can Do with His Hands Around the Neck of God LP (ABDT 053LP) 22.00
The album title pretty much says it all. Yes we know that's the same thing we said about last year's Alvarius B. (Alan Bishop) archival release Fuck You and the Horse You Rode In On LP, but while What One Man Can Do... has a similar approach in attitude, it comes a decade later as solo acoustic guitar instrumentals recorded during the 1990s. Perhaps, if it's contextualization you are seeking, you could consider this a continuation of the first Alvarius B. album (ABDT 004CD -- acoustic guitar instrumentals recorded during the 1980s). Or, you could simply imagine that these are songs about strangling people like you with a low E steel guitar string. This (recorded straight to cassette) acoustic guitar sound has more of a resemblance to a performance on power tools than it does to strumming or picking a Martin flat top. So if you've been leisurely waking up on Sunday mornings to sit down, have a cup of tea in your non-smoking kitchen breakfast-nook, staring out into the garden while listening to your old Fahey records, step aside and let someone else own this piece of wax -- someone who may take the body of an old fucked-up guitar and start pounding people like you into the pavement with it. Extremely limited one-time pressing of 400 LP copies.



BORBETOMAGUS: Songs Our Mother Taught Us CD (AGARIC 1995CD) 15.00
2003 release from the trio of Jim Sauter (saxophones), Don Dietrich (saxophones) and Donald Miller (guitar). For over two decades, Borbetomagus have raised the mantle on intense improvisational sound parameters into one of the most unique sound configurations heard on planet earth. Heavy noise, deeply coiled feedback manipulation, hair-raising electronic squeal and the ultimate in air propulsion explosiveness, all initiated by humans. This CD features live performances in Glasgow and London 1999.



2012 release. Issued for an art event presented at the Galleria Milano in the first week of April 2012, the recordings on this LP edition represent a very specific and intimate moment in the creative sound production of Davide Mosconi with NADMA associates Inez Klok and Gustavo Bonora. For Davide Mosconi and for all the artists and musicians involved in the groups he founded (the legendary NADMA, Organic Archestra, Il Quartetto, Alea), improvising sessions were a daily practice that founded their very idea of music: a constant flux, a spontaneous research as important as life itself, mainly carried out in their private spaces and homes. Sometimes, like in the case of Archi, these sessions were recorded giving us the chance to appreciate their unique sound approach coming from avant-garde experiences liberated by post-free jazz currents, as well as from classical studies or from experiences in the visual arts. Archi (i.e. Strings) features cellist and violinist Gustavo Bonora (a founding member of Il Quartetto, the core of what would become the larger improvising ensemble NADMA), harpist Inez Klok (also member of NADMA as well as involved in Aktuala) and Davide Mosconi. This improvisation was recorded on September 24th, 1974, one year after the publication of the only NADMA LP by RCA. The continuous, fluid music of Archi perfectly succeeds in expressing the parallel influences of ecstatic Afro-American ethnic music and of the contemporary neo-avant-gardes. This trio, as well as NADMA and the other entities organized around the key figure of Davide Mosconi, was surely one of the most innovative among the collectives of improvisers active in those years in Europe (Incus, FMP and ICP) and USA (especially Sun Ra Arkestra and post-ESP derivative free spiritual artists on Strata East), creating a sound which was then unparalleled in the Italian improvised music scene.


PATTERSON, BEN: Early Works CD (NMN 028CD) 19.50
2002 release. Alga Marghen proudly presents the first record ever produced by Ben Patterson: "This is not only my first CD, but also the first recordings of these works available to the general public." Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avant garde music classics, a crossover between John Cage's exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: "Duo for Voice and a String Instrument" and "Variations for Double-Bass," both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. "Duo" was Patterson's most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while "Variations" represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; a collaboration with Philip Corner, Walter Marchetti, Davide Mosconi, and a few more friends. These newly-recorded pieces include "A Simple Opera" (1995), a repetitive homage to Emmett Williams on his 70th birthday; "Paper Piece" (1960), the work that cut the umbilical cord to all of the author's previous classical and contemporary musical training and experience, and "Pond" (1961), a piece that reminds of Richard Maxfield's electronic music with voice collage. The edition includes a fold-out 16-page insert with original scores and photos.


ASHLEY, ROBERT: String Quartet.../How Can I Tell The Difference CD (NMN 030CD) 19.50
2000 release. "String Quartet Describing the Motions of Large Real Bodies" was composed as the potential orchestra for an opera-based on the text of In Sara, Mencken, Christ and Beethoven There Were Men And Women." When the work was composed in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound-producing devices as yet undreamed-of. The piece consists of an electronic orchestra of 42 sound-producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound-producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here, few of the technical resources were available. Now, of course, there are computer "patching" programs that would make the job possible, but complicated. Such are dreams, when technology promises a "new world." Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific Ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of World War II, to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards. A perfect case of coincidence as illusion. In Version One of "How Can I Tell the Difference?" the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the "String Quartet" as an "orchestra," in the way it was intended to be used in the opera. In Version Two of "How Can I Tell the Difference?" a solo string player using the same playing technique as in the "String Quartet" opens and closes the sound "gates" to electronic reverberations and pre-recorded sounds running continuously with the performance. A digipack CD edition including an 8-page booklet with scores and liner notes written by Robert Ashley.


PALESTINE, CHARLEMAGNE: Alloy (Golden 1) CD (NMN 035CD) 19.50
Originally released in 2000. The Golden Research is the name chosen for the complete documentation of previously unpublished works by Charlemagne Palestine starting from the early 1960s to the mid-late 1970s. Such a huge project will include seminal collage and electronic music, Bell Studies, New York and California drones, piano drones as well as more specific compositions. All the recordings will be exclusively available through Alga Marghen. Be ready to change your own opinion about minimalism and music in general? Holy1 and Holy2 were both recorded in NYC in 1967. Charlemagne Palestine was listening to a lot of ethnic world music; he was also immersed in the late night New York soundscape, absorbing the spatial sound diversity and beauty that such a big city could only express very late at night. He also worked at night building up a sound, oscillator by oscillator; then adding tiny increments of white noise that would gradually make the sounds thicker and thicker until they were immense sacred machines humming like gargantuan Tibetan bees. The sounds were played very, very loud, making all the objects in the room resonate, while outside all was quiet and sleeping. Holy1 & Holy2 were done this way. Then, in 1969, Tony Conrad asked Charlemagne Palestine to make some carillon music for his film Coming Attractions. They were seeing each other regularly when the Free Music Store of radio station WBAI asked Palestine to create a piece for an event they were preparing to broadcast live on radio. So he asked Tony, his saxophonist Bob Feldman and his then-wife and soprano Deborah Glaser to collaborate on a work that he would organize around an instrument that he invented at that time called an Alumonium. Tony Conrad played an instrument that he invented, the Long String Drone, that was a long string attached to a long wooden structure and amplified. Bob played the chimes and a conch. Deborah sang and played chimes and Charlemagne sang, also played the chimes and some percussion instruments that they found lying around the hall where they played. The piece became Alloy and the sound used as an all-electronic background continuum, played through loudspeakers in the hall, were Holy1+2 from 1968. Digipak CD edition with folded insert and liner notes.


MOORMAN, CHARLOTTE: Cello Anthology 4CD BOX (NMN 064CD) 158.00
2007 release. Stunning oversize boxset (similar in production to Alga Marghen's OU box). Historic Fluxus sound documentation at its finest. Featuring music by: Earl Brown, Sylvano Bussotti, John Cage, Giuseppe Chiari, Toshi Ichiyanagi, Terry Jennings, Jackson MacLow, Nam June Paik and Karlheinz Stockhausen. Recordings from 1964-1966 & 1982. Performed by David Behrman, Philip Corner, Malcolm Goldstein, Terry Jennings, Charlotte Moorman, Nam June Paik, etc. Limited to only 500 copies and worth the extra pennies.The cellist Charlotte Moorman can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogs which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. Cello Anthology is a collection of documents -- sonic and photographic -- as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines -- from music to sound and concrete poetry, from visual and plastic art to cinema and to video art -- is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the 15 editions of the New York Avant Garde Festival she organized between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realized in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar corporeality of the cellist's performance gesture and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s -- works which affirmed the Florentine artist on the international scene -- and the reprint of Gisela Gronemeyer's poignant essay dedicated to Charlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents. Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents -- a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of "ritualistic" meanings of a concert, even while consciously accepting it as an exhibition frame. The third CD offers an in situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982, which includes a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience. The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition 'The Long Hot Summer,' sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video "Waiting for Commercials," realized by Paik in 1972 in collaboration with Russel Connor, completes the anthology put together and offered here. Luxury edition including a 154-page book with original documents, full-color photos and scores; a set of 16 full-color inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. First boxset edition limited to 500 copies.


HIGGINS, DICK: The Thousand Symphonies CD (NMN 077CD) 19.50
2010 release. Alga Marghen presents the first edition ever issued of Dick Higgins' music. Fluxus founding member, in 1958 Dick Higgins studied Composition and Experimental Music with John Cage in his class at the New School for Social Research in New York together with, among others, La Monte Young, Richard Maxfield, Toshi Ichiyanagi, George Brecht, Allan Kaprow, Al Hansen, and Jackson Mac Low. In the Spring of 1968, Geoffrey Hendricks and Robert Watts told Dick Higgins of a project that was afoot at Douglass College, where both were teaching at the time, to organize a show around guns. At that time the USA police seemed to have nothing better to do than to chase down teenagers for possessing miniscule amounts of marijuana and throwing them in jail, thus ruining their lives. Dick Higgins decided it would be more worthy if one could set all the policemen in the USA to composing symphonies themselves. So he proposed that the beautiful music paper be machine-gunned and that symphonies be derived from the result. Geoffrey Hendricks arranged for Captain Toby of the South Brunswick Police to do this, which duly happened with a 9mm MP40 Schmeisser submachine gun, filmed by Alison Knowles. A volunteer orchestra, conducted by Philip Corner and including Charlotte Moorman, performed nine of the resulting symphonies at Douglass College on December 9th. The Douglass concert was taped, but the only copy disappeared when the Ars Viva! Gallery in Berlin, Germany, went bankrupt in 1984. The whole situation was documented with photographs in Source Magazine in 1970. As Philip Corner, conductor of the recordings presented here, said: "Leave it to Dick Higgins to come up with the most spectacular way to generate a page of patternless notes. Once over this dramatic gesture with machine-gun bullets leaves a stack of paper full of holes. I had not thought of this before but there must have been a conscious connection to the social turmoil of the 60's -- all too unfortunately, come back around to high relevance these days." First press limited to 500 copies with digipack sleeve, also including a 16-page booklet with full documentation presenting two texts by Dick Higgins from the 1960s as well as a Philip Corner testimony, original photos and original scores.



ZEFZEED: Ronson EP 12" (AIBLACK 015EP) 14.50
First-class deep and mysterious dynamism from Zefzeed. The throbbing magic of "Ronson" and "Philly" provide the fuel for the 15th release in the All Inn Black series.



AHRENDS, AARON: Brief Embrace 12" (AND 018EP) 12.50
Aaron Ahrends is a producer and singer from Berlin, currently studying music in The Hague. He stirs up the mud of many musical categories to reassemble them inventively by mixing acoustic instruments, synthesizers and deep electronic beats while his authentic voice adds an organic plasticity and space of its own. With this debut release, he demonstrates his abilities at their best. Next to the wonderful, deep and melancholy 4-track release, you will find a club-smashing remix done by Gunjah.



FINCH & SECKOU KEITA, CATRIN: Clychau Dibon CD (AAR 025CD) 17.50
The duo of Catrin Finch and Seckou Keita brings together two harpists from very different places. Catrin, who hails from Wales, is one of the most highly-acclaimed classical harpists of our time, having performed concerts and recorded albums with many of the world's great orchestras, with stellar small groups, and as a solo artist. Seckou, who is Senegalese, comes from a long line of virtuosos of the kora, the West African 21-string harp. In their astonishing, delightful collaboration, Clychau Dibon -- the 2013 fRoots Critics Poll Album of the Year -- Finch and Keita draw on their diverse traditions only to transform them, empathetically creating new, transcendent and sublime music. Hardback-book style packaging with 36-page booklet.



