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Forced Exposure New Releases for 5/19/2014

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New music is due from Carl Hultgren, Oren Ambarchi/Stephen O'Malley/Randall Dunn, and Kink, while old music is due from Hecker, Perez Prado, and The Walker Brothers.


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50 036EP

DAMAGE, BENJAMIN: Up/Acid Bathq 12" (50 036EP) 14.00
Benjamin Damage is back. His new EP on 50Weapons features three banging club tracks, some made with his newly-acquired analog TB 303, like the stunning, ravy "Acid Bath." It's a feast for techno lovers with its homage to the bleepy sounds from the golden era of the '90s. This EP has Benjamin head further into techno territory, leaving his UK bass past only dimly recognizable in the bouncing euphoria of the lead melody's arpeggio on "Up," a straight tech-house hit that is guaranteed to bring hands "up" (pun intended) on the floor.


ML 9009CD

HEARD, LARRY: Alien CD (ML 9009CD) 18.00
One of Larry Heard's most under-rated albums finally remastered. Known for his classic early house releases, Larry Heard's productions always hinted at deepest outer space, but his 1996 Alien album was his first actual science-fiction record. It's almost as polished as the most mainstream dance production, but just as sublime as any Detroit producer. Heard's house roots often show themselves, while the chords and shimmering production make this an album almost on par with Heard's mid-'80s peak. The project was a recording and sound-development experiment that was mostly constructed around a Korg O1/W workstation keyboard that was left at Larry's studio to check out by Victor "Melodious Myles" Houston along with some of the staples of his studio, including the Roland d550 and Oberheim Matrix 1000. Mr Fingers' magic touch can be heard all over the album, and this showcases the incredible musical talents of the man, whose name by now can't be left out from any hall of fame when you're talking music innovators from the last century. Recommended.

ML 9009LP

HEARD, LARRY: Alien 2LP (ML 9009LP) 23.50
Double LP version.



CREMATION LILY: Fires Frame the Silhouette LP (ALT 017LP) 25.00
Cremation Lily is the project of UK-based Z. Zsigo. For the past five years, Zsigo has been consistently working under most people's radars with his distinctly personal take on power electronics, developing a modest cult following and a respectable catalog of releases through his Strange Rules label. In 2012 the project was brought to the attention of Steve Underwood from Harbinger Sound who subsequently released the Fertility Servant 7" and the project began to gather a more visible live presence thanks to gigs with the likes of Consumer Electronics, Con-Dom, Natural Assembly and on the East Coast of America, too, with Alberich and Âmes Sanglantes. Now Alter is pleased to present the first full-length vinyl collection of Cremation Lily material -- Fires Frame the Silhouette is compiled mostly from reworked and remixed tracks from previous CL cassette releases. All pieces are thematically linked by a time and place in Zsigo's life and bringing them together creates a record of masterful atmosphere which ranks high in the industrial/PE canon and closes a chapter in the project's timeline. Mastered by Arthur Rizk and cut to vinyl by Noel Summerville. Limited one-time pressing of 300 copies.



PSYCHIC TV THREE: Greyhounds of the Future 7" (OTTT 028-REDUX) 11.00
"Manufactured primarily for the band's 2014 concerts in Moscow and St. Petersburg, Russia. We have set aside a limited number of this 7" for traditional distribution. Metallic gold and black printed jacket on random recycled colored vinyl. Edition of 500."



ZOUMBAS, ALEXIS: A Lament for Epirus, 1926-1928 CD (AMA 004CD) 13.50
"Alexis Zoumbas' expressions of longing are so raw and unmediated that I suspect anyone who has ever yearned for anything -- who has ever gazed dolefully out a window, or sighed audibly over a cup of whiskey, or felt subsumed by a certain kind of ache -- will feel these songs like a club to the back of the knees. They are immediate, destructive, and stunning. That Christopher King was able to collect and contain them for us is an extraordinary gift." --Amanda Petrusich; Years of research and obsession have resulted in this, the first collection of recordings by the legendary and masterful Greek folk violinist Alexis Zoumbas. Very few pre-War musicians have tapped deeper into the human soul than Zoumbas and this volume presents his most profoundly hypnotic and unearthly pieces. A deep set of notes is accompanied by previously-unpublished photographs as well as original artwork by R. Crumb. Respectfully crafted by Christopher King and Susan Archie for Angry Mom Records.


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



SAWLIN: Niedertracht 12" (ANN 019EP) 12.50
German producer Sawlin is back for a third EP on the Delsin sister label. Niedertracht features four more tracks of searing techno in truly uncompromising Sawlin-style. "Kontraktion" goes first with heavy metallic hits, lots of industrial machinery found-sounds and thumping kick-drums. The surface of "Padjam" is then covered in squirming, scratchy little effects as syncopated drums swing deep down below. "Niedertracht"is a spangled techno track that has gurgling synths and fizzing drills all encased in a rave-y arrangement of horns and windy howls. "Weibhaupt" is made up of metal loops, punctured drums and rasping synths that sound like factories in meltdown.



PERHACS, LINDA: Parallelograms 2LP (ARCLP 001LP) 26.00
"Originally released on the Kapp label in 1970, Linda Perhacs' sleeper psych-folk opus Parallelograms has enjoyed a perennial resurgence since it surfaced on collectors' radar in the '90s. Gentle as it is deep, few records have been able to capture the emotional depth of a beautiful stranger's mind on a breezy summer's day, framed by deceptively deep arrangements and Ms. Perhacs' lucid vocal delivery. Anthology presents the definitive version of Parallelograms, mastered from the original tapes and featuring a bonus LP of demos and interviews. It comes in a reverse board gatefold jacket with a six-panel insert and includes a digital download code."


"This 1981 collaboration between two acts on Adrian Sherwood's nascent On-U Sound label captures, like few other records of the day, the dubbed-out pressure of living in Thatcherite London, pounded flat by class warfare and left to fend for itself. Threat to Creation channels raw earth blues through pounding rhythms and left-field sonic anachronisms, and reclaims dub reggae as a music defined by struggle. Sherwood's touch created invisible links between dub and punk rock, fostered through guest appearances by Ari Up (The Slits) and Keith Levene (Public Image Ltd.). Anthology is pleased to present the first-ever U.S. edition of this crucial work."


AP 083CD

LEON, CRAIG: Early Electronic Works - Nommos Visiting CD (AP 083CD) 22.00
"Nommos Visiting is an electronic work based in speculative fiction, written in 1979 by American composer Craig Leon. It was inspired by a 1970s New York exhibition devoted to the art of the Dogon people of Mali. The Dogon are renowned for their cosmogony and for their sculptures evoking their religious beliefs, received from extraterrestrial visitors, known as the Nommos, a group of amphibian humanoids who came to them from the region of the double star Sirius. Leon explains, 'It was an attempt to imagine the music that the Nommos brought with them to Earth from their home planet, thereby influencing the development of our own music.'"



BELFI/GRUBBS/PILIA: Onrushing Cloud CD (BLUE 021CD) 13.50
"Onrushing Cloud is the first recording by the trio of Andrea Belfi (drums, percussion, electronics), David Grubbs (electric guitar, piano, voice), and Stefano Pilia (electric guitar). Prior to meeting, all three had released recordings on the excellent Swedish label Häpna, and were already fans of one another's work. In the spring of 2009, Belfi and Pilia were invited by the Harlem Studio Fellowship for a residence in New York, and the three took this opportunity to get down to the brass tacks of forming a power trio. Onrushing Cloud is characterized by the eccentric, fleeting symmetries of Grubbs's and Pilia's guitar playing simultaneously mediated, punctuated, and over- and underscored by Belfi's hybrid assemblage and deeply personal vocabulary of electronics and percussion. Although ultimately divided into five songs, this is clearly a single start-to-finish skein. Originally released on LP in 2010."



HULTGREN, CARL: Tomorrow CD (BLUEFLEA 021CD) 14.00
"A change of scenery can change a person. It reshapes their mind, shifts emotions, and brings forth new modes of creation. A new house did just that for Carl Hultgren. Tomorrow was started in 2011, shortly after moving to a new neighborhood and into an enchanting 1930s Art Deco inspired Tudor. Originally known as The Elmdale, its casement windows and recessed plaster cove ceilings combined to reshape Carl's thoughts and views. Surrounded by beautiful old trees and shimmering sunlight, Carl started working. Tomorrow's tracks are a manifestations of tranquility and joy, of an assuredness in forward motion. It is instantly apparent to any long time listener of Windy and Carl that these new tracks show a marked change from the 20 years of dense guitar drones and walls of sound the duo have released. Carl's first solo album is instead a lighter, more stripped down affair -- the tracks showcasing his new found humility and confidence. There are touchstones - in tracks like 'No Other' and 'As Sure As' the cascading guitars hint at LC era Durutti Column, in 'Spirits' you can hear a nod to early 4AD Dif Juz in all its reverb and atmosphere, while 'In This Land' has a Gene Clark psychedelic country twang. Tomorrow is not all about a love for guitars - 'Hidden' brings together glimpses of Wolfgang Voigt's Gas project with the industrial percussion of Einsturzende Neubauten's Perpetuum Mobile. A change of scenery has meant the freedom to explore new lands and be completely comfortable in them. Keyboards and found sounds sit very contentedly next to airy guitar compositions." Comes in a hand letterpressed sleeve. Includes a download code for six bonus tracks.


HULTGREN, CARL: Tomorrow 2LP (BLUEFLEA 021LP) 28.00
Double LP version on orange and black vinyl. Housed in a gatefold sleeve. Includes a download code for six bonus tracks.



