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Forced Exposure New Releases for 6/9/2014

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New music is due from Gusgus, Colin Potter, Keiji Haino, Jim O'Rourke and Oren Ambarchi, Officer!, and Leyland Kirby, while old music is due from Dangerous Rhythm, The Staple Singers, and the JB's.


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3DB 017CD

OLSEN, MORTEN J.: Bass Drum! CD (3DB 017CD) 17.00
Bass Drum! is Morten J. Olsen's solo debut. Having made a strong impact on the Berlin scene for improvised music since his arrival in 2006, his trademark is impeccable instrumental control and an exceptional affinity for sonic exploration. After touring most of the globe with MoHa! and Ultralyd, his present instrument of choice is a rotating bass drum, prepared and extended with small percussion instruments. From what seems to be limited means, he creates a complete sound world, redefining the idea of what percussion music is about. Bass Drum! is the fourth volume in +3DB's series "Music for One." Morten J. Olsen (b. 1981, Stavanger) is a musician, composer and artist. He studied in Amsterdam, but has been living and working in Berlin and Stavanger since 2006. Olsen mainly plays percussion, usually within selected forms of experimental music. He works with a sound palette that includes orchestral, electronic, improvised music and rock. He has performed throughout Europe, North America, Oceania and Asia with MoHa!, Ultralyd, The Pitch, and his latest collaboration NMO, with Rubén Patiño. Olsen is also a member of Splitter Orchester, a 25-piece improvising collective based in Berlin. He has released more than 40 records on approximately 10 different labels and recently adopted a new hobby as a techno DJ. Morten J. Olsen: 32" Gran cassa and percussion.

3DB 018CD

OK, Wow was recorded over two days in a wooden church outside Bergen. With the sounds of kindergarten children and the very special and insistent Bergen rain forcing itself onto Stine's vocal performance, an intensity was created. The image of the lone singer, meeting, responding to and filling a space, made the entire session a vivid analogy of +3DB's work with improvisers. Touching the very essence of what improvisation is about, the six tracks map out different ways to grasp what and who a voice really is. Motland's musical ancestors are many and important, but her sonic precision, clarity of intent and human fragility makes this album stand out. Stine Janvin Motland is a performer and composer from Stavanger, Norway. Working with extended vocal techniques, she explores and pushes the frontiers of the natural acoustics of the voice. In addition to projects with composers such as Maja Ratkje, Øyvind Torvund, Therese Birkelund Ulvo, Ruben Sverre Gjertsen, and Mats Gustafsson, she improvises regularly with musicians such as C Spencer Yeh, Chris Corsano, and Lasse Marhaug, and she is a member of the vocal ensemble Song Circus. Stine also collaborates with visual artists Cecilie Bjørgås Jordheim, Melissa Dubbin, and Aaron Davidsson, choreographer Ula Sickle, and theater director Hildur Kristinnsdottir. As a creator, her main focus is her solo work, in addition to her performance/theater group Brigitte & Paula Band.

3DB 019CD

TAFJORD, HILD SOFIE: Breathing CD (3DB 019CD) 17.00
Hild Sofie Tafjord has re-written the sonic possibilities of the French horn and established herself as one of Norway's most arresting musicians. Pushing the limits of her instrument for years, whether acoustically or electronically, she has made her mark as composer, performer and improviser. Her signature is present in her group-playing in Spunk, Lemur, and Zeitkratzer, but here she takes front row in this solo work. Breathing -- her long-awaited second solo album -- is devoted to the acoustic situation, exploring different relationships between performer, instrument and space. Based on live material from the large rooms at Bergen Kunsthall, Tafjord and producer Bjørnar Habbestad exploited most known recording techniques in order to create a sonic signature as wide as possible. The result is delicate, intimate, vast and exhausting, covering the grounds from the innermost sounds of Tafjord's instrument to the last decibel of reflections captured by distant microphones. Tafjord is active as a solo performer and in groups like Spunk, Lemur, Agrare, Zeitkratzer Ensemble, Trinacria, and Phantom Orchard Orchestra, amongst others. She has a broad range as an artist and has made music for dance, film, theater, installations, and sculptures. She has also given performances, workshops, and site-specific concerts. She has played and collaborated with numerous musicians and artists in Europe, America, Canada, and Asia, including Fred Frith, Ikue Mori, Zeena Parkins, Evan Parker, Matmos, and Wolf Eyes, amongst others.