AIM: Drum Machines & VHS Dreams: The Best of Aim 1996-2006 CD (ATIC 013CD) 15.50
Aim's era-defining releases Cold Water Music (1999), Hinterland (2002) and Flight 602 (2006) have shifted over 200,000 units, while his early 12"s (released on seminal Manchester label Grand Central Records) have become permanent fixtures in the record boxes of discerning DJs around the world. Meticulously compiled by the man himself, Drum Machines & VHS Dreams is the very first "Best Of" Aim collection. "These are the tracks I still listen to now and that have best stood the test of time," says Aim. "My memories of growing up in the late '70s, early '80s are colorful and sun-kissed. There was a sense of openness and optimism and it seemed that most of what was cool was either independent, or invented and driven by kids -- BMX, skateboarding, arcade games, horror movies -- I watched every horror film I could get my hands on, renting VHS tapes from local corner stores and saving up my pocket money to buy Fangoria magazine every month. These times are still a major influence on my music, they're an endless source of inspiration, and I wanted the title of this album to reflect that." Drum Machines & VHS Dreams illustrates perfectly Aim's innate ability to bring an unheard depth, warmth and soul to hip-hop; something which has always set him apart. Take "Underground Crowd Holders," whose opening fanfare of rising brass gives way to a relentlessly primitive break-beat, while the complex, multi-layered jazz vibes of early 12" release "Phantasm" invoke feelings of controlled chaos and the throbbing heartbeat of the city. Elsewhere, the Commodore Amiga-produced deep funk groove of Norman Jay DJ staple "Just Passing Through" echoes early '90s "golden era" hip-hop and the uplifting guitar motif of Flight 602's "Walking Home Through the Park" hints at Aim's lesser-known love for The Smiths and Nirvana. Excitingly, the album opens with a brand-spanking-new Aim remix of his hip-hop classic "True to Hip-Hop," featuring AG (of ground-breaking NYC hip-hop crew D.I.T.C.). Transformed into a relentlessly energetic synth and dirty sax-fuelled club-banger, it breathes new life into AG's incredible vocals; it's the perfect bridge between Aim's production past, present and future and a heavy-weight taste of things to come. Drum Machines & VHS Dreams is a celebration. Intelligent, cinematic and eclectic, filled with jazzy twists, breaks, and samples that together create an intensely rich panorama of sound.


AU 5040CD

AQUILA: Aquila CD (AU 5040CD) 17.00
Led by Blonde On Blonde's guitarist Ralph Denyer and produced by Patrick Campbell-Lyons of ('60s) Nirvana, Aquila added sax and flute to their rock base to create some spellbinding music. Originally issued in August 1970, their sole album is a lost progressive classic that has been compared to the work of Audience, Family, Gravy Train and Raw Material, and makes its long-awaited return to CD here.

AU 5041CD

LANDSLIDE: Two Sided Fantasy CD (AU 5041CD) 17.00
This New York quintet had split up by the time their sole album crept out in September 1972. It's a shame, as Landslide's combination of hard rock, catchy ballads and lengthy progressive-style jamming could well have translated into commercial success. It makes its long-overdue return to CD here, complete with background notes.


AUS 1461EP

BREACH: Artis EP 12" (AUS 1461EP) 14.00
Multi-faceted producer and DJ Ben Westbeech has accomplished something that eludes most artists -- after 10 years in the industry, he successfully stands with "one foot in the underground, one in the commercial" -- and nowhere is this more apparent than on his first release on Aus Music as Breach, which sees Ben digging deeper than ever before. After a year of catchy, chart-topping singles, Breach indulges some of his more underground and experimental tendencies on the Artis EP. Bringing in bits of his past along with some sounds newer to the moniker, Breach gets beautifully moody and unpredictable.



KONPLOTT: Fixed EP 12" (BAO 045EP) 14.00
Be As One keeps in shape with yet another slamming EP for its 45th release to date, a new debut on the label, this time from Italian duo Konplott. Fixed EP contains three tracks that once again lean on the timeless side of music, tightly produced and strapped with old school 909 elements, dub chords and lush grooves, woven together with harder and tougher sounds. Another Be As One keeper.



KRISPAGLIA: Instant Rudment 12" (BLMG 007EP) 14.50
Warning: big tune here from Krispaglia. Features a remix by Laolu. Limited edition of 200 copies only.



EMPFANGER/AN-I: Mother (Towlie's Theme) EP 12" (BORN 010EP) 12.50
Classy and unambiguous EBM-inspired techno from Empfänger with a BIG remix from AN-I (Lee Douglas), hot on the heels of his Cititrax 12".



GREED, DOUGLAS: Driven CD (BPC 288CD) 14.50
How do you stay true to your own sound without repeating yourself? How do you free yourself from the burden of wild expectations? Ultimately, how do you create a "difficult second album" that bucks the trend and sounds at least as fresh and enduring as the first? Rather than searching for answers to all these questions, Douglas Greed ploughs headlong into his second BPitch Control album Driven, leaving needless doubts for dust in his rear-view mirror. Douglas Greed has always been driven, and his nature rarely allows him to remain in one place on the genre map for too long. With a musical upbringing ranging from hip-hop jams and drum'n'bass parties to the darker avenues of pop à la Joy Division, Depeche Mode or Radiohead, his recent years as a producer and live act have always involved thinking far beyond the usual framework of techno and house. The results of these thought processes, always incorporating the hours away from the dancefloor, have already been laid bare on his debut album KRL and singles for labels including Infiné, Acker and Gigolo. Driven continues seamlessly in this vein with 11 tracks as rich in variety as they are in detail. The format offers plenty of room to cover a broad stylistic range, always driven by the search for new musical possibilities: from the boisterous peak-time hit "Summerless" to dancefloor gems like "Hush Hush" and "B12." From the yearning pulse of "Further" to the galloping UK patterns of "Fire 5." The featured vocals are another stand-out element of the album: "Long Distance Swimmer" is arranged around Anna Müller's dreamy voice, "My Mind is a Monkey" has support from Delhia, the previously released single "This Time (feat. Kuss)" and the title-track feature the unmistakable voice of his Eating Snow colleague Mooryc. Throughout the album, Douglas Greed plays with changing moods and tempos, always retaining the perfect balance between track and song, playing equally to his strengths as a euphoric stage performer and a sensitive soul. The exhilarating depth and maturity of his sound and his independent production process mean that all these elements combine on Driven to whisk the listener away on a grand journey. This is a journey -- driven by the desire for new horizons -- that effortlessly opens our eyes and ears, revealing that the heart of electronic music still beats loud enough to pump endorphins through our veins. It reveals the road ahead for anyone who, like Douglas Greed, likes to throw themselves wholeheartedly into each new venture.


BB 165CD

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 171CD

CLUSTER: Apropos Cluster CD (BB 171CD) 17.00
"Apropos Cluster (1990) was released in Coralville, Iowa, in deepest provincial America. Youthful enthusiast Russ Curry (sic) set up the Curious Music label on his own initiative to release this very album. Emboldened by the spirit of the independent movement, he paid for manufacturing himself and took care of CD distribution, as well as doing his best to ensure that a few copies made their way to Europe. In common with so many independent label operations, Russ Curry lacked the financial clout to market Apropos Cluster effectively. PR and advertising were out of the question. Hence the album flew predominantly under the radar, reaching potential supporters more or less by chance. Or not at all, which was a crying shame, given that Cluster had risen like a phoenix from the ashes, picking up the creative thread where they had left off and taking it to an ingenious new level. Nobody would have guessed that a decade had passed since their last LP Curiosum. Apropos Cluster saw the duo arrive in the digital world. Dieter Moebius and Hans-Joachim Roedelius had indeed used digital sounds and corresponding recording technology on their solo albums in the '80s, so they were no strangers to the latest in electronic techniques. Apropos Cluster was recorded in Roedelius' home studio in Austria; Cluster combined samplers, grand piano and analog synthesizers as only they knew how. The listener is invited into the legendary Cluster cosmos, a considerably more complex and fantastic place than it was 10 years earlier. Horizons appear more distant, paths more labyrinthine. Moebius and Roedelius paid no heed to contemporary trends in electronic music, instead continuing to trace their own trajectory in a fathomless, surreal world for which they alone possessed the coordinates. Sonic and musical details abound to an almost overwhelming degree. One moment up close, the next far away, something new appears in the distance." -- Asmus Tietchens


CF 010LP

"On Opened, But Hardly Touched, the Brötzmann/Miller/Moholo combination displays the most accessible approach of the live trio recordings surveyed. An extemporaneous master who puts the spur in the spur of the moment, reedman Peter Brötzmann is surely one of Albert Ayler's most vital sons for his blowing stamina and savage sense of humor. Bassist Harry Miller and drummer Louis Moholo lend the muscle needed to anchor and counterpoint the saxophonist's wildest flights. Elsewhere associated with projects having a decidedly ethnic flavor, the two South Africans show off an earthiness that swings hard, in meter and out. The clarity of FMP's November 1980 recording beautifully underlines their contributions. The boundaries between composition and improvisation are intentionally blurred... The music's design suggests a certain inevitability as it effects pendular swings between quietness and intensity, solos and duets, microtones and staunch collective blowing. On the attractive opener, 'Eine Kleine Nachtmarie,' Miller and Moholo pull rhythmically in and out of sync, juggling time against free sections, against the bleat of Brötzmann's soprano stand-in, the tarogato. 'Special Request for Malibu' perhaps best reveals the sonic extremes. The spasmodic throes of Brötzmann on clarinet and tenor contrast with his big soft 'flaps' of breath in duet with arco bass -- as Miller plays sinuous near-electronic sonorities, between notes and white noise. Through all of the performances Moholo pushes, restless and jabbing, but with flexible touch." --Down Beat, 1983; Pressed on 180 gram vinyl. Recorded live by Jost Gebers on November 5th and 6th, 1980 in Berlin. Peter Brötzmann (alto, tenor, and baritone saxophone, E-flat clarinet, tarogato); Harry Miller (double bass); Louis Moholo (drums).



DJ ANDY SMITH: Jam Up Twist U.S.A. CD (COS 009CD) 16.00
"Deano Sounds and DJ Andy Smith team up for a great compilation of '50s and '60s sounds, including R&B rockers, rockabilly, Northern soul and sleazy shakers, much like you would find at Andy's Jam Up Twist club night in the UK. Together here they have selected classic and exclusive tracks from their collections including the rare Northern soul track 'Ever Again' by Gene Woodbury, classic rockabilly from Eddie Cash and Sonny West, a handful rare of R&B tracks - some of which were reissued here for the first time including Ernie Washington and Willie Jones, and many other great tracks."



ROBERTS, JOHN: Ausio EP 12" (DIAL 066EP) 14.50
After his wonderful eclectic Fences (DIAL 028CD/LP) album in 2013, John Roberts is back with a brand-new club single on Dial Records. Here again, the sound design benefits from the acoustic research and experiments Roberts has worked on for years. With the A-side's "Ausio," he creates an enchanting floor-smasher -- highly recommended by the angelic crowd of favorite clubs Panorama Bar and Robert Johnson. On the B-side you will find the classic John Roberts sound: two soulful groovers -- unique and timeless.


EB 102CD

DUBMATIX: In Dub CD (EB 102CD) 14.00
"It's a new concept you have to get used to: the best dub and dub-oriented reggae no longer comes from England or France (and not from Germany or even Jamaica). It comes from... Canada! This is where the genre's busiest, most talented and possibly cleverest producer hails from: Dubmatix. Not only a studio virtuoso, but also an incredibly profound artist and perfectionist whose sure-fire instinct for the ultimate groove productions defines the current state of the art in the genre," wrote René Wynands in Riddim-Mag (Nov/Dec 2013). There's not much to add to that. With his debut album Champion Soundclash (2005), and a total of seven albums and a mind-blowing number of digital releases and remixes, Jesse King aka Dubmatix has conquered the world of dub and reggae. In everything he does he reveals a fine instinct for intricate and supremely skillful compositions full of unexpected twists and turns. Dubmatix has the power to surprise, not by using volume or of-the-moment gimmicks, but through clever, occasionally low-key but always absolutely compelling skills. His previous albums featured a whole array of illustrious guests, including U-Roy, Cornell Campbell, Horace Andy and Michael Rose, with the instrumental dub tracks taking a back seat. This is set to change on Dubmatix in Dub, the new album. Twelve pounding dubs merge seamlessly into each other. All are ideal for bringing the dancefloors of the dub universe to a boiling point. Heavy bass for heavy dancing! Dubmatix uses effects with masterful efficiency -- never overloaded, always absolutely on target. Any voices that appear (the album features Earl 16 and Dennis Alcapone as guests) are deconstructed and integrated as elements in the mix. Although this album works as a seamless whole, check out "Mad Massa Gana Dub" and "16 Stone Dub" to get a sense of the album.



COH: To Beat CD (EMEGO 197CD) 15.50
Picking up right where the last track on the previous Coh release RETRO-2038 (EMEGO 172CD/LP) left off, the new album is focused on the use of beats within the similar aesthetics. While most of the previous COH records openly shy away from accentuated beat structures and instead build up their rhythmical content by layering waves and pulses, every track on To Beat is padded with just that -- beats. The music transition is illustrated in the album's artwork, displaying transformation of a sine-wave, a tone, into a waveform which is "beat." This mathematical progression is made audible in the album's opening track "Wave to Beat." The rest of the album, however, steers clear from dull math and presents the beats in their more traditional context of what could be referred to as "adventurous dance music," taking the listener through various examples of beat use with the sense of playfulness and joy. The final piece, "Beat to Wave," wraps it up by dissolving a simplistic post-techno piece into a tonal chord. This brings back the album's main idea, where tone and beat are essentially one and the same, like vowels and consonants in a language, like yin and yang in music.