MAMELON: Balani Show 7" (BOOMARM 008EP) 7.00
"Introducing the heavyweight sounds of Mamelon, with their hit 'Koumba Fri Fri' ('The Head Dance'). Mamelon are a young Balani Show outfit from Mali, bringing an insanely heavy djembe/electro soundclash vibration that's out of this world. Traditional meets the streets, run by the youth. Big sound. Backed with a slowed down stormy 808 refix by Boomarm Nation's Gulls. Release in collaboration with our brother label Sahel Sounds on the heels of their Balani Show Super Hits LP. 7" Vinyl in hand stamped gold paper sleeves."


BB 171LP

CLUSTER: Apropos Cluster LP (BB 171LP) 21.00
LP version. Pressed on 180 gram vinyl. "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



YOKTO: Compost Black Label 114 12" (COMP 446EP) 12.00
"Hello, we are Jürgen Graf and Christian Nainggolan. Together we are Yokto. The studio of Yokto is in my home in the countryside close to the French border in Saarland (Germany). The grassroots of our work is house music and all its manifold derivatives. This is fundamental for our work in the studio and also for our appearances in the club. If we have the chance to present our musical vision the whole night, we begin the night playing experimental music or ambient and then draw an arc which incorporates the various styles of house. Of course, we always have an eye on the crowd on the dancefloor."



CARDINI & SHAW: In the Ballroom EP 12" (CORR 027EP) 12.50
Jennifer Cardini and David Shaw have joined forces for a phenomenal project. Their first encounter was at the Pulp, 10 years ago, where they spent the entire night talking about their mutual taste for bands like Joy Division, The Smiths, Etienne Daho, and Stinky Toys. The documentary Paris Is Burning, which introduces the Voguing scene in New York in the '80s, inspired "In the Ballroom" and "Pepper Labeija," two electronic pop manifestos, subtly dark and sexy, where the aforesaid influences of the duo appear in the background. "Keep Me Hanging" is much more dancefloor -- the kind of track that becomes a classic on first hearing.



TOBLERONE, CLENDON: It Is Within 12" (COSMOS 001EP) 12.50
Mysterious house producer Clendon Toblerone presents a dark one on the COS_MOS label.



VA: 100DSR/VAR4 12" (DSR 100-VAR4-EP) 12.50
The on-going celebration of Delsin reaching 100 releases continues here with the fourth in the series of 100DSR releases. Featuring key label friends Redshape, D5, and Area Forty_One, it's another compelling package. First up is the famous masked one with a track specially made to celebrate the centenary. Sad but optimistic, uplifting but heavy-hearted, it's a quintessential Redshape track that manages to be industrial and romantic at exactly the same time. Next up is D5 with "Stem Cell," a light-footed, harmonically enriched bit of house that has large open spaces glowing golden-white as paddy kicks keep busy below. A blissful but purposeful track, the final offering comes from Area Forty_One, who offers a dynamic and juddering bit of deep techno.


VA: 100DSR/VAR5 12" (DSR 100-VAR5-EP) 12.50
All good things must come to an end and so it is that the landmark series of EPs from Delsin wraps up with installment number five. The underwater ambiance of BNJMN's "Dive" ripples and echoes beautifully before Delta Funktionen's "Petrol" offers up far more raw and angry sounds in a heavyweight, spitting electro mould. Herva's "Radio Mutterings" sounds just like that, with skittish frequencies and bristling white noise. Bleak unravels some steely techno loops and underpins them with a thick bed of rubbery kick drums. John Beltran's "Return to Nighfall" has bristling hi-hats coated in angelic and harmonic pads.


DEHNERT, MIKE: Lichtbedingt CD (DSR 104CD) 17.00
Three years after his last full-length album on Delsin, tireless techno producer Mike Dehnert is back. Lichtbedingt counts 12 tracks and is yet another subtle evolution away from the chord-driven, functional sound he has championed before now. Since his last album, Dehnert has continued to steer his Fachwerk label through the techno undergrowth and it has now amassed more than 25 releases in all. At the heart of the label's output has been Dehnert's own increasingly experimental techno and this new album is testament to the producer's continued exploration of the form. Where Framework was, in the words of Mike himself, ''focused on the heavy techno form'," this album explores broken bass, swinging house and beatless electronic experimentalism, amongst other things. The album starts off with a suitably somber intro that features cold, slowly shifting synths. They set an uneasy and moody tone before "Construction" settles into a fat, swaggering cadence. From there you get lost in broken, ruptured, malfunctioning bits of hardware that spit out random hi hats, bleeps and gurgles and then eventually get spat out the other side into a cantering bit of dubwise techno with paranoid vocal snippets. Moving along, the album throws plenty of diverse influences into the mix: "Movement" is freaky and dynamic, skipping and pumping, ducking and diving through all sorts of occult synth sounds and shadowy vocal loops, then "Single Action" is like a sledgehammer groove run through with harmonic elements that glint and glisten like diamonds in the rough. Classic sounding Dehnert tracks like "ReRe" remind us where this producer has come from, while the breezy house swagger of "Emlo" show us where he might be headed. Key to this album and Dehnert's output as a whole is, besides the killer grooves, the production: crisp and clean, full-blooded and always outstanding. CD contains two extra tracks not on the double LP version.


DEHNERT, MIKE: Lichtbedingt 2LP (DSR 104LP) 23.50
Double LP version.


CLARO INTELECTO: Peace of Mind 12" (XDSR 005EP) 12.50
Back in March 2003, Claro Intelecto announced his arrival in the electronic world with his Peace of Mind EP on Ai Records. Now, a decade later, Delsin is re-releasing it in all its glory. Across four perfectly-formed tracks, the EP proved Manchester's Mark Stewart to have a fine grasp on techno, electro and dub, and that he was able to do his own unique things with each. Seminal stuff that still fetches a high price on Discogs, it was the start of a remarkable career for Claro Intelecto.



BRAME & HAMO: Street Urchin EP 12" (DIRT 078EP) 12.50
Brame & Hamo from Sligo in Ireland have teamed up for the first time ever for this fine deep debut EP. "Street Urchin" and "Ghetto Lament" are two pieces of classic deep house with dark, rolling bass lines and soulful chord progressions, and the piano sample in "Ghetto Lament" is a beautiful reference to the golden era of disco. Glenn Astro & Imyrmind are on the remix -- these guys have been putting out some serious dope stuff lately and this remix is no exception. "Retrospect" is more straightforward and stripped-down, with stabby groovers and quirky acid lines that work extremely well on the dancefloors.



JAWBOX: Novelty LP (DIS 069LP) 13.00
"After more than a decade out of print, Jawbox's second full-length album, Novelty, is finally back on vinyl. Novelty was recorded at Arlington, Virginia's Inner Ear Studios in January of 1992 with producer Iain Burgess. The record has been remastered and recut by Bob Weston at Chicago Mastering Studios and will be pressed onto clear-colored vinyl with revised artwork. The LP also includes a digital download coupon featuring the original album tracks plus the 2- song Tongues single. J. Robbins, Kim Coletta, and Adam Wade formed Jawbox in July of 1989."


DC 093LP

ROYAL TRUX: Singles, Live, Unreleased 3LP BOX (DC 093LP) 31.00
2014 repress; Deluxe 3LP box version.

DC 162LP

O'ROURKE, JIM: Eureka LP (DC 162LP) 15.00
2014 repress; originally released in 1999. LP version.

DC 185CD

ROYAL TRUX: The Radio Video EP CD (DC 185CD) 11.00
"It was a brave old world back in the year 2000; on the Drag City side of the street (we called it 'the fast lane' -- what did we know?), the production team of Adam and Eve deliriously blended the guilty pleasures of late '90s smooth R 'n' B (as epitomized by the group Class Houses, featuring Reeta Young) with the pushy funk of Royal Trux. Featuring, ladies and gentlemen, Jennifer Herrema and Neil Hagerty, etc. An album and an EP removed from the synapse-splitting Accelerator, The Radio Video EP knocked our vision of Royal Trux out of focus in five quick tracks, while simultaneously morphing into a new incarnation that we might finally hope to understand in some future days (2014? Nahhh...). Dance-poppin' Trux! Of course, this new EP wasn't a catch-all release revisiting former poses -- no, never! In keeping with Royal Trux tradition, The Radio Video EP was a new and hitherto untouched quantity -- this time, well-machined, club-ready psych-pop, presented for the pleasure of all the people of Earth, with no discriminations."

DC 185EP

ROYAL TRUX: The Radio Video EP 12" (DC 185EP) 13.50
12" version.

DC 349LP

BISHOP, SIR RICHARD: Polytheistic Fragments LP (DC 349LP) 15.00
2014 repress; LP version. "It goes without saying that Polytheistic Fragments is an instrumental release -- who among us would want it otherwise? In the tradition of his classic debut, Salvador Kali, this record features equal amounts of improvisation and composition. Sir Richard's powers lie in his ability to captivate with just the sound of his guitar, but he doesn't completely abandon studio processes, which allow Polytheistic Fragments to communicate a greater wholeness: all Sir Rick, all the time, if you will."

DC 387LP

DEATH: ...For The Whole World To See LP (DC 387LP) 15.00
Another 2014 repress; LP version. "Their time in the studio was overseen by engineer Jim Vitti, whose work with Parliament/ Funkadelic seems to have informed his decision to record Death in raw fashion with little polish, showcasing the organic power relationships within the trio. The songs recorded there make up ...For the Whole World to See, which today blasts from the speakers as a fresh and inspired early entry in the category of punk rock. Death had a single pressed, Politicians In My Eyes b/w Keep On Knocking, selling them at their shows and on the street. Things weren't really going anywhere when they heard from Columbia Records' president Clive Davis. He was interested, but he had one demand -- they'd have to change their name. David, acting as the band's leader, would have no part of it, a decision that ultimately brought an end to Death. Moving to New England, David, Bobby and Dannis reconnected with their faith, forming the Christian rock-n-roll band The 4th Movement, whose self-released early-80s album joined Death's 45 as a sought-after obscurity for the next generation. 2009 is the time that Death is finally here ...For The Whole World to See. ...For The Whole World to See is the first full-length release EVER for the band called Death -- with only one 7" single to their name, and that usually goes for about a grand per. That's $1000! For those who do have the single, the remastered sound here will break you up."