DARE, DOUGLAS: Whelm CD (ERATP 057CD) 15.50
London-based singer-songwriter Douglas Dare releases his debut album Whelm on Erased Tapes. With the piano at the core, Dare vocalizes his short prose and poems to a backdrop of drums, electronics and brass. It was in November of 2013 that the duo Douglas Dare and producer/percussionist Fabian Prynn decided to record an album, and by January they were listening to it. Finding themselves out of the home-studio for the first time, the pair recorded much of the album in Flood's studio Assault & Battery in West London. Other touches were recorded back in Fabian's home. With the comfort of familiar songs from his live set, such as "Clockwork," "Caroline" and "London's Rose," the session was equally driven by the excitement of creating brand-new tracks like "Nile," "Swim" and "Unrest" in a new environment. The recordings began with finding the perfect piano -- a grand piano, battered and bruised, but with a beautiful sound. Flood's studio provided a treasure trove of gear, including Dare's favorite new instrument, the Mini-Moog, which inspired bass parts on tracks like "Unrest." Prynn engineered, produced and mixed the record, and with just the two of them involved from start to finish, their vision for the album remained clear and unclouded. Lyrically, Whelm is often written from other people's perspectives, with a few of the songs stemming from historical events. "London's Rose," for example, came from a poem Douglas wrote about the use of underground stations as bomb shelters during WWII; while "Whitewash" addresses the Magdalene Laundries in Ireland, and "Clockwork" was inspired by the Antikythera Mechanism, an ancient analog computer found in the ocean. Despite the weight to some of these subjects, Dare has always enjoyed the use of plain language that is simple and very human. Most of his songs begin with words, as it's the stories that inspire the music.


DARE, DOUGLAS: Whelm LP (ERATP 057LP) 23.00
LP version. Includes a download code and book of poetry by Douglas Dare.



COLES, MAYA JANE: Fabric 75 CD (FABRIC 149CD) 16.00
Fabric 75 marks another new chapter in the remarkable career of the multi-award-winning 26 year-old British-Japanese producer/DJ Maya Jane Coles. Her meditative, propulsive house and techno style -- which spurred Rolling Stone to rank her amongst the planet's most influential DJs, and secured her place in the Resident Advisor DJ poll's upper echelons -- comes to the fore, with both the melodic qualities and thunderous impact of Maya's DJ performances encapsulated on the mix. Artists include: Trus'me, Ksky, Dapayk & Padberg, Mathew Jonson, Heiko Laux & Alexander Lukat, DJ Yellow & Flowers And Sea Creatures, Konstantin Sibold, Baikal, Paul Woolford, Paride Sawaceni, Negru, Shall Ocin, Yenk, Chesus (feat. Kofi Tarris), NT89, and Fran Von Vie (feat. Cio May).



DREDD FOOLE & BEN CHASNY: Drunk with Insignificance LP (FTR 138LP) 15.00
This album has been a long time coming. Dredd and Ben first talked about collaborating back in the late '90s and it's now 2014 and the goddamn thing has only just arrived. Was the wait worth it? You bet your teeth it was. While this album would have been pretty great if they'd done it back in the day, the fact it has been allowed to age and grow of its own accord lends the project a richness and beauty beyond easy comparison. This specific album grew out of some shows Dredd and Ben have done together over the past couple of years. The communication between the two of them was deep and crisp, even from the very first note they played together. I don't recall if there'd been any rehearsing at all, but Ben's electric guitar was weaving around and through Dredd's vocals and acoustic strings as though he'd been doing it since he was a pup. Having seen Mr. Foole perform in a wide variety of situations over the past 33 years, I can assure you that he has rarely been in such telepathic company. From the extreme blabbermouth lockjaw of "Pressed for Illumination" to the relatively quiet melancholia of "Four Roses for Jack," the sounds on Drunk with Insignificance are utterly maxist. Dredd's songs have never sounded better, and Ben pulls an exquisite raft of riffs out of his sombrero. If you have a fondness for either of these legends of the contemporary underground, you owe it to yourself to check out this collaboration. It will shiver your timbers down to their very roots. Beautiful. Edition of 300.


SALAMI JUNIOR: Deli Days/Sontava Nights LP (FTR 155LP) 13.50
Joey Pizza Slice returns to vinyl with a new LP that reissues a pair of rare, recent cassettes. The music is as daffily-crafted as always -- recorded and layered onto a portable cassette deck with the erase head disengaged -- this is DIY pop music of an extremely discordant nature. Some of Joey's musical moves seem to start from a place as relatively organized as work by people like Gary Wilson and Jad Fair, but he keeps feeding random actions into the mix, resulting in music full of uniquely bizarre twists. One gets the sense that Joey is deeply dedicated to the idea of creating pop music, but he has a very specific and eccentric way of producing it. As with his first LP, A Study in Eraser Headless Tape Recording, the performances here are scrambled, blasting off in a lot of directions at one time. You can start to think you're getting a handle on the proceedings, but it's an illusion. Mr. Slice's work on Sontava Nights is probably his most carefully programmed, which means it resembles Daniel Johnston's mid-period work in certain ways, at least as far as construction goes. But there is a North Woods Surrealist streak in his music that could never be produced on the arid plains of Texas. Truly a son of the long nights of cold winters, Salami Junior's skin bursts at the first touch of spring's warming rays of sunshine. And we are all the messier for it. Enjoy. Edition of 400 copies.



FAKI VS ROMAN PONCET, LEN: Figure 54 12" (FIGURE 054EP) 12.50
Label-founder Len Faki has teamed up with young French talent Roman Poncet for their 54th release. "Asua" is a mesmerizing display of production skill and a testament to the duo's true understanding of hypnosis. Pushing from the start with its urgent bass line, the track builds and morphs its intertwining elements, introducing subtle textures and suggestions of melody. Faki's thunderous "Stripped" works his powerhouse percussion along with a textured dub-stab in this straight-up club trip. Roman Poncet's "Truck" completes the EP with rough synth-stabs and metallic percussion, driving this moody tension-builder ever forward.


540 038LP

"The Milk Music/Merchandise/Destruction Unit split LP is a document of a 2013 US tour which drew worldwide attention from those interested in the modern US rock underground from a seemingly unlikely combination of bands. When we say 'unlikely' it is because these bands are from the geographical fringes of the country: from the far corners (the other East and West coast corners) we have the despondent and desperate Merchandise (Florida) and the freedom freak jams of Milk Music (Washington), and from the depths of the Sonoran desert the majestic psychedelic assault of Destruction Unit. When we say 'unlikely' we don't want to suggest they are ill-fitted. While the songs occasionally scrape against one another in disparate tone and pace, the resulting sparks thrown off do little to affect the overall congruency of these bands, a communal trip and a beautiful come down: we move from the introverted warmth of Merchandise to the sensory overload of Destruction Unit into a blissful, careering drift in the capable arms of Milk Music. The booklet that accompanies the record, designed by Destruction Unit's J.S. Aurelius, collates some of the fliers and photos from the road, and gives one pause to consider: is this a document of the best of the American psych underground in 2013/2014?"


FP 011CD

PRINS THOMAS: Prins Thomas 3 CD (FP 011CD) 17.00
"Hi there, this is my new album. Keeping with the tradition I decided to call it III. There's no great concept, no specific theme, no scheme, no plan... No space disco but still plenty of "space." It is just documentation of the music I made during the recording period. A musical diary, so to speak. Diary entry number three. Musically I feel it belongs somewhere between my last two albums, 2009's Prins Thomas (FP 004CD/LP) and 2012's II (FP 008CD/LP). They were both a result of the recording techniques and musical ideas I had at the time. The former organic, freeform (freerange) and organic, the latter more polished and "square," as I just had figured how midi worked (I have to admit...I'm actually still not sure I know). Anyway, what I've learned so far is now coming together in some kind of musical (dis)harmony. One I hope you enjoy listening to as much as I enjoyed making it." --Thomas Moen Hermansen aka Prins Thomas, March 4, 2014


GET 54060LP

BELL BIV DEVOE: Poison LP (GET 54060LP) 20.00
"In 1988 KRS One made the poignant declaration of never trusting a 'big butt and a smile' on Boogie Down Productions' song 'Jimmy'. Truer words have never been spoken. Fast forward two years later, Bell Biv DeVoe are smashing the charts (urban to pop) with their debut single 'Poison,' and in taking KRS's words of wisdom the exact phrase - 'never trusting a big butt and a smile' has a major part of the chorus. The world over was singing it. Where once hip hop was borrowing from R&B, here the tables were turned, and for good reason: Bell Biv DeVoe weren't making your typical New Jack swing of the day, the music sounded closer to a Public Enemy or Ice Cube album. This wasn't your parent's R&B. With help from Public Enemy producers Eric Sadler, Hank and Keith Shocklee, and several others, Bell Biv Devoe had crafted their debut album Poison which went number one on Billboard's R&B/HipHop chart. Poison also spawned other significant hits which include the title track, 'Do Me,' 'B.B.D. (I Thought It Was Me)?,' 'When Will I See You Smile Again?,' and 'She's Dope.' The success this album had on R&B and pop culture was unimaginable. By this point other R&B artists tried their best at emulating the sound, style and (hate to say it) 'swagger' of BBD, but by then it was too late. What BBD was doing is not something many (even their former bandmates) could easily duplicate. And now listening to this album 23 years later it sounds just as fresh and exciting as it did the day it dropped."


7L & ESOTERIC: Drumulator 7" (GET 717EP) 8.00
"Fresh off the success of his critically acclaimed book Beat Box: A Drum Machine Obsession, author and drum machine aficionado Joe Mansfield drops this amazing musical component which is a great companion piece to the book. The Drumulator is full of gritty lo-fi samples of basic drum sounds, but they are some classic sounds. Some of the biggest hits from the hip hop and pop world were made using this piece of machinery during it's heyday in the '80s. Fast forward 30 years later, Joe breaks the machine out, gets MC Esoteric bragging and boasting like he does best, 7L gets on the scratch, and you have a perfect time capsule from hip hop's genesis. Raw drums beats, no nonsense rapping and sliced to precision cuts was all it took to make a classic record, and that still holds true today with this."



ANDHIM: Body Language 14 CD (GPM 086CD) 15.50
It's no secret that Andhim have been on a steady rise lately. Perhaps known best for their 2012 remix of Theophilus London's "Wine & Chocolate," Simon Haehnel and Tobi Mueller, the German DJ and producer duo of Andhim have come far since their founding four years ago. The release is accompanied by over 75 dates until the end of 2014. With more than two decades of musical experience between the two of them including a history of DJing and touring already under their belts, Andhim is merely the newest incarnation of their time-tested talent. With the ability to move dancefloors in their own special way through the unique and often uplifting vibe they create, it's no wonder why Get Physical invited them to mix the 14th volume of their Body Language series and join the ranks of M.A.N.D.Y., Dixon, DJ Hell, Catz 'N Dogz and all those who helped form the series' reputation as a tastemaker and artistic showcase. Artists include: Gold Panda, Maribou State, Robag Wruhme, Axel Boman, Ian Pooley, Stimming, Super Flu, Martin Waslewski, Optick ICS, Marc Ashken, 2raumwohnung, Atjazz, Chateau Flight, Bostro Pesopeo, HVOB, and Stereo Total.


GB 015LP

SONIDO GALLO NEGRO: Sendero Mistico LP (GB 015LP) 26.50
LP version. Sonido Gallo Negro (trans. "Black Rooster Sound") is a stunning 9-piece instrumental combo from east Mexico City (Aragon) that channels both the mystique and mysticism of 1960s Peruvian cumbia. The band integrates styles like Amazonian cumbia, huayno, sonidero cumbia, boogaloo and chicha with electric guitars, Farfisa organ, Theremin, flute, and of course, fluid Latin percussion. Spaghetti western soundtracks, psychedelia and surf music also echo in their compositions. Their premiere album Cumbia Salvaje (tran. "Wild Cumbia") was released in Mexico in 2011 and it quickly catapulted them out of Mexico City's heated underground scene and onto major festival and television performances. Albeit a very young group, they were invited in 2012 to the Kustendorf Festival in Serbia, curated by the famed Serbian director Emir Kusturica (Time of the Gypsies). They also performed in Italy and Spain in 2012. Their shimmering second album, Sendero Mistico (out in Mexico in 2013) will be their first-ever international release, and Glitterbeat's first full-fledged release away from the African continent. On the new album, Sonido Gallo Negro follow the ley lines between cumbian sounds and instrumental rhumba, tracing the heritage left by masters such as Jaime Llano, Tulia Enrique Leon and the Hammond-driven sounds of Eduardo Azurite. But for all its glances to the past, this is decidedly contemporary music, also evoking the band's collective love of indie-rock and post-psychedelic moods and textures. The mind-bending ritual of this music can best be understood by witnessing their live show. Clothed in monk robes and backed by spectral video and light projections, on stage Sonido Gallo Negro is a very impressive proposition. Members include: Gabriel López (electric guitar, organ), Enrique Casasola (timbales), Israel Martínez (bass), Edwin Irigoyen (congas), Lucio de los Santos (flute, bongos), Dario Maldonado (second electric guitar), Robert Bañuelos (güiro, claves), Julian Perez (organ, synthesizers, samplers), Dr. Alderete (Theremin, tagtool, artwork).


GR 796CD

The Jeffrey Lee Pierce Sessions Project, which sees the late Gun Club singers' friends, former band members and fans paying tribute to his extraordinary genius, is releasing its third and penultimate outing. Axels and Sockets features many names from the first two volumes, including Nick Cave, Debbie Harry, Mark Lanegan, Lydia Lunch, Warren Ellis, Mick Harvey and Kid Congo Powers, along with new additions to the collaborative fold in the form of Iggy Pop, Mark Stewart, Thurston Moore, Jim Sclavunos, Primal Scream and Andrew Weatherall. Co-ordinated by Pierce's later musical partner Cypress Grove, the Project again strives to pay homage by avoiding the clichés of the conventional tribute record, creating fierce, iconoclastic new music out of song-sketches, demo recordings, scribbled lyrics and leftover riffs Jeffrey tragically didn't live to complete, while some put their own spin on personal favorites from his esteemed catalog. Axels and Sockets casts the Project's net wider than ever, kicking off with Iggy Pop making his debut appearance dueting with Nick Cave on "Nobody's City" before Debbie Harry invokes the early punk-pop Blondie sound with the Amber Lights (Mick Harvey and JP Shilo) on "Kisses for My President," which Jeffrey wrote about her before she knew he existed (He was president of the Blondie fan club). Cave also completes his trilogy of duets with Debbie on "Into the Fire." Returning too are Mark Lanegan, along with Bertrand Cantat, Crippled Black Phoenix, Gallon Drunk's James Johnston and Cypress Grove. Also making their debut are Mark Stewart and Thurston Moore (their take on "Shame and Pain" marking the first time Jeffrey's vocals have appeared on the set), Primal Scream, whose version of "Goodbye Johnny" is remixed into smoky hoodoo noir by Andrew Weatherall, KatieJane Garside and Andrea Schroeder. The set also introduces younger bands with Leeds' Black Moth, who are produced by Bad Seeds drummer and project co-coordinator Jim Sclavunos and Cornwall's Honey, helmed by Jeffrey's old partner-in-crime Kris Needs. With only Volume 4's grand finale to come, the Jeffrey Lee Pierce Sessions Project continues to loom as a towering statement in preserving and immortalizing his fearsome legacy.



GALLERY: The Wind That Shakes the Barley CD (GUESS 052CD) 17.00
One of the rarest albums from the '70s British folk underground scene, originally released on the legendary Midas label. Haunting medieval atmosphere á la Wicker Man, serene male-female vocals and beautiful violin playing which brings to mind Barry Dransfield's first album for Polydor. First-ever reissue featuring the original artwork. Includes an insert with liner-notes by Richard Allen and rare promo photos. "Very delicate and refined interpretations of traditional themes, with notable similarities to Spriguns Of Tolgus and (to a lesser extent) Tickawinda. 'Icy Acres' is especially impressive, with a haunting, melancholy and crystalline atmosphere highlighted by Barbara Atkinson's superb vocals." --Richard Falk (Galactic Ramble)


MADDEN AND HARRIS: Fools Paradise LP (GUESS 128LP) 25.50
Dave Madden and Peter Harris were a teacher/pupil folk duo from Sidney who in 1975 recorded and self-released this progressive/psychedelic folk-rock masterpiece. British-influenced sound with lots of mellotron, vintage keyboards, strings, drums, fuzz bursts, dreamy vocals, etc., containing an impressive 20-minute long suite which has to be heard to be believed. Think Subway, Mellow Candle, Magna Carta, Ithaca. First-ever legit vinyl reissue. Master tape sound. Housed in a gatefold cover with corrected color as originally intended by the artists. Includes a reproduction of the original lyrics booklet and a new insert with detailed liner-notes.


GALLERY: The Wind That Shakes the Barley LP (GUESS 130LP) 25.50
LP version. Features original artwork and insert with liner notes by Richard Allen.


FANTASTIC DEE-JAYS, THE: The Fantastic Dee-Jays LP (GUESS 131LP) 25.50
From raw basement garage-pop to jangly teen-beat and moody ballads, The Fantastic Dee-Jays' sole album from 1966 is without doubt the kingpin of all the local private garage albums from the U.S. A lost-in-time '66 capsule full of pure, innocent vocals, 12-string Rickenbacker guitars and crashing drums. File next to Rising Storm, The Bachs, etc. First-ever straight reissue of the original album, with master tape sound, an insert with notes by their mentor Terry Lee and lots of cool photos.



SIMION: U+I 12" (HEDEP 004EP) 12.50
Time for another huge discovery from the mysterious Simion, a man who made an impact by remixing Ben Pearce's underground smash "What I Might Do" and topping the Beatport charts. He returns to the Hedonism Music home-team and delivers a jacking monster, ready to take any club by storm. "U+I" contains a fine selection of mixes from London deep house hero Betoko, Verona's tech-house legends Paul C & Paolo Martini, as well as Leeds-based Sankeys resident Darius Syrossian.


HYR7 133EP

BALEARIC GABBA SOUND SYSTEM: What You Really Need EP 12" (HYR7 133EP) 14.50
Balearic Gabba Sound System is back to reshape some Italian classics from Soft House Company and Don Carlos.

HYR7 136EP

TEMPELHOF: Defrost EP 12" (HYR7 136EP) 14.50
Hell Yeah's tradition of serving up great remix EPs continues here with a new two-track effort featuring Willie Burns and Young Marco. The original material is taken from super-hot Italian electronic duo Tempelhof and their stunning album, Frozen Dancers (HYR7 123LP). Young Marco's sensationally emotive remix of "Drake" is a lush, melodically-rich affair right from the off. Gurgling bass synths bubble underneath as spritely house percussion skips up top. Celestial pads add a heavenly back-glow. Willie Burns aka William Burnett turns "Nothing on the Horizon" into a prickly, lo-fi house jam with plenty of echo, urgent vocal cries and a muggy sense of humid atmosphere.



WEBER: Eins LP (HOLGER 004LP) 21.00
Philipp Weber is a musician living and working in Leipzig, Germany. His main focus when creating music is to capture the moment by using all kinds of instruments in a playful and intuitive way, experimenting with rhythms, sounds and melodies. His songs are ideas, emotions and thoughts that he tries to translate into music. "It's like speaking a language," he says, "without knowing its grammar, still trying to find the right words." Philipp is one-half of the project Webermichelson -- a two-piece band focused on merging Kraut and experimental music through drums, synths and guitars. Webermichelson have been a core ingredient of the Holger universe from the very start, one of their live shows actually being the moment where it all began. With his first mini-album, Weber now joins the Holger family also as a solo artist. Pressed on 180 gram vinyl.



2014 repress. Following on from an excellent LP for Blackest Ever Black and a 12" for Bed of Nails. The project has become one of Dominick Fernow's most intriguing, offering an artificial, unnerving take on both ambient and more propulsive electronic music, in turns reminding us of everything from Aphex Twin's Selected Ambient Works Vol. II to John Carpenter, Vangelis' Blade Runner soundtrack, Leyland Kirby, classic Chain Reaction, Demdike Stare and, of course, Fernow's own myriad productions under various aliases (Prurient, Vatican Shadow, etc.). Spread across 40 minutes, The Plant With Many Faces develops from Carpenter/Frizzi-esque bass arpeggios and abandoned cabin vibes on "Abaxial Masks...," to the petrifying Killer Bob themes in "Out of the Mess..." and the gloaming drones of "Complex Rituals...," finally brought to a close with the miasmatic clamminess of "Poisonous Spirit Species."


2014 repress. The project has become one of Dominick Fernow's most intriguing, offering an artificial, unnerving take on both ambient and more propulsive electronic music, in turns reminding us of everything from Aphex Twin's Selected Ambient Works Vol. II to John Carpenter, Vangelis' Blade Runner soundtrack, Leyland Kirby, classic Chain Reaction, Demdike Stare and, of course, Fernow's own myriad productions under various aliases (Prurient, Vatican Shadow, etc.). For the most part, the project has been an experiment in tonal dread and dankest atmospheres, but on Folklore Venom rhythms play a more prominent role, pacing anxiously below the dense murk of "Upside Down Left Eye," or as a stodgy techno bedrock to the inclement conditions of "The Spirit Wore the Shoes of the Boy," or a sputtering, diesel-powered chug to the noxious vibes of "Black Magic Originated in Nature." Factor the petrifying gloom of "Spirit Companion Sick-Bed" and the unheimlich, exotic sonic ciphers of "Malaysia Yellow Herbs," and you have one of the strongest releases on Hospital Productions yet.



1982: A/B CD (HUBRO 2532CD) 17.00
The improvisational trio 1982 consists of Nils Økland, Sigbjørn Apeland and Øyvind Skarbø. The trio has already released three critically-acclaimed albums. On their previous album, the musicians collaborated with pedal steel legend BJ Cole. This time they have invited wind players Fredrik Ljungkvist (Atomic), Erik Johannessen (Jaga Jazzist), Sofya Dudaeva, Hanne Liland Rekdal, Matthias Wallin and Stian Omenås (Stian Omenås Klangkammer) to participate in an unusual collaboration. As the title of the trio's fourth album, A/B, indicates, it is divided into two parts. The album is built up with the classic LP structure of an A-side and a B-side, with a long piece, 18:16 minutes, filling the entire A-side. This piece clearly stands out as the most distinctive in 1982's discography up to now. Taking his point of departure in improvisations recorded by the trio, trumpeter and composer Stian Omenås has "expanded on" the idiom and has composed and arranged music for a wind sextet that has been layered on top of the original improvisation. On the A-side Tobias and Henrik, the sons of Sigbjørn and Nils, respectively were pulled in to help, and on the B-side we once again hear 1982 in the form of a trio, with several new ideas that serve to enlarge the 1982 universe. Sigbjørn plays piano on one track, and Nils Økland sings. These recordings were made at Grieghallen Studio in Bergen just before the studio was closed down in the summer of 2013. The wind sextet was recorded at Rainbow Studio in Oslo with technician Jan Erik Kongshaug. Nils Økland (Hardanger fiddles, violin, voice); Sigbjørn Apeland (harmonium, piano); Øyvind Skarbø (drums, percussion).


BLY DE BLYANT: Hindsight Bias CD (HUBRO 2539CD) 17.00
Drummer Øyvind Skarbø's trio Bly De Blyant, comprised of the Icelandic guitarist Hilmar Jensson (TYFT, Jim Black's AlasNoAxis) and the Brooklyn-based multi-instrumentalist Shahzad Ismaily (Marc Ribot, Will Oldham, John Zorn) in addition to Skarbø, received glowing reviews for their adventurous debut album ABC (HUBRO 2523CD/3523LP). The British magazine Prog wrote: "It's a highly subtle album that denies itself nothing in terms of its sonic palette." Rock-a-Rolla described the album as "[a]n intriguing, shapeshifting collection, open-ended and saturated with potential." Hindsight Bias was recorded in the same studio with the same technician, Davide Bertolini. This time, too, the three musicians were together in the same room, without headphones, and with a wide variety of analog instruments and equipment to play around with. One important point of similarity between ABC and Hindsight Bias is the unprejudiced attitude towards mixing and drawing inspiration from different genres. The members of the trio find references everywhere, and seem capable of combining them in an entirely uninhibited manner. The main difference between the two releases lies in the material. ABC was a rather fragmented record, presenting a large number of short pieces. Many of them were based on small sketches, and a good deal of the album was improvised in the studio. Despite their broad-minded eclecticism, the band manage to maintain credibility in everything they do, whether it is prog-inspired rock, groovy, twisted instrumental soul, or disco with a banjo. This is a band that feels at home no matter which musical impulse they choose to pursue. Shahzad Ismaily (bass, Moog, organ, banjo, drum machine, voice); Hilmar Jensson (guitar, "snake" guitar, bass, piano, voice); Øyvind Skarbø (drums, percussion, voice).