DC 586LP

AMBARCHI/O'MALLEY/DUNN: Shade Themes from Kairos 2LP (DC 586LP) 25.00
"Shade Themes from Kairos is a new iteration of the dream for all the guitar freaks out there, bringing together a couple of singular players together, just to see what happens. In this case, the players were old friends and collaborators Oren Ambarchi and Stephen O'Malley, playing in a space engineered and co-populated by Randall Dunn. From the top, Shade Themes from Kairos is resonant as a collective inquest in sound, with all the players deeply immersed within the panorama they are creating. 'That Space Between' blows in from a distance, rolling rhythmically, with synthetic percussion chattering, before it settles into a stately pace, as the guitars wind ethereal around the procession. Under the beat lies always space, and as the cadential clusters drift off, metal chimes and keys sputter and dig deep and clean through the abyss." Housed in a gatefold sleeve.


BEC 5161804

RITON: Bad Guy Ri Ri 12" (BEC 5161804) 12.50
12" EP from Riton with download card. Featuring contributions from Irfane and Spank Rock.

BEC 5161806

VA: Vandroid 2LP (BEC 5161806) 29.00
The original soundtrack of an unreleased movie... became the soundtrack of a comic book. Fourteen tracks produced by Krazy Baldhead, Mr. Flash, Busy P, Feadz, and the mysterious 40106 (aka Mickey Moonlight). Influenced by John Carpenter, Wendy Carlos, and Vladimir Cosma, the Ed Banger Records artists imagined the perfect soundtrack to an "à la Ed Wood" movie. Nostalgia and sound anticipation, Vandroid can be likened to reading a comic or to having your head in the clouds. A concept album which allows the least-exposed artists from the label to prove their talent.



LCC: D/evolution LP (EMEGO 198LP) 20.00
LCC (previously known as LasCasiCasiotone) is Ana Quiroga and Uge Pañeda, who hail from the Asturias region of northern Spain, and are now based in Gijon. After a couple of digital-only releases, Editions Mego is now set to release their first physical full length entitled D/evolution. Encapsulating the paradox between man and earth, it reflects on the paradigm that is Evolution, and examines the extent to which our development and technological advancement, which is inevitably bound to the extraction and processing of minerals from the earth, has broken and deformed our natural environment. Depleting our resources in an unsustainable way turns what had previously been a symbiotic relationship between humans and the earth into a parasitic one. Man's natural rhythms are kept in check by nature's rhythms, and vice versa. There is a constant fight to maintain the fragile equilibrium. D/evolution plays with this ambiguity: it juxtaposes warm soundscapes with unexpected ones, simultaneously evokes images of urban and natural environments, transforms synthetic sounds into organic ones, all with the objective of taking us closer to our origins. Mastered & cut by CGB at Dubplates & Mastering, Berlin.



EL_TXEF_A: We Walked Home Together 2LP (FIAKUN 002LP) 26.50
Double LP version. Housed in a gatefold sleeve.. On the back of an exciting debut album in 2012 that saw him perform live at Sónar Festival and later with his band at Vienna's Volkstheatre, before disseminating music on Permanent Vacation, Suol and Connaisseur Recordings, enigmatic Basque country producer El_Txef_A returns with his sophomore album We Walked Home Together. El_Txef_A (pronounced "Elchefa") has crafted a work that just like its journey-conjuring title, charts a shifting palette of sounds and moods, exemplifying its creator Aitor Etxebarria's breadth of skill. Produced entirely in Aitor's homeland of the mountainous Basque Country, the album showcases the talents of not just its creator who producers, sings and plays piano on the record, but also some of the Spanish region's most outstanding musicians. Local artist Biskonti is one contributor, whose vocals coat a brooding bed of rough-cut drums on the ice-cold slice of electronica "I'm Going to Paint You," while Hannot lends his pipes to the moving "You Left Us in This Physical World" that sweep over a delicately-crafted brew of guitars and keys. The sublime title-track turns into a family affair, with Aitor's brother Hibai playing the grand piano. A graduate of 2013's Red Bull Music Academy in Madrid, El_Txef_A has an impressive array of sonic strings to his bow and the Detroit techno-inspired "Claim of Planet Earth" deliciously rubs shoulders with the album's single, the alternative slice of pop "The Love We Lost," featuring Woolfy. Elsewhere, Aitor paints a dream-like soundscape with the sublime shoegaze-inspired trip "0730," that seamlessly bleeds into "Every Day Is Blue Monday," with its atmosphere-heavy swirl of subtle acid lines, floating synths and evocative vocals delivered by Suol Records contributor Meggy. An artist whose music is inextricably connected with his homeland, the album concludes with the stirring "Mugarrirantz," sung in the native tongue of Euskera by country folk band Napora Iria. It's proof that El_Txef_A is equally adept at doffing his cap to tradition as moving a dancefloor with his inspired brand of electronica.



TAYLOR, LITTLE JOHNNY: Somewhere Down the Line/What You Need Is a Ball 7" (FRY 025EP) 8.00
"Somewhere Down the Line" has been a huge mod/R&B essential spin for many years now, and it's not hard to see why. With its bluesy harmonica and guitar riff married to a full, swinging horn section, the production perfectly encapsulates the developing early '60s sound, where blues and R&B eventually gave way to soul. Little Johnny Taylor was obviously inspired by the blues sounds of his early childhood, but contemporary to the singers who were inspiring the new genre shift at the time. "What You Need Is a Ball" is perhaps closer still to a pure soul sound, but still with that earthy blues backbone and groove.



ROUX, SEBASTIEN: Inevitable Music #1: Variations on Sol LeWitt's Wall Drawing #260 LP (FAG 003LP) 25.00
"Future Audio Graphics is pleased to announce Inevitable Music #1: Variations on Sol LeWitt's Wall Drawing #260, composer Sébastien Roux's investigation of Sol LeWitt's Wall Drawing #260, with a commissioned essay from artist and composer, Seth Cluett and featuring the work of conceptual artist Sol LeWitt (1928-2007). Inevitable Music #1 is the first collection in a series of compositions from Roux dedicated to the conceptual processes of LeWitt's seminal wall drawings, which LeWitt began to produce in the late 1960s. Inevitable Music #1 is a collection of sonic translations of Sol LeWitt's WD #260, employing a group of discrete digital and analog sounds (sustained/pulsed sine tone, sawtooth wave, voice, etc.) that each correspond to one of 20 shapes used in creating LeWitt's instructional wall drawing. Once assigned, these discrete sounds combine to create elegant and rigorous compositions that encourage the listener to reconsider LeWitt's notion that 'the idea becomes a machine that makes the art.' As a further nod to the instructional nature of LeWitt's practice, each variation is preceded by a female voice that announces the particular combination of sounds used to create the composition. As Seth Cluett remarks in his essay for this release, 'The result of Roux's mapping of line drawing instructions onto auditory raw materials... creates a productive tension between listening and material, process and narrative, and ultimately between the elapsed experience of time and the successive filling of auditory space.'"


GB 013LP

BOMBINO: Agamgam 2004 LP (GB 013LP) 26.50
Last available stock of this 2014 RSD release. Presenting a very special vinyl version of Agamgam 2004, the debut album from Niger's Tuareg sensation Bombino. The album has previously only been available as a digital download. By any measurement, the last couple of years have been an exhilarating ride for Bombino, culminating in 2013's album Nomad, which was produced by Dan Auerbach of the arena-filling Black Keys and was released to widespread acclaim. Agamgam 2004 is a beautiful contrast to the Nashville-recorded Nomad. This is Tuareg music in its most pure and unadulterated form. In late 2004, Bombino recorded acoustic versions of nine songs in the Ténéré desert, which became this, his first real album. He sings and plays several of his own compositions and also pays tribute to other Tuareg artists (Abdallah Oumbadougou, Hasso, Kedou). Recorded mostly around the campfire, his assembled friends join in on handclaps and undulations. Bombino himself picks up the story: "I worked as a guide or cook's helper and once the season ended, I bought a guitar and strings. I did that for some years, working wherever I could. In 2004, a Spanish team came to make a documentary film and organized a gathering in the Ténéré desert to the north of Agadez (Niger). I was there as a cook's assistant and in the evening would play guitar in the camp. They decided to record what we were playing in the desert, in the place that's called Agamgam. Since that's where the recording came from, I wanted it to have the name of the place where it was made. It was completed in two days." The rush of the desert wind, snippets of between-song conversation and the sound of grazing animals in the distance are essential elements of the album's deep atmosphere. Agamgam 2004 is not only an intimate, privileged view of Bombino's roots; it is also one of the most authentic documents of modern Tuareg music ever released. The Agamgam 2004 LP is beautifully re-mastered from the original recordings, housed in a gatefold sleeve and pressed on 180 gram vinyl. A download code is also included. The album is being released in conjunction with the French label Reaktion and has been directly licensed from Bombino.



COLLIN, JON: Burnt Monday LP (ROWF 041LP) 21.00
"The most obvious influence on [Collin's] playing seems to be Loren Connors. He manifests the same strange bluesy attack on strings at many moments here -- letting notes breathe for a while, then strangling them until they squeak shut. One also notes some of Fahey's long open slide chords, but clearly his melodic resolutions are closer to Fahey's late period work, even if his technique is more reminiscent of Fare Forward Voyagers or something. There is also a scent of Jim O'Rourke's brilliant acoustic responses to questions posed by Derek Bailey. Indeed, while this might seem to be heady company for a guy recording his debut LP, I feel as though the comparisons fit." --Byron Coley; Following the release of his incredible debut LP on Winebox Press, Jon Collin took to the road in the U.S. alongside fellow soul travelers Yek Koo, Chalaque and Zaimph. The highpoint (in myriad senses) came on a Monday night in Albany, NY, where Collin performed to a seated and incredibly blazed audience in the basement of The Helderberg House, where he ended a night of heavy reverie with a blasted, drawn-out, super-sparse set of creaking drum stool and glorious string tone flashes. All in attendance were mesmerized and utterly rapturous as each piece concluded -- staggered by the weight of what they were witnessing and for which they had not been prepared by the endless craft ale, pizza and bongloads. There's something of the magical about this record. Limited to 250 copies on 140 gram vinyl.