STENE, HAKON: Lush Laments for Lazy Mammal CD (HUBRO 2544CD) 17.00
On his new solo album, Håkon Mørch Stene has combined music by Britons Laurence Crane and Gavin Bryars with a new work by the distinctive Norwegian improviser and composer Christian Wallumrød. It is not necessary to take more than a quick glance at Norwegian percussionist Håkon Stene's CV to realize that here is a musician with a broad horizon and a fearless attitude towards new instruments and genres. Stene has played folk music with Nils Økland and Benedicte Maurseth, electronica with Pantha Du Prince and the Bell Laboratory, baroque music with Rolf Lislevand and contemporary music with asamisimasa, winner of a Spellemannspris (Norwegian Grammy). After many years of focusing on noise-based and complex contemporary music, Stene found it important to once again be able to work with clean, simple and harmonious expressive idioms. On the album he plays, in addition to melodic percussion instruments, both piano and guitar -- the latter being an instrument he had not touched for nearly 20 years. British compositions dominate Lush Laments for Lazy Mammal. Both Gavin Bryars (born in Yorkshire, 1943) and Laurence Crane (born in Oxford, 1961) belong to the classic experimental scene in England, a scene that developed in the wake of the conceptual New York School in the 1960s. The Englishmen draw inspiration from composers such as Cage and Feldman, as well as from earlier cult figures such as Eric Satie, who anticipated genres such as minimalism and ambient as far back as the early 1900s. Unlike the music of the New York School, where everyday noise, atonal harmonies and extreme duration were central elements, that of Bryars and Crane is based on a concentrated diatonic material that is liberated from a traditional tonal logic and is treated as an abstract sound object. Stene was fascinated by this ascetic, protracted, subdued music. The piece "Low Genths" was written by Christian Wallumrød on commission from Stene in 2009, and Wallumrød also plays on the album. When searching for the final piece on the record, Stene discovered Bryars' "Hi Tremolo," which suited the melancholic but sumptuous soundscape on Lush Laments for Lazy Mammal. In addition to Wallumrød, Stene invited pianist Heloisa Amaral, cellist Tanja Orning and cimbalom player Hans Kristian Kjos Sørensen to participate in the recording. Some listeners would undoubtedly label this music "contemporary," but it could equally find a place for fans of post-rock, ambient or drone. Håkon Stene (vibraphone, quartertone vibraphone, bowed marimba, electric guitar, acoustic guitar with e-bow, keyboards, piano on 9); Christian Wallumrød (piano on 1 & 8).



DAWSON, KIMYA: My Cute Fiend Sweet Princess LP (IMPREC 031LP) 15.00
2014 restock. "Obviously, both of Kimya Dawson's solo albums are highly recommended to fans of The Moldy Peaches, but don't expect sex and drug jokes, these albums are more serious, transcending the novelty and humor of the Peaches. Embracing nostalgia, melancholy and sincerity, Kimya proves to be as unique as she is brilliant, creating two albums both compelling and charismatic. My Cute Fiend Sweet Princess is an instant anti-folk classic."


DAWSON, KIMYA: Knock Knock Who? LP (IMPREC 032LP) 15.00
2014 restock. Contains "So Nice So Smart" as featured in the 2008 movie Juno. "On break from Rough Trade and her band The Moldy Peaches, our friend Kimya finds herself at home on Important Records releasing two full length albums at once. Both albums are full of moving original folk songs about Atari 2600's, love, growing up, growing old, overcoming hardships and Matlock . Kimya is one of the most genuine voices in modern music and the superstar of NYC's anti-folk scene."


Liebestod, by Polish composer Stefan Wesolowski, consists of repetitive compositions written for piano, brass instruments, strings, and electronics. The title itself is derived from Wagner's Tristan and Isolde, which says a lot about Wesolowski's primary inspirations. Liebestod shows a tremendous amount of respect for classical music but Wesolowski is far from making literal references to it. He shows his own unique musical language; rough and radical at some points, yet full of intense nostalgia and beauty. This album includes a contribution from Michael Jacaszek. Recommended if you like: Arvo Pärt, Steve Reich, William Basinski, Jacaszek, etc. Recorded in Old Town Hall, Academy of Music in Gdansk, on the Baltic coast, and at home in Sopot, 2011/2012. Realized with the financial support of The Polish Ministry of Culture and National Heritage, Mayor of Gdansk, Marshal of Pomorskie Voivodeship and City Culture Institute.


BURCH, JEFF: Jeff Burch CD (IMPREC 402CD) 14.00
Jeff Burch's first solo full-length album is comprised of two expansive instrumental compositions anchored by beautiful old acoustic guitars and a modular synthesizer. He hoists his sounds up through the remnants of the 60's downtown drone spirit, through the fetid fruits of post-war central Europe and the scattered output of present-day suburban outsiders. The arrangements shift gracefully from floods of lush string texture to driving guitar and drum motif, from ebbs of brass and deep electric sine wave to thick hazes of clanging din and steely whine. Cover photographs by iconic New York artist Roni Horn. Composed, recorded and mixed between 2010 and 2012. Recorded with Casey Rice/Designer (Tortoise, Dirty Three) at Classicx, Melbourne, and Jamie Kennedy (of Surf City) at Henry Street Studios, New York City. Featuring guest percussion by Stephen James (Songs, Rand And Holland), electric guitar by Tres Warren (Psychic Ills, Compound Eye, Messages), and tenor saxophone by Marcus Whale. Mastered by Patrick Klem (Sonic Youth, Six Organs Of Admittance, The Dead C) at Klemflastic Sound, Phoenix. Originally from the crystalline shores of northern New Zealand, Jeff now resides in New York City's torrid Lower East Side. Head of imprint The Spring Press, he has also founded numerous groups in both New Zealand and Australia.


ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O.: Astrorgasm from the Inner Space CD (IMPREC 403CD) 14.00
Acid Mothers Temple & The Melting Paraiso U.F.O.'s new album Astrorgasm from the Inner Space features their original vocalist Cotton Casino. Available on CD and deluxe double LP. As usual, AMT delivers to Important their most scorching tracks. They've included, appropriately, since Important is set to issue Grayfolded on triple vinyl, a brand new re-recording of "Dark Star Blues" with Cotton Casino. On Astrorgasm from the Inner Space, Acid Mothers Temple look towards their source (the band turns 19 this year) while also evolving towards their next stage.



DUSTY KID: Doom 12" (ISOLA 002EP) 12.50
Dusty Kid is back with another highlight -- two of his best album tracks and two new, fresh tracks have found their way onto this Isolade release. With "Doom" and "Arachnotron," you will meet the straight, clear and uncompromising side of Dusty Kid, which can be described as dark techno with have a certain Berghain feeling. On the flip you will listen to the indefinable and impalpable side of the Kid, featuring deep musical abysses.


JR 111EP

JACKIN' GEORGE: This Brutal Bass 12" (JR 111EP) 14.00
The two tracks on this release are a tribute to the dawn of house music. During the mid-1980s, house typically featured a dominant bass line and driving rhythms to which home-rehearsed dance steps were proudly shown off at local clubs and admired by the crowds. Jackin' George brings back that feeling. "I'm gonna make your body jack like back in 1987." Take him by his word and follow him straight onto the original house music dancefloor of the old days. Let's jack!



TOPICS, THE: Wanted Live! By a Million Girls CD (JMAN 066CD) 17.00
The funky soul archaeologists at Jazzman are extremely proud to announce this release in their Soul Spectrum series. This LP is the perfect combination of crossover and modern soul filled with strong black male group harmonies and funky instrumentation -- a recording to please the palette of soul and funk collectors across the board. This release isn't just about the vocalists, but also the variety of talented musicians and unique instrumentation involved in creating this timeless testament to West Coast African-American consciousness of the late '70s and early '80s. One of the key initiatives at Jazzman Records is setting the facts straight, righting the wrongs of mistaken identities, and often giving previously-unknown artists credit where credit is well overdue. In this case, the main topic of discussion is The Topics and their Wanted Live! By a Million Girls LP. Jazzman has invested all their fine-tuned resources into making this LP reissue even better than the original. All eight tracks have been digitally remastered, and all of the original LP cover art has been reproduced as an exact replica of the original LP issued in the early 1980s. You may try your hand at obtaining an off-condition copy in the 1,000 GBP price range or file Jazzman's brilliant limited edition reissue with bonus extensive 16-page liner-notes insert in your collection for only a fraction of the price. As group harmony and soul groups go, in many cases, there are some very popular group names, popular to the point of redundancy. Often the same name was used by different, multiple groups all around the country, round about the same time, coincidentally unbeknownst to one another. While the artists didn't intend to be any less unique than others sharing the same name, this duplicity has caused quite a bit of debate and confusion for record collectors over the years. The mystery of this rather ambiguously designed modern soul LP has haunted collectors for decades. Now for the first time ever, Jazzman can finally confirm that this specific West Coast group was (from Fresno, CA and) only recorded on the Token and NCS labels and is not to be confused with any other groups of the same name who recorded on the Heavy-Duty, Dream, TSG, Noodle, Carnival, Chadwick, Mercury, Castle and Brother III labels.


KR 005CD

PRINCE CHARMING: Lapis Lazuli CD (KR 005CD) 11.00
2009 release. After the seminal dub/illbient records Psychotropical Heatwave and Fantastic Voyage on the cult label WordSound, Prince Charming returns with a direct hit. On Lapis Lazuli the sound alchemist interweaves strands of his widespread musical universe into an atmospheric, tight album. Illbient -- Prince Charming has been rejecting this categorization since the start of his work -- as a genre, it is too small for such a vast experience. Lapis Lazuli takes the listener on a quirky extravaganza through space and time; dub, exotica, ragtime, breakbeat, exotica, cinematic soundtrack, blues, classical, Latin, psychedelic, Afro-jazz, field recordings, and science-fiction, are just a few of his numerous and diverse influences reworked and melted elegantly into coherent tracks titled "Zebrine Polymorphous Blues," "Spider Scorpian Conch," "Pomegranate of Vice (a Supergeometry Symphony)," or "Uvarovite and Demantoid Dub." Uppers and downers, rockers and chillers -- a record as entertaining and imaginative as Prince Charming has never been.

KR 006CD

PETIT, PHILIPPE: Off to Titan CD (KR 006CD) 11.00
2010 release. In a previous century Gustav Mahler composed a symphony named Titan, created in search of a work that echoed industrialism and society in the 19th century. Philippe Petit believed that even if firmly rooted in classical, it heralded what contemporary music would become, so it seemed natural to recontextualize it, adding new flavors by having something constantly modern in there. Philippe began work on a recording of the original symphony -- re-editing, time-stretching, distorting, filtering. He then sent the result to Jono Podmore aka Kumo as a backing track, who began work with his Theremin and electronics by identifying areas he could enhance or develop, or even alienate further from their original form, and then set to work improvising and layering new material into the piece, mindful of the collage aesthetic in Mahler's work. Jono sent the results to Philippe who began mixing both works and further processing the result. In a way this work is reminiscent of 2001: A Space Odyssey, offering romantic music in an ultra-modern design which sets the orchestra in a new space -- a little bit as if Bernhard Herrmann had scored the glorious Forbidden Planet sci-fi classic. Listening to the soundtrack, the Titan you're heading for is Saturn's biggest moon. May the stars be with you.

KR 008CD

GAPIK, CEZARY: The Sum of Disappearing Sounds CD (KR 008CD) 11.00
2012 release. Four sonic assaults by the industrial/drone/dark ambient experimentalist Cezary Gapik. Born in 1963 in Czestochowa, Poland, Cezary Gapik's formative musical experiences after the punk revolt were the more experimental outings of Public Image Ltd. and industrial pioneers Throbbing Gristle and Cabaret Voltaire. The popularization of the computer as a creative tool in the mid-'90s gave birth to Gapik's present extensive style: the isolationist projects of Mick Harris (Scorn, Lull) are as traceable as are 20th century contemporary avant-garde composers (Stockhausen, Xenakis, Ferrari) and masters of minimal music (Phill Niblock, Eliane Radigue). For his intense synthesis of multi-layered, heavy industrial drones, cathartic noise, haunting murmurs and field recordings of unrecognizable origins, the uncompromising sound artist coined the term "ambient depressionism." Using prepared instruments, various objects or computer-processed synthetic sounds, Gapik creates dense sonic paintings, rich in color and radical in atmosphere. Having self-released numerous CDRs in his ongoing series of the "sound sketchbook," The Sum of Disappearing Sounds is one of the key artistic works of this contemporary master in the dark ambient/industrial/drone scene of today.


KH 9017CD

JEFFERSON AIRPLANE: Live at the Fillmore - November 25th 1966 CD (KH 9017CD) 17.00
Grace Slick joined Jefferson Airplane in mid-October 1966, and this incredible live set was recorded at San Francisco's most renowned live venue a month later, during the sessions for their breakthrough Surrealistic Pillow (1967) album. It captures the band at the end of their embryonic journey, as they evolved from their folk-rock beginnings into the psychedelic style for which they are best known, just before the San Francisco scene exploded internationally. Includes a full-color booklet with background notes and rare images.


KI 012EP

LOFFLER, CHRISTIAN: Young Alaska 12"+7" (KI 012EP) 25.00
12" and 7" version with download code. 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.



DAMH: Black Night 12" (KOM 298EP) 12.50
DAMH (stands for "Dog Ate My Homework) is a new project from two familiar faces straight out of the ever-burgeoning neo-romantic dance underground -- Cologne staple David Hasert got together with none other than Michaela Dippel aka Ada for two blissed-out slices of melancholic, pop-infused house. Together with winning remixes by Hamburg mastermind DJ Koze and purveyor of fine looping Matt Karmil, this is exactly the kind of emotionally-invested club music Kompakt lives and breathes. The title-track is a highly-polished ballad, establishing a carefully-gauged balance between its two vocalists, yet maintaining floor-momentum. "Hansi" features expertly-executed strings and a magical arrangement.