RED AXES: Ballad of the Ice LP (CLICHE 056LP) 25.00
LP version. Red Axes is Niv Arzi and Dori Sadovnik, two young men who have always lived in Tel Aviv and have been making music together since the noughties. Ballad of the Ice is their debut album. Their artistic travels have taken them from the rock scene to the dancefloors, and to creating an album. More than a summary, this LP is an invitation to discover a singular musical identity: a ballad of the ice, a song as light as love and cold as a tunnel, springy as a dance step and deep as nostalgia. Originally, the two young men were part of the band Red Cotton. Their musical obsessions were very distinct and have never really left them since: post-punk, new-wave, synth-pop, gothic rock, Italo-disco and all the other styles with double-barreled names that flourished in the underground of the Western world at the turn of the '70s and '80s. They were barely born then, and Israel was hardly a promised land for these musical trends. Nonetheless, today the people who love these styles, at the forefront of which Cosmo Vitelli, founder of the label I'm a Cliché who signed them, recognize Red Axes' talent for creating tracks that are not only impeccably referenced, but also terribly current, in their production and in their intentions. In 2009, house and techno made a noisy entrance into their lives. They were DJs by then and Tel Aviv was all hedonism and crazy parties. Red Cotton was over and Red Axes began. In 2012, I'm a Cliché introduced them into a community of people who enjoyed what the musical press could refer to as "cold-rave." Four EPs were released on the French label that discovered sharp acts such as Yuksek, Azari & III and Simian Mobile Disco. Add to these a bunch of edits that went spinning on everyone's turntables -- remixes and originals that attracted labels such as Kill The JD, Throne of Blood, Correspondant, Clouded Vision, Relish and others -- these built Red Axes' reputation as the makers of solid dancefloor tools. Meanwhile, being resident DJs of the Bootleg in Tel Aviv gave them the ability to broaden their scope. It also allowed them to rub shoulders with some of their favorite DJs, from Ivan Smagghe and Jennifer Cardini to the Cómeme crew. These established DJs quickly became major supporters. But Red Axes didn't get lost in a loop of never-ending clubbing. The extent of their research is evident on the album. Apart from beautiful vocals by Abrão, a member of various Brazilian punk bands of the '80s, Arzi and Sadovnik handled all the instruments and machines. After "Head Like Glass," a pure cold-wave intro, Red Axes take us on a repetitive stroll of light percussion with "Kicks Out of You." Then comes the rock track "Watkins," followed by a brass dub "Only a Clown Can Catch an Axe." The poignant "Papa Sooma" feels like it's coming out of an old cassette player, and "Road to the Hills" is all intimate house feelings. "Neon" will make you feel like you're on the set of an urban Western, while "Candy" is a toe-tapping Mancunian devil. "Bela Lugosi's Dead," a Bauhaus cover, adds a layer of groove in the bat cave, and finally, "Dreams Like a Tale" closes the album in a psychedelic mist.



ASO, AI: Lone LP (SOMA 017LP) 20.00
Repressed. Tokyo's Ai Aso is a Japanese psychedelic pop singer-songwriter whose work has a whisper-thin acid-folk quality to it. She started performing as a solo singer around 2000. Her solo work, infrequent collaborations with White Heaven members You Ishihara and Michio Kurihara, Yurayura Teikoku, and Boris bring a level of fragility and hypnotism to the stage, recalling lost memories, small flavors of Coil, and serial playing on the verge of evaporation. As for her recent activities, she has performed on bills together with Sunn O))), Boris, Masaki Batoh (Ghost), Touri Kudoh, Kim Doo Soo, Mark Fry, Simon Finn, etc. Cut by CGB at Dubplates & Mastering.



FUNCTION/INLAND: Odeon/Rhyl EP 12" (INF 012EP) 14.50
Long-time colleagues David Sumner (aka Function) and Ed Davenport (aka Inland) have teamed up to relaunch Sumner's esteemed imprint, Infrastructure. The label has been lying dormant since 2006, when Sumner focused his energies on Sandwell District. They kick things off with a collaboration under the guise Function/Inland with this new EP. "Odeon" translates a soaring synth solo into an 8-minute percussion-driven version. Modulating toms rise and fall as the strings climb to new heights. On "Rhyl," deeply influenced by the heady days of early Warp, Skam, Autechre and pure electronica, they add a contemporary, hi-tech twist and hints of Sandwell's emotive textures.


JBJ 1054EP

BROWN, ROY: Good Rockin' Man/Everything's Alright 7" (JBJ 1054EP) 11.00
Mid-century R&B from one of the best artists of the blues shouter era -- none other than Roy Brown. "Good Rockin' Man" is, as its title suggests, a upfront and bold slab of jump blues machismo. Before rock & roll became established as a genre in itself, artists such as Roy Brown were laying the foundations, in both tone and attitude, with swaggering, brazenly libidinous floor-shakers like this.


SMITH & THE LOVELITERS, KENNY: Go for Yourself (Parts 1 & 2)/One More Day 7" (SOUL7 037EP) 11.00
Top quality double-sider from Kenny Smith, once a fairly obscure Cincinnati-based artist who nonetheless had fourteen solo releases across various labels and also wrote and arranged scores for other artists including Albert Washington, Eddie Whitehead and The Platters. In recent years, Smith was rediscovered on the Northern scene for his 45s, such as the self-released Lord What Happened, and here are two more gems from the versatile soul man. "Go for Yourself" is a tough piece of late '60s funk while "One More Day" is a beautifully breezy mid-tempo Northern/crossover sound that's been filling dancefloors and wants lists alike for the past few years.


KK 077EP

SAMSON, WILL: Light Shadows 12" (KK 077EP) 12.50
Originally released as a digital EP at the tail end of 2013, Light Shadows returns as a highly limited 12" vinyl, including two new reworks by Ritornell and Benoit Pioulard. Since the release of Balance in October 2012, Will has travelled across the UK and Europe, sharing stages with Kurt Vile, Ólafur Arnalds, Valgeir Sigur?sson, Marissa Nadler, and more, as well as performing his own headline shows. After a series of life-changing events, Will travelled to Berlin to begin recording ideas with close friend, Florian Frenzel. Using a selection of tape machines and home-made outboard gear, the pair crafted this deeply cathartic collection of music.



SUPER DJATA BAND DE BAMAKO: Vol. 2 - Yellow LP (KSRE 016LP) 18.00
Super Djata is one of the boldest and most exciting orchestras in the history of African modern music, if not one of Africa's greatest and most unsung ensembles. Led by the late great Zani Diabaté, Super Djata Band De Bamako stands proud as one of West Africa's fiercest orchestras, with only a handful of releases and many tremendous gigs given over the last 40 years. Born in 1947 in the Sikasso region, Zani belongs to one of Mali's most famous griot families. As a child he learned how to play the bolon, a string instrument with a bass sound, and the balafon, before learning how to dance. As a 16 year-old, he joined the Ballet National du Mali, an official dance ensemble. In the same vein as the Ensemble Instrumental du Mali, Ballet National du Mali served Modibo Keita's cultural authenticity policy in the 1960s. Zani was also taught how to play percussion by legendary Voltaic musician Amadou Ballaké in the mid-1960s. During his time at the Ballet National du Mali, he befriended fellow musician and dancer Daouda "Flani" Sangaré. Flani introduced him to his very close friend Alou Fané. Both of them came from the same region as Zani, sharing some of the same cultural references. As a trio, they joined forces together in order to set up Harmonica Jazz with Zani playing the harmonica. They moved on to the name Ganoua Band, where Zani played the guitar, Alou and Flani sang and played the kamalen ngoni while another Ballet friend, Maré Sanogo, played the djembé and other percussions. This small local outfit expanded with the arrival of three other musicians from the Ballet National du Mali. They then set up the Djata Band name in order to start one of Mali's first private orchestras. Thanks to their leader's experience, the Djata Band quickly rose to fame within the Bamako region. Despite the lack of official support, Djata Band started to record their compositions under the aegis of expert engineer Boubacar Traoré at Radio Mali's tiny recording studio. By the end of the 1970s, the band's repertoire was already very large and diverse. Their first album was released through the Discorama record label in Abidjan. Like several other Malian artists of the early 1980s, Super Djata's only outlet for their material lay in some Ivorian record company. Bringing together bambara traditions, Wasulu hunter music, Kenedugu's balafon music, and bozo fishermen dances, mandingo chants and fula repertoire, mixed with a spicy, and at times even psychedelic guitar, Zani Diabaté's Super Djata Band came to the forefront of the emerging world music scene in the early 1980s as one of Mali's strongest bands.


SUPER DJATA DE BAMAKO: Vol. 2 - Blue LP (KSRE 017LP) 18.00
Super Djata is one of the boldest and most exciting orchestras in the history of African modern music, if not one of Africa's greatest and most unsung ensembles. Led by the late great Zani Diabaté, Super Djata Band De Bamako stands proud as one of West Africa's fiercest orchestras, with only a handful of releases and many tremendous gigs given over the last 40 years. Born in 1947 in the Sikasso region, Zani belongs to one of Mali's most famous griot families. As a child he learned how to play the bolon, a string instrument with a bass sound, and the balafon, before learning how to dance. As a 16 year-old, he joined the Ballet National du Mali, an official dance ensemble. In the same vein as the Ensemble Instrumental du Mali, Ballet National du Mali served Modibo Keita's cultural authenticity policy in the 1960s. Zani was also taught how to play percussion by legendary Voltaic musician Amadou Ballaké in the mid-1960s. During his time at the Ballet National du Mali, he befriended fellow musician and dancer Daouda "Flani" Sangaré. Flani introduced him to his very close friend Alou Fané. Both of them came from the same region as Zani, sharing some of the same cultural references. As a trio, they joined forces together in order to set up Harmonica Jazz with Zani playing the harmonica. They moved on to the name Ganoua Band, where Zani played the guitar, Alou and Flani sang and played the kamalen ngoni while another Ballet friend, Maré Sanogo, played the djembé and other percussions. This small local outfit expanded with the arrival of three other musicians from the Ballet National du Mali. They then set up the Djata Band name in order to start one of Mali's first private orchestras. Thanks to their leader's experience, the Djata Band quickly rose to fame within the Bamako region. Despite the lack of official support, Djata Band started to record their compositions under the aegis of expert engineer Boubacar Traoré at Radio Mali's tiny recording studio. By the end of the 1970s, the band's repertoire was already very large and diverse. Their first album was released through the Discorama record label in Abidjan. Like several other Malian artists of the early 1980s, Super Djata's only outlet for their material lay in some Ivorian record company. This album was released circa 1982 on the Musique Mondiale label in Abidjan. Opening the record, "Yacouba" is a tribute to a great bambara dancer from Ballet National du Mali who was murdered in Dakar in 1973. Sober and heartfelt, Zani's guitar playing is hypnotic while Flani mourns their late friend, enhanced by eerie background vocals. Other names such as Sory Kandia Kouyaté or Bembeya Jazz's singer Demba Cambara who happened to die in Dakar the same year as Yacouba passed away are featured in the second part of the song, names which are quoted with great emotion. On stage, the whole band would kneel down at a point when playing this tribute song to the great ones who had passed away.



FIELD, THE: Cupid's Head 2LP+CD (KOM 290LP) 25.50
2014 repress. Double LP version on heavy weight vinyl in gorgeous black on black packaging. Includes a free CD of the entire album.



BARBIR: Lowoutput 12" (LESPOINTS 002EP) 14.00
Barbir's low-output EP addresses the social constraint of the repetitive output. Whether creative or consumer, one will be seen as an eternal fountain, from which ideas (outputs) spring (Bruce Naumann Self-Portrait as a Fountain, 1966). His 3 low-outputs impress with a dodgy monotony, which is disturbed by small escapes/outbreaks. Those outbreaks throw the monotony off the grooves (life). With this method the artist consolidates his position against the norm. While the whole EP deals playfully with the normative, San Proper did not resist from creating a small escape/outbreak himself: instead of remixing a track as usual, the whole EP was interpreted in one track.



LEWIS: L'Amour CD (LITA 117CD) 15.00
"In 1983, a man named Lewis recorded an album named L'Amour, which was released on the unknown label R.A.W. And that's about all we know. The record itself is a delicate, whispered album, reflecting the way the artist himself -- spectral, movie star-like -- almost disappears into the grey of the cover. It should come as no surprise that it failed to shout loudly enough to be noticed, another private press album that sank without trace. The ingredients are simple: smooth synthesizers, feather-light piano, ethereal, occasionally inaudible vocals and the gentle plucking of acoustic guitars. But the effects are arresting: a spine-tingling, sombre album that echoes Springsteen's Nebraska or Angelo Badalamenti's atmospheric soundtracks. Later, Arthur Russell would grasp for something similar on the epochal World of Echo LP. L'Amour is a true discovery of the blog age, uncovered in an Edmonton flea-market by collector Jon Murphy, passed on to private press fanatic Aaron Levin, shared on the internet and speculated over by lovers of curious LPs. There's almost no information about Lewis or the album on the internet. There's precious little on the sleeve: a dedication to Sports Illustrated supermodel Christie Brinkley, a photo credit for Ed Colver, the noted L.A. punk rock photographer, and credits for engineer Bob Kinsey and synth player Philip Lees. All that was known of Lewis is conjecture: a rumor that he was a con artist who fled after not paying for L'Amour's photo-shoot and a dubious theory that he was not actually of this earth."


LJ 001LP

HEDLUND, RASMUS: Framjande Av Ljud 2LP (LJ 001LP) 26.00
"The first Ljudverket full-length covers all the bases. Twelve tracks of dub-techno, ambient, motorik, and electro, with a sub-arctic heart of darkness. Suspenseful and warmly entertaining."

LJ 002LP

"As Ljudverket is a heavily art-influenced label, the second release was made as a part of a sound installation for an exhibition in Helsinki. Rasmus Hedlund and Tuomo Väänänen's 2LP consists of 80 locked groove loops, 20 on each side. The installation itself holds four vinyl players, where every side of the records are represented as a sound source, from where the participants could themselves choose a random loop and thus create their own soundscapes. This is one for the collectors, and no more than 200 copies are being produced. All loops written and produced by Rasmus Hedlund and Tuomo Väänänen."

LJ 004EP

KIVIOJA, VESA-MATTI: Lopun Ajat 12" (LJ 004EP) 16.00
"Outstanding, seven-track EP of dubwise techno from Vaasa via Berlin: elastic, tense and atmospheric."

LJ 005EP

HEDLUND, RASMUS: Audio Kurator 12" (LJ 005EP) 16.00
"Fifth release by this excellent label, run out of Vaasa, Finland. Deep, dubwise techno, intently balanced and varied, its heart on its sleeve for analogue and vintage digital equipment and the Basic Channel tradition, but with strong Nordic flavors. Moody and murky, melodic soul and a vast sense of starry space."



CANTU, D'MARC: Long Weekend 12" (MOSDEEP 019EP) 12.50
Typically bold and "playable" gear from Anne Arbor-based machine-head D'Marc Cantu. This EP features fully-formed house and techno with more than a touch of acid. The title-track is a lively house jam that has proud kick-drums, plenty of muffled and deeply-buried chords and a busy bass line. "1Lb of Flesh" is a much more jagged and serrated track, mainly because of the manic acid squiggle that runs right through the heart of the slapping snares and icy cold hi-hats. "Acid Test" is a slick, powerful fusion of electro and techno that whips and snaps. It's a busy, fulsome track but never feels cluttered.



KINK: Under Destruction CD (MACROM 038CD) 17.00
Lenin said: "Communism is Soviet power + electrification of the whole country." Hardly did Lenin suspect what an inspired take on these words could do: post-Socialist techno. A child of '80s late Socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of disaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp. Tweaking whatever software was available, he learned all the sideways possibilities of hacking into the sonics of analog classics with the beauty of digital degradation: alias noise, bit crush, noisy FFT grains -- his one-of-a-kind results have electrified dancefloors all over the world ever since. Now, all the elements of KiNK's live sets have been bundled like a laser beam on his debut album: Under Destruction was manufactured in the concrete tower blocks of Sofia. The album's core has been recorded in dozens of analog jam sessions -- capturing the moment of a sparking imagination just like KiNK's live sets, but then transformed in deep data penetration. The rough and the refined unite in disturbing balance -- from distorted tenderness up to club bangers such as "Sintezator" and "Melodia." A beauty in decay, just like Sofia's concrete slab housings -- synths rising from the ashes. This album tells the story of KiNK's sound -- the one that sparks the love everywhere he visits.


KINK: Under Destruction 2LP (MACROM 038LP) 26.50
Double LP version.



LACK: Expect Night Work 12" (DOSER 022EP) 12.50
Morphine continues to expose more destructive electronics from the U.S. underground. Four bare bones tracks from Lack that owe as much to grimy techno as they do to the late '80s industrial pioneers.



MOTOR CITY DRUM ENSEMBLE: Raw Cuts 1 & 2 12" (MCDE 1201EP) 12.50
2014 repress. Here is the first vinyl edition of Motor City Drum Ensemble's Raw Cuts Vol. 1 (FACES 003CD) series. Heavy disco-fused house shit... you need this in your bag, collection, LIFE.


MOTOR CITY DRUM ENSEMBLE: Raw Cuts 3 & 4 12" (MCDE 1202EP) 12.50
2014 repress. Here is yet another vinyl edition taken from Motor City Drum Ensemble's Raw Cuts Vol. 1 (FACES 003CD) series. Great disco/house music and a massive 12".



HECKER: Sun Pandamonium LP (PAN 015LP) 25.50
Small warehouse find of this 2011 LP. "Deluxe vinyl issue of one of the most important albums of modern music and quite simply some of the finest computer audio excursions unleashed in recent years. Sun Pandamonium is the third full- length album from Florian Hecker, originally released in CD format on Mego in 2003. Sun Pandamonium also received the Award of Distinction Digital Music at the Prix Ars Electronica - the International Competition for CyberArts - the same year. Striking the listener from many angles with a diverse range of fiercely dynamic electronic scenarios, Hecker utilizes the computer to materialize new compositional strategies, leaving behind standard musical structures and seeking out unusual timbral and textural effects. As one reviewer stated, 'This record is electronic music as psilocybin science.' Or, as the American online journal Pitchforkmedia states: 'Loud and overwhelming at any volume setting,' Sun Pandamonium contains 'the sounds and frequencies not only of diamonds being sharpened, but then being used to etch directly on the lenses of your optical readers. Call him a sick fuck, a genius, or even Mister Antichrist, but this will cleanse the audio palate as it blows your teeth out.' The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 800 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged with six monochrome lacquered sheets which are housed in a silk screened PVC sleeve with the original artwork by Tina Frank & Florian Hecker."