NICONE & GUNJAH/SPLIT SECS: Speicher 78 12" (KOM EX078EP) 12.50
For Speicher 78, Kompakt signed up German dream combo Niconé & Gunjah and L.A.-based duo Split Secs. Niconé & Gunjah brewed up "Disko 90," a spiritual successor to Gunjah's own "Disko '87" from 2006, but also a sleek, contemporary cut ticking all the right boxes for today's clubbing requirements. A perfectly-crafted primer for all sorts of late-night freak-outs, this cut enlists snappy beats and some pretty rad synth leads to keep the floor at boiling temperature. Split Secs present "Mission 1," a propelling house jam that will keep your feet busy with its sharp percussion and a finely-tuned bass line.


REBOLLEDO: Momento Drive CD (KOMP 117CD) 15.50
It surely must be a pretty special DJ mixtape if a label sees the need for a CD edition -- in this age of total download overload, it's just something you don't do anymore. But along comes Rebolledo and proves everybody wrong with Momento Drive, a persuasive plea for a nearly forgotten format and a high point for a vanishing art form. The first major solo outing for Rebolledo after his adored full-length debut Super Vato (COMEME 001CD/LP) from 2011 is a DJ mix --- in the hands of an artist as distinctive as the Mexican half of globetrotting duo Pachanga Boys, however, the result is just as engaging and idiosyncratic as any artist album. Rebo's own studio work makes a welcome appearance with the exclusive "Windsurf, Sunburn and Dollar," Pachanga Boys' "Poem for the Youth," their remix of Slove's "Flash" or Red Axes' "Caminho De Dreyfus" (reworked by the master himself) -- all of them proven bangers neatly interwoven with eerily fitting contributions from kindred spirits such as Barnt, The Twins, Wolfgang Voigt or Justus Köhncke. It truly is a rare feat to find a DJ mix informed with as much personality as this one -- especially when it comes paired with skilled flow and a knack for musical storytelling. A wonderful continuation of Kompakt's celebrated mix CD series, Momento Drive more than ticks all the right boxes -- like an excellent wine, it is an extraordinary sensory experience orchestrated by a world-renowned sommelier of sounds. Other artists include: Wally Gonzalez, Fanfaren, Christian S., Gebr. Teichmann, C.A.R., The Lovesupreme, Manfredas, VoxLow, and Ivan Smagghe.



"This new EP from AWVftS heralds the arrival of a new full length album later this year, a score for choreographer Wayne McGregor's long form dance piece of the same name. McGregor, mastermind behind 'Random Dance Company', and resident choreographer at the Royal Ballet since 2006, is known in popular culture circles for serving as movement director for the film, Harry Potter and the Goblet of Fire. He has also choreographed the Radiohead video 'Lotus Flower' and 'Ingenue' by Atoms for Peace. McGregor was influenced by the duo's 2011 self-titled debut, playing it repeatedly during practices with his core group of dancers. After noticing the group's reaction with the music, he contacted AWVftS to see if they would write the score for his new oeuvre and the collaboration was begun. As a final note of symbiosis, the EP also sees the involvement of Ben Frost, who composed McGregor's previous work 'Far'. The title track is taken from the upcoming full length album Atomos, track 2 is an outtake from AWVftS's debut album, and the final track is a remix of the title track by Ben Frost."



CLOUTH, ROB: Clockwork Atom EP 12" (LSR 011EP) 14.50
Rob Clouth's Clockwork Atom EP is a triumph of emotional composition and twisted beats. Recalling Jon Hopkins at his fiercest and Autechre at their most melodic, Clouth has put together something special for peak-time and morning-afters alike, three timeless tracks with bass to massage your ears and melodies to warm your heart. "Clockwork Atom" balances thick sub-bass and a player piano line recurring in waves of bliss. "Islands of Glass" begins with richly harmonic textures before jerking the listener across hilly, alien terrain. "The Descent" is slower but no less bedazzling, like a clone coming off an assembly line and being blinded by the sun.



MADLIB & FREDDIE GIBBS: Pinata Cassette (MMS 022CS) 11.00
"Madlib and Freddie Gibbs offer a limited edition cassette version of their lauded Piñata for those with tape-deck only buckets. 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."



GONDELN, WENDY: Fracking 12" (MAGAZINE 010EP) 15.50
Wendy Gondeln is here to introduce and spread the dance-style called Fracking. Gondeln, also known as the German painter Albert Oehlen and long-time Red Crayola member, recently laid out the aspects of Fracking in his studio in Düsseldorf. He asked Wolfgang Voigt to provide him with two plain Gabber bass drum canvases. Wolfgang couldn't stop Fracking after Wendy's visit, which resulted not only in his first Fracking track, but in his first three, included here in the form of a Fracking triptych. When Magazine (Jens-Uwe Beyer, Crato, Barnt) heard of this new thing called Fracking, they had to start Fracking, too.



VEDREN & LEIRIS: Procrastination EP 12" (MINI 033EP) 14.00
These two French guys, Vedren & Leiris, are close friends. It all started a few years ago -- after meeting in an exhibition, they started making music together. And the two cronies have this thing in common, they are perfectionists. They've been working over and over tirelessly for years with the strong belief of getting in the right direction. Doubts, convictions, stories, evolution, creativeness, discovery, hesitation for years, and now Vedren & Leiris have finally decided to put out their first EP on Minibar.


MW 054EP

SANDRA ELECTRONICS: Want Need 12" (MW 054EP) 22.00
"Minimal Wave is proud to present a six song EP by the UK/US duo Sandra Electronics. Originally formed as Sandra Plays Electronics by Karl O'Connor in 1988, the project has evolved over the years to become a collaborative endeavor with Juan Mendez (aka Silent Servant). Three of the tracks were first released as an untitled 10" on Downwards in 2010, and the record quickly sold out. Those songs have been re-edited and remastered for this EP, and three more rare demos and live versions have been added. The songs can be described as hypnotic industrial electronic mantras with enigmatic keyboards and treated vocals. Each track draws the listener in, with its repetitive psychedelic percussion and dark affected vocal. The record is a hand-numbered edition of 999 copies pressed on 180 gram ultra clear vinyl, and housed in a high quality heavy weight printed sleeve featuring a vintage photograph of Samia Gamal."



BIG BOYS: Lullabies Help the Brain Grow LP (MCR 908LP) 23.00
"Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981's debut album Where's My Towel was inspired by the group's growing dissatisfaction with their part in the release of Live at Raul's. Returning with Lullabies Help the Brain Grow two years later, they were still striking out at situations around them. The opening track, 'We Got Your Money' is a sort of rally cry to the misunderstandings of their scene , and to the fraternity boys and girls that came to gawk or cause trouble: 'And to all you frat boys/We got your money in our hands!' they shouted, gleefully. Song titles include 'We're Not in It to Lose,' 'Fight Back,' and 'Assault' proved that the gloves were off. Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam -- the fourth person to occupy the stool for vocalist Randy 'Biscuit' Turner, guitarist Tim Kerr and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like 'Lesson' and double-funky jams like 'Funk Off' (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on 'Sound On Sound' they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. Original album art expanded to a gatefold tip-on jacket. Interior gatefold jacket features an unpublished 1984 photo of the band by photographer Pat Blashill. Includes a download card."


BIG BOYS: No Matter How Long the Line Is at the Cafeteria, There's Always a Seat LP (MCR 909LP) 23.00
"Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group's final album, No Matter How Long the Line Is At the Cafeteria, There's Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on 'Common Beat,' a sound rarely heard outside of hip-hop at the time. Songs like 'Which Way to Go' and 'Narrow View' echo their boredom and anger with the changing hardcore scene, while 'I Do Care' and 'What's the Word' illustrate the band's positive outlook for things to come. Just as the album flirts between expressions of boredom and anger and funk jams that declare 'Life is just a party' ('What's the Word'), Big Boys were a mess of contradictions. On stage, openness was key and they became famous for encouraging the audience to get involved: 'We're the band, you're the band,' they would say. But as a four-piece, their relationships began to fray as is not uncommon with many bands on long tours. After five short years and many recordings, the Big Boys went separate ways. Original album art expanded to a gatefold tip-on jacket. Interior gatefold jacket features an unpublished 1984 photo of the band's last concert by photographer Pat Blashill. Includes download card."



VA: Enjoy the Silence Vol. 3 CD (MUSIQ 043CD) 17.00
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.


MANHOOKER: Heartbeat 12" (MUSIQ 171EP) 14.50
Mule Musiq announces the debut release of Berlin house duo Manhooker. Their release on Unterton (sister-label of Ostgut Ton) was one of the best releases last year. The original version of "Heartbeat" has a typical early Chicago house sound, but it's more melodious, like the Pet Shop Boys making house music. Kresy's remix is an easy mixable dub version, and Mia Twin and Kasp's version is modern deep house mixed with their fantastic voices. Also includes a remix by Asok.


MR 341CD

RICHMAN, JONATHAN: No me quejo de mi estrella CD (MR 341CD) 17.50
Jonathan Richman intended this collection of music as a gift for his audiences in Spain (and outside the U.S. in general): to give them a selection of songs that are well-known through live shows but not so easy to find on CD or LP up until now, given the fact that records such as Her Mystery Not of High Heels and Eye Shadow (2001) or Not So Much to be Loved as to Love (2004) are out-of-print today. On the other hand, all of the songs in this collection -- chronologically ordered from the present backwards to the past -- were written in the 21st century, so this record fulfills a second function as a thermometer of Jonathan's music in the new millennium, in the fourth decade of his unique music career. This goes to show that we got a whole lotta JoJo going on, that we have here a rare case of a musician who gets richer, more colorful and stronger with time, yet never forgetting his original flavor. Munster Records is proud to present No me quejo de mi estrella as a sample of Jonathan's most recent body of songs. You could pick 16 different titles and still come up with an equally solid album, because the "duende" of this music does not come from a particular hit single but from the soul, from the connection with that Great Spirit where music and beauty are born. It is not then a question of "greatest hits," but of love. Still, the 16 songs presented here have good credentials, as their author personally chose them for this collection. The spell of these songs is not of artifice and pretentiousness, "not of high heels and eye shadow," not of ornament nor of anything in your hair. It is something deep, a raw and wild beauty such as that which is "at the core of the stars we see." It is the mystery of the eternal and arcane sound of the flamenco guitar, the mystery of rock'n'roll: an open secret. A brave American poet told us so: "Guard the Mysteries! Constantly reveal them!" As the listeners will find out for themselves, the charms and incantations in this collection bring you an always-familiar yet constantly renewed air of revelation. Cantante, a cantar!


NA 5111EP

KARL HECTOR AND THE MALCOUNS: Coomassi 12" (NA 5111EP) 21.00
"For all intents and purposes, Karl Hector might as well be another nom-de-plume of Jay Whitefield (producer and guitarist for the Poets of Rhythm and the Whitefield Brothers) who, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and the Malcouns in the early 2000s. Alongside Bo Baral, other members of the Poets of Rhythm and crack Munich-based session musicians, Whitefield, Myland and Curlija crafted nearly twenty tracks for their debut, Sahara Swing, an album that swung with influences from across the African diaspora. These seven songs demonstrate the Malcouns's deft handling of music from Eastern and Northern Africa alongside Western psychedelia, jazz, and funk."



LOGOS: Firesides and Guitars CD (OSR 025CD) 17.00
Logos' Firesides and Guitars was one of the most enigmatic private albums from the U.S. Housed in a sparse cover with little info, it was released in tiny quantities on the collectable Audio House label (home also of Smack). Nothing was known about the band until now: they were an obscure folk-rock trio from Kansas, comprised of 16-year-old Steve Epley plus siblings Chris and Cindy Williams. Their sound was charming, home-made folk-rock full of youthful innocence with layers of dual acoustic guitars and refreshing male-female vocals, featuring an impressive set of self-penned songs. Comparisons bring to mind Crosby, Stills & Nash or Shadrack Chameleon. Highly recommended to any folk-rock/SSW sounds collector. First time-ever reissue. Includes a full-color insert with rare photos and liner-notes by band member Steve Epley.


LOGOS: Firesides and Guitars LP (OSR 025LP) 25.50
LP version. Comes with a full color insert and liner notes by band member Steve Epley.