TRICOLI, VALERIO: Miseri Lares 2LP (PAN 044LP) 29.00
It has been 7 years since Metaprogramming from Within the Eye of the Storm, the last solo full-length release by Valerio Tricoli. In the years between, he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, Coi Tormenti (Dilemma Records, 2010) and Thomas Ankersmit, Forma II (PAN 016CD, 2011) along with the fifth full-length release by his band with fellow Italian cohorts 3/4HadBeenEliminated, Oblivion (ZEIT 011CD, 2010). Throughout these shows, collaborations and ongoing explorations, Valerio has developed on his signature style of beautifully unsettling musique concrète. The result of his tireless explorations, Miseri Lares is his magnum opus, a multilayered and heavily nuanced work which epitomizes the uncanny in the realm of sound. Miseri Lares explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work. As a contemporary take on musique concrète, Tricoli utilizes his full explorations of the Revox tape recorder alongside digital processing, while retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion. Themes of the internal, represented by both the psychological and the physical, play throughout the record. As a symbol of spirits preying on the grief within, haunting wisps of sound swirl around a throbbing bass in "Hic Labor Ille Domus et Inextricabilis Error," whereas "La Casa Deviata" emphasizes the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water. Here, the tension at play is injected with a treated Dictaphone recording: "Tell me what happened," "I can't remember? THE SMELL!!! There was a tape recorder, where is the tape?" Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanized floorboard -- a play on the album's themes of the psychological, emotional and irrational horror within. Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes (in Hebrew, Qohelet), H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself. These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of later-day Scott Walker (baritone aside). Valerio Tricoli's release for PAN adds another piece to the puzzle of narrative-based concrète music, while deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture. 2LP mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl. Vinyl set packaged in a pro-press jacket which itself is housed in a silkscreened PVC sleeve with photography by Traianos Pakioufakis and artwork by Bill Kouligas.


PJ 003EP

J DILLA: Give Them What They Want 12" (PJ 003EP) 13.00
"'Give Them What They Want' is a special treat - an unheard J Dilla-produced vocal track that has never before been released. It is paired on this release with the Super Dave West version, entitled 'The Doe,' and a second West-produced track, 'No One's Home.' 'Give Them What They Want' was mixed by Dilla himself, and its component instrumental was mixed down to match Dilla's vocal version by Dave Cooley, from Dilla's original multi-track sessions. The first press of this 12" comes on clear vinyl."



SAN PROPER: Yestoday 12" (PERL 099EP) 14.00
New three-tracker from San Proper on Perlon.



AUNTIE FLO: Hey Don't Make Trouble 12" (PERMVAC 122EP) 12.00
Brian d'Souza aka Auntie Flo hails from Goa by way of Glasgow, but now lives in London where he is a resident for labels Huntleys & Palmers and Highlife. His first 12" for Permanent Vacation highlights two full-on Afro-futurist stompers for maximal block party pleasure. The B-side sees an Afro acid dub take by label-mate and Auntie Flo live show collaborator Esa for the basement and warehouse clubs on this planet.



LP version. The Quasi Dub Development (QDD) was founded as a collective by Luca Fadda and F.S. Blumm. The QDD love dub, obviously, but they play it by hand with their many instruments and effects, instead of working in the studio along the classic post-production methods of the genre. Their friendly, handmade "Quasi Dub" is both experimental and accessible. This sound has convinced none other than one the pioneers of the dub genre, Lee "Scratch" Perry, to make an appearance on "Let's Communicate." The name of the album is derived from two comic characters that are meant as an ironic comment on the narrowness of the dub scene: "Stiff-Neck" stands for the intolerant side of the reggae music scene. For him, the music has to stay as it always was, with big egos and always the same off-beats. The "Little-Twister" is a lateral thinker who likes to make things happen with a considerable amount of humor. No question about who is going to win that battle for the Quasi Dub Development. Following Little Twister's approach, the band works as an open, modular project: Luca Fadda is an electrified trumpet player in New York, runs a club, and organizes the yearly ESE Festival for electronic music. The Berlin-based guitar player F.S. Blumm recently released his eighth solo album Up Up and Astray on Pingipung. He mainly plucks the sub-bass for the QDD. Besides contributions from Victor Rice and Sub Atomic Sound System, several drummers (e.g. Sven Kacirek), and Jason Candler as brass section, it is mainly the outstanding vocals that strike the listener on this album. Next to Lee Perry the Grande Dame of Dance Hall, Lady Ann, toasts on three tracks.



2014 repress. Voices From The Lake is an intensely personal project borne out of the long-standing friendship between two Italian DJ/producers, Donato Dozzy and Neel. The project extends and deepens their explorations of ambient techno, with an emphasis firmly placed on the "techno" component. Listening to Voices From The Lake is an immersive experience, as the textured beats and carefully-crafted rhythms have a deeply hypnotic effect. The open, fluid structure of the music gives it an organic, natural feel, transporting you to more peaceful surroundings. With the music of Voices From The Lake there is a completely natural progression and flow, nothing is forced or hurried. The sounds develop and unfold at their own pace, creating a powerful sense of tranquility. The genesis of the Voices From The Lake album can be found in the mountains of Japan, where the duo made their live debut at The Labyrinth festival in 2011. This album recreates and refines that performance.


PP 005EP

OBALSKI: Introducing 12" (PP 005EP) 14.00
With their fifth offering, Public Possession introduces Obalski, a long-term shareholder of the Public Possession organization. His musical portfolio, so far, includes scores for various theater plays as well as sound installations in art galleries and DJ gigs at various binge-drink bars around town, where if you're lucky, he also serves you your favorite beverage. This 6-track debut EP opens up a new chapter in his oeuvre.


RB 105EP

TAYLOR, CARMEN: Ding Dong/Big Mamou Daddy 7" (RB 105EP) 11.00
Super-sassy and super-sexy R&B twin-spin from lesser-known female blues shouter Carmen Taylor, with "Ding Dong" a slouching, sleazy mid-tempo twist on the "Hound Dog" motif and "Big Mamou Daddy" an uptempo rock & roll honker. Early Atlantic pressings were notoriously hissy and pressed quietly on 45rpm, which makes this newly mastered pressing the best way to enjoy these largely forgotten killers on DJ-friendly 7" vinyl.

RB 106EP

WYLIE, RICHARD: Money/I'll Still Be Around 7" (RB 106EP) 11.00
Barrett Strong's "Money (That's What I Want)" was one of the first big hits for Berry Gordy's Tamla/Motown stable in Detroit. "Money" was covered hundreds of times over in the years that followed and has become perhaps one of the most famous songs of the 20th century. Richard Wylie covers it here, followed by "I'll Still Be Around."



OVERLAST: Backstage 12" (RH VD14-EP) 12.50
Next up on Tom Trago's "Voyage Direct" series is Overlast. This Amsterdam-based producer returns with three synth-driven club tracks.


VELEZ, JORGE: Ausland 12" (RHM 009EP) 12.50
Deep, darker workouts by the artist that brought us the MMT tapes series, Jorge Velez.


SHIN 039

SHINDIG: Shindig! No. 39 MAG (SHIN 039) 9.00
"On the cover: The End: Bill Wyman's introspective psychedelic protégés. The Peanut Butter Conspiracy: It's A Happening Thing with LA's psychedelic folk-rock congregation; Bonnie Dobson: Walking out in the morning dew with Canada's first lady of folk; The Soundcarriers: The kings (and queen) of retro-futurist analog grooves tell all; With Chris Farlowe * Nymbus * Exploding Galaxy and much more! Bonus magazine: Reverberate; The latest sights and sounds from the ever-expanding new wave psych scene."



VA: Haiti Direct EP 12" (SOFR 008EP) 15.00
"Carnival rumpus, DIY electro and out-compas. Kicks off with some 1979 folk revivalism plonking Kraftwerk inna Port au Prince. Haunting vocals, heavy drum machine. Then some rough and rugged rara, with a one-note bass-line from a Vaksin bamboo-flute; and a beautiful mini jazz arrangement of the evergreen mateau, with criss horns. For those still standing, a stiff shot of psycho-compas, laced with swirling organs, screeching vocals and heavy bass. Boom."



DAVID K: Out of Range 2LP (SOUVENIR 005LP) 25.00
Double LP version. 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.



VA: Slow Grind Fever Volume 1 LP (STAGO 049LP) 23.00
Stag-O-Lee presents the first volume in their series collecting slow-grind, swing, and sleaze tracks -- the soundtrack to a smoky late-night bar in Chicago, or a hot Sunday afternoon down at the Popcorn. If you feel the cold sweat of soul, and the cool chills of haunted crooners singing out their final swan song, or the sinful shakes of R&B in its twilight years, then you have a bad case of Slow Grind Fever. This is a collection of haunting, hungry, heartbroken humdingers full of swing, sway and sleaze, with obscure B-sides sitting next to some of these great artists' last outings on wax. Volume 1 was compiled by R-Man from Stag-O-Lee and Chris Sick from Stay Sick!. Volume 2 will follow soon, and will be selected by Richie 1250 -- the founder of the Slow Grind Fever club night (every first Saturday upstairs at Tote's in Melbourne, Australia). Vol. 1 + 2 will be released on one CD at the same time as the vinyl version of Vol. 2 hits the streets. If symptoms continue, please seek medical advice.


SF 088LP

VA: 1970s Algerian Folk and Pop LP (SF 088LP) 22.00
Sublime Frequencies is thrilled to present a second volume of classic tracks from Algeria's popular music history. Where volume 1 focused on the early to mid-1970s Rai scene in western Algeria, this album features a variety of pop and folk styles from that same period. From the heavier rock and psychedelic sounds of Rachid & Fethi, Les Djinns and Les Abranis, to the haunting folk music of Kri Kri and Djamel Allem and the film soundtrack moods of Ahmed Malek, 1970s Algerian Folk & Pop documents a key period in the modern musical renaissance of a nation in transition. Most of these tracks are from 45 rpm singles, the key format during the early 1970s before the cassette took over as the medium of choice. Western musical influences can be heard throughout this extremely diverse record, yet there is an undeniable Algerian sense of sadness contained here within a more tolerant space in time between two of the country's most significant historical periods; National Independence from France and the darker times of a brutal civil war yet to come. Compiled by Hicham Chadly, this limited edition LP comes in a full-color gatefold jacket with lovely images from the period and extensive liner-notes by Omar Zelig, Algeria's most legendary radio DJ.


WIRE 364

WIRE, THE: #364 June 2014 MAG (WIRE 364) 9.50
"On the cover: Ben Frost (The Australian composer combines elemental harshness and emotional heft in music designed to overwhlem). Inside the issue: Orphy Robinson (Philip Clark meets the multifaceted vibraphone player and purveyor of archaic Nubian stepdub); Dan Wilson on experimental sound in the Victorian music hall; Invisible Jukebox: Mike Heron (The Incredible String Band originator unpeels the layers of The Wire's mystery record selection); Collateral Damage: Salomé Voegelin; Inner Sleeve: Grouper (on The Dead C's Hell Is Now Love/Bone); Global Ear: Rome; Epiphanies: Val Wilmer."



WALKER BROTHERS, THE: Nite Flights LP (TIZONA 016LP) 20.00
2014 repress. "This 1978 LP was the final album by The Walker Brothers and features tracks written by each member of the group. The strongest and darker tracks are by Scott Walker and open the album. Classic sleeve design by Hipgnosis."



VA: Uarious Artists Vol.1 12" (UAUDIO 000-1EP) 15.00
Tracks by Battista & Eternauta and Decas.



FUTURE ISLANDS: Wave Like Home CD (UTR 023CD) 15.50
Originally released in 2009, re-released following a stunning performance on Letterman, and signing to 4AD. Future Islands are a post-wave dance band from North Carolina -- now residing in the fertile "music capital of awesome" Baltimore. Future Islands play a terse yet passionate music wrought from a stripped-back palette. Gerrit Welmers' cartwheeling synthesizer melodies tumble across the austere wilderness of William Cashion's post-punk bass pulse, driven ever forward by Eric Murillo's ecstatic feel for rhythm. Perhaps the most striking aspect of the band's sound, however, takes shape in the form of Sam Herring's distinctive guttural vocal, delivered as Glen Danzig if he ever found himself in a Shakespearean tragedy. At times on its knees at others belted out like it's the end of the world, Herring's vocal lends a raw emotional warmth to the group's resolute synth-punk bounce. Wave Like Home was created in the summer of 2007, with the help of producer Chester Endersby Gwazda and successfully denotes the uplifting energy of the band's live shows while still staying true to their 4-track hearts. The album is a breathless testament to romance and grasping chances, forever enthralled to the optimism of trying again. It's a sincere and sometimes painfully honest record about chasing broken dreams and finding courage in a forsaken heart. An album infatuated with timescales like always and forever. From the broken elegy of woozy opener "Pangea" through the euphoric fun trips of "Old Friend" and the upbeat "Seize a Shark," the album never drifts far from reflection amongst its highest highs. For every throbbing track recalling breakneck pursuits, there's a soulful reminder of the quieter side of a melodramatic heart. "Beach Foam" is glorious, swelling synth-work perfectly capturing the crashing waves that incite such hungry philosophy in the song. For all the hope and regret felt across the album it is rather apt that final track "Little Dreamer" catches up with Future Islands at their most starry-eyed. Wave Like Home is a worthy debut album for Future Islands -- perfectly capturing their bittersweet nature.


FUTURE ISLANDS: Feathers & Hallways 7" (UTR 027EP) 8.00
2009 release. Re-released following a stunning performance on Letterman and a new album on 4AD. Limited, clear vinyl. Future Islands are a post-wave dance band from North Carolina -- now residing in Baltimore. Future Islands play a terse yet passionate music wrought from a stripped-back palette. Gerrit Welmers' cartwheeling synthesizer melodies tumble across the austere wilderness of William Cashion's post-punk bass pulse, driven ever forward by Eric Murillo's ecstatic feel for rhythm. Perhaps the most striking aspect of the band's sound, however, takes shape in the form of Sam Herring's distinctive guttural vocal, delivered as Glen Danzig if he ever found himself in a Shakespearean tragedy.


FUTURE ISLANDS: Tomorrow/The Fountain 7" (UTR 055EP) 8.00
2014 repress. Since 2008's Wave Like Home debut album, Future Islands have written two classic albums of romantic yet melancholic synth-pop for Thrill Jockey as well as exhaustively toured Europe and America. This 7" features some of their most compelling songs yet, building on the poignant focus of their previous album On the Water. Recorded and produced with Chester Endersby Gwazda and mastered by Sarah Register (Talk Normal). Liminal colorscape cover by Tyler Weeks. Pressed on white heavyweight vinyl.



KALEIDOSCOPE: The Kaleidoscope CD (CSM 002CD) 15.50
Fans of psych rock will likely know both the British and American bands that operated in the late '60s under the name Kaleidoscope, but you may have missed Mexico's Kaleidoscope! (Let's face it, Kaleidoscope was just too tempting a name in the psychedelic era -- no one band could claim that name). This is unquestionably one of the best psych-rock records ever cut in Mexico ? originally released in 1969. If you're a fan of psychedelic music, just check out that cover art (designed by Bodo Molitor, a German singer who produced his own psychedelic gem in Mexico) and you know you're going to like this one. The story of the group is fascinating. Two musicians based in San Juan, Puerto Rico heard about a burgeoning psychedelic scene in the neighboring country of the Dominican Republic. They relocated to Santo Domingo, cut a record of original songs with some great local talent and then signed to Orfeon Records in Mexico and relocated to Mexico (hence they're known as the Kaleidoscope of Mexico). Sung entirely in English, this is psych/garage rock at its finest with a great combo of organ, fuzz, and trippy, reverb-drenched vocals with a slightly hazy production hanging over it all. Did we mention there's fuzz? Titles include "I Think It's All Right," "Let Me Try," "Hang Out," "I'm Crazy," "A New Man," "A Hole In My Life," and "I'm Here, He's Gone, She's Cryin."


VA: Rock En Avandaro - Valle De Bravo CD (CSM 160CD) 15.50
Originally released in 1972. Avándaro, a spot to the southwest of Mexico City, hosted Mexico's answer to Woodstock in 1971. This album compiles some amazing material from some of the best Mexican bands of the era that performed at that seminal concert, such as The Love Army, La Fachada De Piedra, Free Minds, and Soul Masters. Tracks include "Di Por Qué," "Roaming," "Libertad," "Buscando Alrededor," "Tal Vez," "New Man," "I Feel I'm Losing You," "Tú eres mi amor," "It's Too Bad," and "Better Watch What You Do."


TAMBA 4: Tamba 4 CD (CSM 161CD) 15.50
A terrific bossa nova offering from Tamba4 -- this self-titled record was released in 1970 on the Mexican label Orfeon. Originally called Tamba Trio, the group perfected an urbane, breezy variant of bossa, which scored them several big hits in Brazil. Their records represent the very best that '60s bossa nova has to offer. This album is a comparative rarity next to their legendary earlier work, but this is truly fantastic material on par with anything else they cut. The group's founder, Luiz Eça, had departed by this point and he's replaced here by the formidable Laercio De Freitas. The mood is light and the sound is in general a bit more upbeat than their earlier work, with superb vocal harmonies and prominent percussion. They selected songs from Jorge Ben, Antonio Adolfo and Tibério Gaspar, and Milton Nasciemento, among others. Songs include "Pais Tropical," "Samarina," "Sem Voce En Nao Vivo," "Pensando," "Zazueira," "Correnteza," "Se Voce Pensa," "Juliana," "Lenga-Lenga," "Veracruz", and more.


PRADO, PEREZ: 70 CD (CSM 199CD) 15.50
Originally released in 1970 in Mexico. 70 by Perez Prado is an absolutely stellar set of songs that has a bit of everything you love all assembled in a way that sounds remarkably fresh and exciting on every tune. This is some seriously groove-oriented Latin soul with plenty of touches of the psychedelic sound that was en vogue at the time. Mostly instrumental, the album has, at its core, a funky sound that calls to mind The Meters, yet it's an incredibly diverse and sonically rich album (let's not forget Pérez Prado was called "The King of Mambo"): blaring horns, Latin percussion, jazzy flute, great organ work, bouncy bass lines, sparse, funky guitar and warbly psychedelic wah-wah all topped off with the occasional soulful grunts. Very highly recommended. Titles include "Simplemente Maria," "Traces," "Guada Guadaloupe," "Vuelveme A Querer," "Mexico 70," "Los Dos Laredos," "La Octavia Religion," "Fanny Bump," "Mambo Bump," and more.


LA SANGRE CALIENTE: La Sangre Caliente CD (CSM 201CD) 15.50
Soulful, funky Latin rock, or rockin' soulful Latin funk, or some other permutation of the aforementioned components. Call it what you like, this album from La Sangre Caliente is a seriously great set of songs. Tight and rhythmic, this is a powerful sound grounded by the excellent rhythm section, to which the group adds horns, alternatingly funky and sinuous guitar lines, combo organ, and energetic lead and backing vocals. All of the elements on display here -- funk, soul, gritty garage rock, and Latin rhythms like mambo -- are wonderfully synthesized. Dig it!


LAS ANTORCHAS: Las Antorchas CD (CSM 205CD) 15.50
Hailing from swingin' Mexico City, Las Antorchas' songs ran the gamut from straight up '60s beat, to garage rock, to far out psychedelia, and any fans of those genres will find much to like here! The perfect acid-punk of "Dime," with its huge, echoey fuzz and whiny combo organ is a particular stand-out. Though the group's references were clearly Anglo-American, the majority of the tunes are performed in Spanish. This album compiles their sole EP as well as a slew of excellent singles from 1966-1968, which include some covers of songs by The Yardbirds, The Turtles, and The Beatles. Titles include "Opus 14 Interior 12," "Tú Me Enseñaste," "Dime," "Shake," "Confesión," "El Soldado," "Sabia," "No Lo Hagas," "Anoche Fue," "Canta Conmigo," and "Substitute."