PROFESSOR SKANK: Digital Revolution LP (PASOR 003LP) 23.50
Professor Skank is by far the most well-known Greek dub producer, with a number of great releases and collaborations. Born and raised in the Cretan Agios Nikolaos, he experimented with the genre at a really young age on a 4-track recorder in early '90s. A period of blending and maturing followed that led to his days with Greek reggae band Soul Fire and then the great days came. Meeting Mad Professor was a turning point for him, and he was initiated into dub from a living legend. In the following years, their collaboration allowed Professor Skank to use the legendary Ariwa studios, remixing and working with great artists of reggae and dub such as Max Romeo, Zion Train, Aswad, Love Grocer, Afrikan Simba, and many others. In 2006, his first solo album Industrial Democracy was released through Universal Music. Based in his studio, he kept on producing music, releasing it on international labels and presenting it all around the world. This led to him being the first Greek musician to ever appear at the Glastonbury Festival, Great Britain's most famous music festival. Professor Skank now presents his second solo album Digital Revolution, a project that starts off with spoken-word contribution from Mad Professor. This album brings together two different cultures, the Cretan musical tradition and the Jamaican reggae/dub one. In his studio, surrounded by traditional instruments and music gurus, he recorded the musicians playing in reggae/dub rhythms, rhythms that up to then were unknown to them. The result reveals amazing new paths in Greek and dub reggae traditions. Reggae singer Earl 16 offers his unique voice on "The Money Pressure," accompanying Nigel Farage's dramatic speech on Greek's economic problem. Professor Skank's love for vocal samples is something easily noticed on the Digital Revolution album -- a way to express himself through the voice of others for all those things that trouble him. And where the samples end, the voice of MC J Fyah from the Moca Juniors takes over and gives a festive touch to the project. Where the European south meets Jamaican culture and the Cretan tradition welcomes the soul of Wareika Hill, there we can find the Digital Revolution.



VA: If This Is House I Want My Money Back 3 CD (PERMVAC 120CD) 15.50
This is the third edition of Permanent Vacation's series If This Is House I Want My Money Back. The concept of the compilation is pretty simple: the label asks friends, PV regulars, and other good-looking producers, who are famous for dancing around the edges of the genre, for an exclusive track, all of which they put together on one neat CD and limited 12" sampler. This time the bill reaches from hot shot producer Mano Le Tough, Maeve label buddy The Drifter, the Swedish House Mafia in form of house dandy Axel Boman and edit ramajam HNNY, rising star Lake People, long-time vacationer Bostro Pesopeo (together with local Munich DJ San Quentin) and sizzling newcomer Boska to the jack-of all trades Willie Burns, fellow NYC resident Octo Octa, Berlin-based melody masters Kim Brown, the Neukölln Acid kingpins Achterbahn d' Amour (aka Iron Curtis & Edit Piafra) as well as Hotflush and We Play House regular Locked Groove. Each and every one of the participants are more than convincing in what they are doing and although they have different perspectives on house music, the tracks come together in sweet harmony on this compilation.



VA: Friends Will Carry You Home III 3x12" (PETS 042X-LP) 34.00
Pets Recordings are partying at the very forefront of house music right now. With each release stretching their consistent-yet-excitingly unpredictable remit further into unchartered territories, the latest in their well-established Friends Will Carry You Home series compounds their curatorial creativity like never before. Now on its third outing, this is the label's largest in the album series so far. Tethering its myriad wild talents for one giant audio class photo, label-bosses Catz n Dogz have successfully represented their label's vast remit with clarity and harmony. Every groove, every rhythm and every influence you associate with Pets' musical menagerie is all here. What's more, it's all exclusive. The deep bass bubbles of Catz n Dogz' rugged contemporization of Spirit Catcher's 2004 classic "Voodoo Knight." The infectious, percussive tech-funk and synth seduction of Axel Boman's "It Starts with the Stomach." The unrelenting pounds and pulverizations of Andre Kronert's "Thrills." The loopy techno chugs of Catz Eatz Dogz' "Calling Every Day." The loose, lolloping groove, commanding disco strings and subtle Moroderisms of Paco Wegmann's "The Return of the Funk." Other artists include: Trikk, Kixnare, Walker & Royce, Spirit Catcher, Patlac, Danny Daze, Rachel Row, KiNK, Jay Shepheard, and KRL.



JACKMATE: Broken 12" (PHILE 2016EP) 12.50
Jackmate presents a build-up monster piece of techno which is driven by massive broken drum patterns. One-sided vinyl.



POPOVICIU, MIHAI: Time 12" (PFR 148EP) 14.00
Mihai Popoviciu presents one for Poker Flat. "Time" is a low-slung slice of electronic funk, featuring a dirty bass line and lazy, growling synth skirmishes. The feeling is tech-y, underground and analog -- a perfect vibe for the Romanian's killer grooves. "Stay" drops a gear and cruises into even deeper territory. The melodies entwine to build a lush deep house groove, punctuated by a wonky lead and punchy, insistent drums. Popoviciu manages to hold plenty back, before unleashing a fierce drop. "Paper Box" maintains the stripped-down sound design, leaving plenty of space for Popoviciu's signature synth squiggles, stabs and fragments of melody.



VA: Treats Vol. 5 2LP (RTR 015LP) 32.00
Retreat celebrates its fifth birthday with a very special edition of the infamous Treats series. Volume 5 is the label's first double vinyl in a carefully designed gatefold sleeve and features exclusive music from all the Retreat regulars as well as exciting new guests: Session Victim, Quarion, Iron Curtis, Mr. Beatnick, Kim Brown, Jamie Lloyd, and many more. Treats Vol. 5 is a fantastic collection of tracks that stands on its own as a compilation while offering some of the most heartfelt house music for 2014 and beyond. Treats Vol. 5 begins with Jamie Lloyd's "Spiro Hustle," a slo-mo burner that will definitely put this talented Australian native back in the limelight after a few years of radio silence. Retreat's hottest property, Session Victim, are next up to bat with the dancefloor-approved "Much Too Strong" which sees them experimenting with percussive instruments while keeping their funk firmly in the pocket. The back-to-basics rawness of "Co Co Jam Boo" from Frank Music's Johannes Albert closes the A-side with a bassline that will stay in your head long after the needle hits the run-out groove. Flip the record over for Reverend G's "Pam's Cleavage." The secretive priest is on a mission to save lost souls and his jazz-fueled dancefloor offering should motivate everyone to attend service at the Church Of The Lord Jack in Neukölln. "I Am Batman" from deep house heroes Kim Brown is an emotive ride through Gotham city. It's another fine example of the duo's faultless artistry and closes the first chapter of Treats Vol. 5 in a delightful way. Quarion introduces Retreat's first-ever C-Side with "Enter Coordinates," a bass-heavy yet uplifting track that promises to reach the confines of the galaxy with the help of gorgeous chords and a freaky arpeggio. Mr. Beatnick follows up with the acid-tainted "Hold on to Your Dreams."



RIPATTI/TEETH: Ripatti04 12" (RIPATTI 004EP) 14.50
Sasu Ripatti (Vladislav Delay) meets Finnish brethren and Signal Life boss, Twwth (aka Teeth) on the fourth drop from his eponymous imprint. Both tracks were galvanized from the sessions laid down by the duo at Ripatti's studio, making for some of the most forward, rugged gear in either's arsenal. The A-side is strobing, hyper-kinetic realignment of Chicago footwork factored with sculpted sub-bass propulsion, fibrillating percussion and bleak, Carpenter-esque pads. The B-side brings the funk in a different style, percolating skittish hi-hats and hydraulic subs with the kind of polymetric momentum that could tie Storyboard P in knots. Proper, next-level grooves from the cold, cold north.


RCD 2156CD

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



"For Sonny Knight, the making of his debut album nearly 50 years after releasing his first single has effectively pushed the reset button on a long and interrupted career, bringing it around full circle musically and geographically. He and his new backing band, the Lakers, recorded I'm Still Here in a subterranean Minneapolis studio a scant seven blocks away from the basement studio beneath a long shuttered record store where he recorded his first 45 (as Little Sonny Knight & The Cymbols) in 1965, at age 17. Since the Lakers were spearheaded by a reissue label focused on obscure music, the band encompasses more than just Motown and Stax inspired sounds. The many hours spent digging for and listening to forgotten sixties and early seventies soul and funk records have practically oozed into the rehearsal space and studio. I'm Still Here finds Sonny's dynamic presence and vocal power perfectly complimented by the hard soul grooves of his seven-piece Lakers. The combination makes for a classic sound not to be missed by fans of real, organic soul music."


LP version.



FEW NOLDER X KURAK: My Holy Senses 12"+7" (SILENCE 021EP) 14.00
Vocal-driven electronica, pop sensibilities, and a touch of melancholia is a tried and tested recipe of Silence Music cuisine. This project joins together a renowned Lithuanian multi-instrumentalist and composer Vygintas Kisevicius, a singer-songwriter Markas Palubenka, and a versatile Silence producer Few Nolder. Original acoustic versions come under the name of Kurak, and indeed, they managed to produce some worthy musical material, generating quite a few waves of interest and success in Lithuania. Few Nolder picked out a couple of tracks from Kurak's repertoire and threw them onto the sweaty dancefloor. Included in this package are two DJ-friendly adaptations from David Krasemann aka Dave DK and Vidis.



WILDCHILD: T.G.I.F. (Thank God It's Funky) CD (SOS 008CD) 16.00
"Jack Brown, aka Wildchild, is an emcee from Oxnard, California. Most know his earlier work with The Lootpack (Stones Throw). Wildchild started out as an original member of The Likwit Crew (Tha Alkaholiks, Defari, Xzibit) and is now set to release his new LP titled T.G.I.F. (Thank God It's Funky), which is largely dedicated to his love of hip hop dance, and to positive inspirations. T.G.I.F. (Thank God It's Funky) features J-Ro (Tha Alkaholiks), Medusa, Jamie Lidell, Steve Arrington, and Chalice. "



GHOSTFACE KILLAH: 12 Reasons to Die LP (STE 110LP) 21.00
2014 repress. . "The sounds of classic 36 Chambers-era RZA meld with Portishead and the Italian film music of Ennio Morricone on 12 Reasons to Die, the new album from Ghostface Killah and Adrian Younge. This project is a daring, full-length Crime/Horror concept album. 12 Reasons' executive producer and Ghostface's longtime Wu-Tang Clan collaborator The RZA, refers to the album as 'groundbreaking' in the hip-hop genre. Ghostface Killah's prominence in hip hop has grown steadily over his 20-plus year career -- including recent high-profile appearances on Kanye West's Cruel Summer, RZA's The Man with the Iron Fists soundtrack, and the new Wu-Block album -- 12 Reasons catches the gifted MC at the height of his lyrical prowess."



DAVID K: Out of Range CD (SOUVENIR 005CD) 17.00
French producer David K presents his debut album Out of Range, an off-the-radar mixture of romantic melodies on drugs, rocking beats à la Parisienne, and sounds to turn you on, released on Tiefschwarz's ever reliable imprint, Souvenir. David K represents something that's all too rare in electronic music today: an artist who makes music first and club music second. For him, emotion is paramount, melody is important, the pop format has its perks and original material is always better than a sample. His roots are in Paris, where he lived his entire life until 2011. He started DJing in the late '80s on a makeshift set of gear, complete with a radio and tape deck, but once he hit his first rave in '91, he went straight for the Technics 1200s. Always involved in creating, composing, and mixing, he began his production career with the Boogabaloo EP on Sismic in 2002, a small Parisian house label. Not long after that he fell in with some key figures in Paris' underground club scene, such as Dan Ghenacia, who brought him into the Freak n' Chic stable. David has always worked conscientiously with the dancefloor in mind, though his sound has always dipped into the outer reaches of myriad genres; rock, funk and unashamedly straight-up pop, a confluence which draws on his honest inspirations. For this album he has also brought on board close friends, including guest appearances which only help add to the album's rich makeup: dOP frontman Jaw, frequent collaborator Opium (of La Boetie and Nouvelle Vague), and old friend and Italian producer Francesco Farfa. Like all of his records, the entire package is glazed in the quirky eccentricity, nonchalant percussion and irresistible hunk of sleazy and funk-fueled boogie that you've come to expect of his productions over the years.



KABALE UND LIEBE: Sammy Hoboken EP 12" (SWS 018EP) 12.00
As a precursor to Kabale Und Liebe's debut album, Soweso Records releases the Sammy Hoboken EP. Featuring three cuts from the forthcoming album and with lengths running from 8 to 10 minutes, these tracks are designed to get you into the groove and keep you there. Opens with the deep, percussive workout of the title-track, which gradually builds its electronic melody, via the funked-up techno of "The Hunter," with its shuffling beat and dappled synths, to the final production, "Too Many Circuses, Not Enough Freaks," which pounds straight in with its powerful bass line, before the claps take hold.



SONIC BOOM: Spectrum CD (ORBIT 044CD) 16.50
Space Age Recordings are pleased to announce a reissue of Spectrum, the debut album from Sonic Boom. Spectrum was the most high-profile and straightforward of the projects undertaken by Pete "Sonic Boom" Kember after the demise of the trance-rock avatars Spacemen 3. As his work as a member of the Experimental Audio Research coterie allowed Kember the opportunity to explore ambient textures and tonal constructs, Spectrum satisfied the singer/guitarist's more conventional pop leanings, while never losing sight of the hypnotic otherworldliness which became his music's trademark and legacy. This is the first in a series of Spectrum reissues: the albums Soul Kiss (Glide Divine) and Highs, Lows and Heavenly Blows are due to follow shortly.


SA 023EP

DOZZY, DONATO: Terzo Giorno 12" (SA 023EP) 15.50
Stroboscopic Artefacts presents Terzo Giorno -- or "Third Day" -- by Italian producer Donato Dozzy. "Il Canto Della Maga" features mordant wind chimes, tinkling outside a house of pain and disturbance. "Part II" is an immediate thrust into the deepest corners of techno. You can hear the sweat on the walls, the rumble in the speakers. The title-track has a reasonably friendly upper line but don't be fooled, however: a snarling squelch gives way to a scarily saccharine synth."Sotto Ma Sotto" comes in like a train with an alarm going off. Its machine-like run, jumpy in tone and beat, is as delicate as its kick is deep.


SBR 5099CD

LOUDEST WHISPER: Blue... Is the Colour of Time CD (SBR 5099CD) 17.00
Led by brothers Brian and Paud O'Reilly, Loudest Whisper originally formed in the 1960s. Since then they have forged a reputation as one of Ireland's best bands, with a repertoire spanning folk, psychedelia, blues and more. This is their first new album in a decade. It finds their gift for songwriting and melody as strong as ever, and is sure to delight their many fans worldwide. Includes a full-color booklet.



SCHUBAQ, OSCAR: Triade 12" (TAR 003EP) 14.00
Tardis strikes back, straight out of their intricate space-time-continuum: Here, label co-honcho Oscar Schubaq delivers a tour de force of the first order. On his first solo EP, Schubaq betrays his respectful mastery of the classic tropes of house and techno. The main cut "Take It" is direct and to the point, pushing onward and onward with a graceful relentlessness. Ethereal dub textures and curious string harmonies mingle with vocal harmonics. "Exposition" is straightforward, contemporary house that honors its roots. The EP finishes with "Triade," a dark ambient journey based on the core of extreme time-streched vocal drones and organic scapes.



TILMAN: Mild Western EP 12" (TDPR 015EP) 12.50
Tenderpark celebrates its 15th release with new signing Tilman. On his Mild Western EP, the young man from Mainz pleases with two very funky and soulful house tracks, which just perfectly fit the label's musical philosophy. This is deep house with a strong sense for the music's roots in soul and disco, implemented in a decidedly modern and fresh fashion. The remix of Tilman's track "Whip Me Up" comes from mysterious artist CMAT. With this release Tenderpark also initiates a new artwork series conceived by the label's art director Till Sperrle, this time in cooperation with Berlin photographer Magdalena Bichler.



D'LONELY AL/JEREMAIER: We Can Have It All/Goldnugget 12" (POMMES 002EP) 14.50
The second Terre Des Pommes 12" revives the worst and the best '90s club music has to offer. The A-side belongs to Daniel Nentwig aka one-half of The Working Elite, one-third of the now defunct Extraproduktionen and Whitest Boy Alive's keyboard wizard. He's wearing his brand-new D'LonelyAl sweater and presents "We Can Have It All," a slice of sparkling proto-house. Next is the debut release of Cologne-based skateboard pro Jeremy Reinhard aka Jeremaier. "Goldnugget" is something like the alternative college radio version of "Show Me Love" by Robin S, with good vibes galore. Also includes a remix by Phillip Lauer.



PERCUSSIONS: KHLHI/Sext 12" (TEXT 029EP) 12.00
"New music from Four Tet, under his Percussions moniker. One of two new EPs on Text."


PERCUSSIONS: ASCII Bot/Blatant Water Cannon 12" (TEXT 030EP) 12.00
"New music from Four Tet, under his Percussions moniker. One of two new EPs on Text."


TARAVAL: Streetways EP 12" (TEXT 031EP) 12.00
"New EP from Taraval on Text."



Principles Of Geometry is the duo of J & G, the cosmic twins, based somewhere in the North of France. They met in a major studio in Paris where they worked as sound-engineers and started to share their love of IDM, obscure soundtracks, ambient and analog synthesis. Their common passion quickly led them into a dark room where they recorded their first demos. In 2005, they sent a CD of those demos to Tigersushi. This demo CD became their eponymous debut album and the first chapter of what they call an "omniscient trilogy." POG's second album, Lazare (TSR 015CD), an ode to Resurrection, was released in 2008 and featured Sebastien Tellier and Vast Aire from Cannibal Ox. Press reviews were outstanding and with the addition of their first world live tour, the impressive "Stereoscopic show" -- a 3D live experience conceived with AntiVJ, they earned a well-deserved special spot on the French electronic music map. Finally the apocalyptic Burn the Land and Boil the Oceans was the conclusion to that trilogy in 2012, the return to the ground, a non-dramatic expression of extinction, the idea that everything goes back to where it comes from to be born again. The Meanstream appeared before their eyes. An inner glow, a vivid childhood fantasy they had to accomplish. These ten tracks are their most humble and honest expression of emotions, their own genre. Meanstream is a child's word, a bullet to your soul. On this album they also found their perfect symmetrical Gemini -- the cult Alessi Brothers -- an influential band from the '70s, authors of "Seabird," "Oh Lori," etc), Bobbi and Billy. The connection between POG and the Alessi Brothers was true and cosmic, a real artistic exchange. There's also the first song performed by POG themselves, the deep and hypnotic "Runner." It's time to surrender to the Meanstream.


TO 093CD

ANKERSMIT, THOMAS: Figueroa Terrace CD (TO 093CD) 14.50
Thomas Ankersmit is a musician and installation artist based in Berlin. Since 2006, his main instrument, both live and in the studio, has been the Serge analog modular synthesizer. Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000s. In the winter of 2011-2012, Ankersmit was invited by the CalArts electronic music studios, Los Angeles, where the Serge was originally developed in the early 1970s, to record new music with their heavily customized and recently restored "Black Serge" system. In addition to conventional analog synthesis techniques (FM, AM, ring modulation, filtering, enveloping and panning under voltage control), Ankersmit used various kinds of waveshaping, distortion and feedback (both internally as well as via a microphone and speaker setup in the studio); oscillator-generated frequencies at the upper and lower limits of auditory perception; a patch matrix to control quick transitions; a homemade circuit-bending type interface to create momentary interruptions to the signal flow, and the scraping of a contact microphone. Aside from recording, editing, and a few instances of reverb, no digital technology was used. The music is finely tuned and highly detailed, yet also visceral and raw. Marked by sharp perceptual contrasts, the piece shifts between dense formations of electric noise, to fields of micro-events moving with an intuitive logic, and feedback-drones of overwhelming intensity. The sounds have a real-world physicality, bringing to mind swarms of locusts, distant storms and creaking machinery, rather than "synthesizer music." The piece was premiered in North America at REDCAT in downtown Los Angeles and in Europe at Berghain, Berlin, for the MaerzMusik Festival. The music is originally quadraphonic and mixed to stereo for this release. Figueroa Terrace is Ankersmit's first full-length solo studio release. Thomas Ankersmit: Serge analog modular synthesizers, contact mic. Recorded at CalArts, Valencia and in Los Angeles, December 2011-February 2012. Thanks to Kye Potter, Kevin Drumm, Valerio Tricoli, Darrel Johansen, Kevin Fortune, and everyone at CalArts. Mastered by Denis Blackham at Skye Mastering. Artwork and photography by Jon Wozencroft.



VALINA: Container LP (TROST 123LP) 22.00
LP version. New studio album by Austrian globe-trotters Valina, their third collaboration with Steve Albini. File them in the range of bands like Ex, Shellac and Sebadoh, but their musical individuality and countless worldwide shows (Europe, USA, Russia, Israel, Turkey and South America) made Valina into an idiosyncratic reference in today's independent music-scene itself. Recorded with Steve Albini, Electrical Audio, Chicago 2013. Mastered by Bob Weston.


FAKE THE FACTS: Soundtrack CD (TROST 129CD) 17.00
Improv-noise-drone-electronics-groove-industrial-ambient project from Mats Gustafsson (saxophones, shaker, saxophone-generated ambient noise), Dieb13 (turntables, klopfer), and Martin Siewert (guitar, ring stinger, electronics). Recorded by Martin Siewert at G7, Vienna in January 2013. Mixed and mastered by Martin Siewert and Dieter Kova?i?.



SUNRISE HIGHWAY: Sunrise Highway EP 12" (TREP 005EP) 14.00
A five-track masterpiece of pure '80s-influenced pop/funk/boogie from New York. Mastered by Herb Powers (Sade, Eric B. & Rakim, Sharon Redd, Evelyn Champagne King, etc.) Tim Wagner and Amy Douglas present their project Sunrise Highway -- blending pop, jazz, R+B and house music into a mix that is modern, but familiar. Tim Wagner is one of NYC's most potent producers, having earned his stripes with the boogie electro-funk driven 33HZ, and then creating Dither Down Records. Amy Douglas has been a featured vocalist for some of dance music's biggest bangers -- Juan MacLean, KON, Eli Escobar and DJ Sega, and more.



HETZEL, PASCAL: Feel That Beat 12" (UYX 002EP) 12.50
With the second serving in their underground sidekick UYX series, Upon You presents Pascal Hetzel. The title-track introduces Hetzel's love for all things jacking, focusing on raw, pretty, unprocessed percussion elements, loads of highly effective filter action for all lovers of the wildpitch era, and male vocals embracing the vibe of a top-notch night out. "The Brute 909" features heavily pumping drum patterns and hi-hats as sharp as knives. "Something Happens" is a dark and hypnotic tune, riding a totally stripped-down vibe before a truly epic break changes things rapidly. Classy strings and clubby stabs with an aura of polished chrome emerge, recalling a proper techno club feel.



JIST, THE: The Jist CD (VAF 009CD) 14.50
Even though they were born and raised in the same town in the countryside of Norway, The Jist didn't start until the duo met in Oslo in 2011. Using their common perception of the distressed urban life of Oslo, they started the project of exploring and making big soundscapes in a small constellation. With a guitar, vocals, and several electronic devices, they used their alternative approach to their instruments and started to create dynamic, freely-improvised, noisy electroacoustic music. After two years of playing, they found the unique sound of The Jist that was worth documenting. This is the gist of The Jist, and just a small part of the hours of material they recorded in two days, mixed and mastered by John Hegre. The record is a borderline personality disorder that indulges in a series of sudden brutal eruptions of sound.



GAROTAS SUECAS: Feras Miticas CD (VAMPI 157CD) 16.50
After their first collaboration with São Paulo's Garotas Suecas in 2011 on their album Escaldante Banda, Vampisoul is proud to present worldwide their fantastic new work, Feras Míticas, recorded at the end of 2012 and released in Brazil in 2013. The album is an ambitious step forward for the band, which sees them building on their previous freakbeat and Tropicália sound towards a more fuller soul and funk production, beautifully arranged and broader in scope, both grooving sweetly on the dancefloor and adopting a more reflective stance at times. Featuring guest collaborations by Lurdez da Luz, Kid Congo Powers and Paulo Miklos, Feras Míticas consolidates Garotas Suecas as one of the most unique and interesting young bands internationally, possessors of a sound which is aware of the past but is clearly of the now.


SON PALENQUE: Afro-Colombian Sound Modernizers CD (VAMPI 158CD) 16.50
In the history of Afro-Colombian culture, Son Palenque is without a doubt an exceptional band, and its history has a place at the very heart of ancestral palenquera music as well as at the musical intersection between Africa and Colombia, which took place on Colombia's Caribbean coast in the '70s and '80s and which continues today through champeta, a musical genre and dance that also bears a strong African influence. The members of Son Palenque band grew up in rural communities fixed in time, with deep musical roots, duels between tambora players and a legendary musical profusion of traditional musicians that built the foundations of today's Afro-Colombian music. Later they all migrated to the city and bit by bit made a place for themselves. In 1980 they recorded their first single for the Fonobosa record label. Two years later they recorded an LP, again with Fonobosa, along with Estefanía Caicedo. Later on the band signed with the label Felito Records, in Barranquilla, which during the '80s produced some of the finest gems of psychedelic and Afro-roots music of the time. With Felito Records a new era began for the group. They recorded the LPs Ane Jue and African Erotic -- milestones in the history of Afro-Colombian music: for the first time they showed us traditional palenquera music, chalupa, bullerengue, lumlalú and other traditional rhythms mixed with modern arrangements of bass, guitar and saxophone. They then recorded three LPs for the CBS music label, and in the mid-'90s Son Palenque lost its recording contract, The group was resurrected in 1999 for a song with guitarist Sekou Diabate, legendary leader of the band Bebeya Jazz. Subsequently they recorded for the same label, under the production of Lucas Silva, the record Ma Kamajan Ri Musika Ri Palengue, released in 2012, which marked the folkloric group's resurrection. And so Son Palenque continues to play, 30 years after its foundation. This compilation of their music from the '70s and '80s makes clear their inimitable, groundbreaking legacy.



BROKAW, CHRIS: Solo Acoustic Volume Three LP (VDSQ 003LP) 17.00
2014 restock, released 2010. "12-String arrangements from a true master of the instrument, Brokaw shows a range from waltzes and ballads to experiments and rhythms. Member of Codeine, The NewYear, Come, Thurston Moore and the NewWave Bandits and many more ensembles."

new releases are also viewable at

to subscribe to this list, send a blank email to This e-mail address is being protected from spambots. You need JavaScript enabled to view it



Donate towards our web hosting bill!
		at the iTunes store