BER'T, JULIAN: Julian Ber't and His Beat CD (CSM 208CD) 15.50
A diverse, dance-oriented record from Julian Ber't, a great Venezuelan arranger and musician who is credited with introducing a dance craze called the Yenka to Mexico. According to the record's back cover, Orfeon entrusted Ber't with the songs on this album to perform however he liked, thus the title Julian Ber't and His Beat. Cut in 1966, it's a set that includes mostly covers ranging from the theme from The Third Man with a driving Motown backbeat, "The 'In' Crowd," "A Taste of Honey," and "Hang On Sloopy," here titled "Hey Lupe" and performed with a fantastic Latin beat. There are also one or two slower jazz moments where Ber't showcases his skill on the piano, but overall this is a record made for the dancefloor and it certainly delivers! Other tracks include "Jazz Ber't A Go Go," "Desde Que Yo Siento Por Ti," "Algunas Veces en Viernes," "Seguir Soñando," "Perro Mundo No. 2," the incredibly groovy "Hoyo en la Pared," and more.


Recorded in the late '60s, this exquisite piano-centered record is the work of a finely-honed jazz group led by Juan José Calatayud accompanied by the lovely vocals of Silvia. Its title Nova Jazz hints at its contents: the first half is dominated by jazzy instrumentals that really showcase the skill and range of Juan José as a pianist and the sweet voice of Silvia enters on the second half, which takes a bossa nova turn. It's a truly great, warm collection of songs. Titles include "Mercy, Mercy, Mercy," "J.J. Jazz," "Lety's Blues," "Comin' Through the Apple," "Dindi," "Samba Do Aviao," "The Look of Love," "Inutil Paisagem" and "Ola."


PRADO, PEREZ: A Go Go CD (CSM 211CD) 15.50
A criminally-overlooked set of songs from Pérez Prado aka "The King of Mambo"). This boisterous record boasts an awesomely incessant Latin groove, driven, above all else, by the awesome percussion section and complemented perfectly by punchy horns and the group vocals. Put this one on at your next shindig and it's sure to get everyone moving! Titles include "Mambo A Go Go," "En El Mar A Go Go," "Caliente Caliente," "Fanny A Go Go," "La Mentira," "Te A Go Go," "Nina A Go Go," "Harlem A Go Go" and more.


SEMANFORASH: Lo Impredecible CD (CSM 215CD) 15.50
A superb debut from Mexican jazz trio Semanforash, Lo Impredecible was originally released in 1980 and is a true gem. The group was founded by the brilliant guitarist Francisco Mondragón who shines here, demonstrating not only his mastery of jazz music but also his boundless creativity. This skill and creativity later led to his collaboration with other great musicians like bassist Jaco Pastorius. Titles include "Inocencia," "El Jinete," "El Matador," La Despedida," "Barrio China," and others.


POP MUSIC TEAM: Society Is a Shit CD (CSM 216CD) 15.50
Originally recorded in 1969 for Orfeon Records in Mexico, this unbelievably awesome set of psychedelic rock was shelved for decades, due in large part to its fantastic (though probably poorly chosen from a commercial standpoint) title Society Is a Shit. With the exception of a humorous, traditional-sounding acoustic number presenting the record in Spanish, this record is 100% pure, mind-expanding psychedelia sung mostly in English. It's got all the factors you'd expect from a psych record of the period, like the glorious fuzz guitar and organ, but this is a far more creative and strung-out record than most. For instance on the second track, the epic "Tlatelolco," which condemns the deadly repression of a protest by government forces, the group drifts from one bizarre part to the next with strange sound effects and varied instrumentation. Developments in American rock and psychedelia were clearly on the group's radar -- the influence of The Doors can be heard in particular -- yet it would be a mistake to try to compare this album to any other. This is a truly unique listen that will surprise and delight you from start to finish and it deserves a place in the collection of any fan of psychedelic music. Titles include "Presentación," "Tlatelolco," "Oda a la Chica Fresa," "The Second Smoke," "It's True at Last," "Love Is Business," and "La Noche Final."


OVERFLOW: Overflow CD (CSM 221CD) 15.50
Overflow was one of the most important of Mexico's progressive groups and their self-titled and sole album, originally released in 1985, is filled with great performances that bring to mind Yes and Genesis. A trio, they crafted a very full and dynamic sound on this record, and the majority of these eight songs are performed in English. A thoroughly interesting listen and a true rarity to boot! Songs include "Rain," "Through the Night," "Looking for a Friend," Un Gesto Solamente," "Mars," and more.


CRISTAL Y ACERO: Kuman/Cristal Y Acero CD (CSM 223CD) 15.50
Whoa! Where to start with this one? Cristal y Acero were a great Mexican heavy metal act with a clear influence from classic groups like Judas Priest, Iron Maiden, and their ilk. You get two albums in this package, their outrageous rock opera "Kuman" (1984) and their self-titled debut (1983). The Spanish-language rock opera which tells a sort of "Tarzan in space" story, starts off with screaming, harmonized metal guitars and but then goes on to cover a lot of other stylistic ground including blues-y rock, prog, classic '50s-style rock 'n' roll, and power ballads. Metal remains the dominant style, however, as heard on tracks like "Soy un hombre," "Rescate," and "KingKaiman" (presumably the green monster on the cover). The album also includes considerable contributions from Mexican television star Tatiana, who here plays the love interest, Mary Anne. Must be heard to be believed. Tracks include "El debe vivir," "La dicha de comer," "Mary Anne," "Él no es un animal," "Soy un hombre," "Seducción," and more. The group's eponymous debut is also top-notch stuff with a more straightforward hard/heavy metal sound, sung in both Spanish and English. Includes "Tonight," "Estarás bien," "Telephone Line," "Estoy Triste," and more.


LOS AMERICAN'S: Lo Nuevo De Los American's CD (CSM 229CD) 15.50
A terrific album from Los American's (don't hold the incorrect use of the apostrophe against them!), a '60s Mexican group that played straight up British-style beat with occasional forays into a rougher garage sound. Sung entirely en español, the songs include some great covers of classics like "Devil in Her Heart," "So Happy Together," "Till the End of the Day," and "Last Kiss." Other songs include "No me cuentes," "Te conquistaré," "Tú te fuiste," "Son cenizas," "Noche callada," "Probemos otra vez," "Yo soy," Nunca te podré olvidar," "Pienso en ti," and more.


MOLITOR, BODO: Hits Internacionales CD (CSM 230CD) 15.50
An absolutely stellar psychedelic rock album from Bodo Molitor. A German rock 'n' roller who relocated to Mexico, he's backed here by an excellent group of Mexican musicians and together they cut this fuzz-drenched Technicolor masterpiece in 1969. The songs are significantly enhanced by fantastic organ-playing courtesy of Jorge René González and Bodo's vocals are great, raspy, and brooding, often bearing a resemblance to Jim Morrison. The record includes several awesome covers like "When I Was Seventeen" done in a brilliant, sort of creepy psychedelic style. Bodo designed the album's cover himself and also created some other very groovy psychedelic cover art, such as the self-titled album by the Mexican group Kaleidoscope. This eccentric and wonderful album most certainly deserves a place in your collection! This reissue adds four bonus tracks: a cover of "Hello, I Love You" and instrumental versions of three of the album's tracks. Songs include "Sookie Sookie," "Real Real," "She's a Woman," "You Don't Know," "St. James Infirmary," "I Wish I Knew How," "Don't Let Me Be Misunderstood," "Laziness," "The Midnight Hour," and more.


ANTORCHA: Antorcha CD (VAM 001CD) 15.50
A terrific early '70s Mexican psych-rock album from Antorcha which never saw release in its day. Previously known as Las Antorchas, under that moniker the group played beat and garage rock whereas this album showcases their transformation into a sonically rich and often heavy psych-rock band. It's a guitar-driven record sung in Spanish with lots of fuzz, wah, and some electric 12-string. The album also features some great psychedelic organ sounds and a Latin-flavored beat is occasionally thrown into the mix for good measure. The lyrics sometimes feature anarchist themes among other more typical psychedelic subjects (see: "Grass"). Great stuff and it's particularly interesting hearing this back to back with their work as Las Antorchas. Check it out!


SABLE: Live Animals CD (VAM 003CD) 15.50
Formed in 2009, this young, brutal Mexican power trio showcases their talents with a remarkably full sound that blends a range of styles like thrash, hardcore, punk, and death metal. The drummer, Carlos Batista played previously in a variety of and international bands (Ruta Blanca and Logos). His drumming drives the sound while the chugging guitar of Isdarka helps to create a massive wall of sound. Bassist and vocalist Daraya tops it all off with a dynamic range and style.


NENA: Stoner Rock CD (VAM 004CD) 15.50
A fuzzy rock 'n' roll tour de force formed in 2000, on their album Stoner Rock Nena play a sound evocative of '70s rock with a clear psychedelic influence from classic Nuggets bands as well as groups from Mexico's own psych rock past like Los Ovnis. The sound is the sort of swaggering sleaze you'd want and expect from a group with a front man who goes by Jorge Rockstarr and who writes songs with titles like "Sexteen," and "Sexodelico."


YT 110EP

QUIRKE: Acid Beth 12" (YT 110EP) 14.50
Inspired by the rhythmic, clattering sounds of the industrial machines that soundtrack his day, Quirke produces a unique blend of acoustic and electronic music. From the frenetic, driving rhythm of "Break a Mirrored Leg" to the modern classical piano on "Acid Beth," Josh's sonic world is distinct and immersive; his bold sound best-represented by one word, his surname: Quirke.

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