SADEGHI, KAMRAN: Together We Breathe 2LP (ALLINN 022EP) 32.00
Kamran Sadeghi (aka Son Of Rose) is an artist and composer who creates sensory environments at the intersection of sound, light and acoustics. Sadeghi draws from these elements to play with the awareness that can materialize between their physical properties and human perception.


AU 5042CD

BRADY, VICTOR: Brown Rain CD (AU 5042CD) 17.00
Having been raised in the Caribbean, Victor Brady came to New York and became a popular draw in 1960s Greenwich Village with his revolutionary approach to the steel drum. By the end of the decade he was a familiar sight in Central Park, and he got the chance to make a record in 1970. Backed by a taut psychedelic rock band, the resulting album is one of the more unusual and distinctive underground relics of the era. Includes background notes.



NEW CHRISTS, THE: Distemper LP (BANG 073LP) 21.00
Finally, a reissue of this abrasive masterpiece on vinyl on its 25th anniversary. This is simply one of the best albums ever made. Recorded in Sydney, Australia in 1988, The New Christs, led by Rob Younger, created this genuine, unique and extremely personal sound which afterwards has become a major influence to so many bands and artists all over the world. Featuring members of Radio Birdman, The Beasts Of Bourbon, Barracudas and Celibate Rifles, Distemper is a timeless classic reissued now for the first time on vinyl, via Bang! Records, courtesy of Citadel Records (Australia). Housed in a gatefold sleeve.


BEC 5161845

METRONOMY: Reservoir 12" (BEC 5161845) 14.00
Second single from the new album Love Letters (BEC 5161673) including a remix by Jacques Lu Cont. Includes mp3 download code.

BEC 5161853

JOAKIM: Bring Your Love 12" (BEC 5161853) 12.50
Second single from Joakim's album Tropics of Love (BEC 5161854/BEC 5161855), featuring Luke Jenner (The Rapture), with remixes by Sam Tiba, Young Marco, and William Burnett. A split release with Tigersushi; includes mp3 download code.

BEC 5161854

JOAKIM: Tropics of Love CD (BEC 5161854) 17.00
Anchored between the end of the '80s and the beginning of the '90s, when industrial music courted funk, when electro(nica) made a shy appearance and house was visceral and plaintive, also inspired by current R&B productions and futuristic hip-hop, Tropics of Love is a slow tempo record that shines like a steel sun and rings diabolically romantic. "On the Beach," a Balearic, somber take on Neil Young's classic song, makes you melt with pleasure; "This is My Life," a Lil' Louis-inspired scathing techno attack makes you dance; you put your arms up in the air for "Bring Your Love," a pure gem of mournful pop with Luke Jenner of The Rapture on the mic; you move your backside to the syncopated beats and the feline voice of Akwetey (Dragons Of Zynth) on "Each Other"; and only Joakim can make you fall asleep with your eyes wide open on the deviant electro jewels that are "Three Lazer Fingers" and "Hero." Altogether retro futuristic, nostalgic and forward-looking, danceable and contemplative, Tropics of Love draws the fine contours for the soundtrack of a summer that promises to be radiant and solar.


BT 011CD

HAINO/JIM O'ROURKE/OREN AMBARCHI, KEIJI: Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen CD (BT 011CD) 17.00
"Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo's legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums. Presenting the entire first set of the trio's March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen is their fifth release and blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino's most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O'Rourke's 12-string acoustic guitar and Haino's kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver's seat, here O'Rourke takes center stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino's greatest recordings, such as the legendary Live in the First Year of the Heisei volumes recorded with Kan Mikami. After this stunningly beautiful opening sequence, the performance moves organically through a number of episodes, including a dramatic central passage in which Haino moves to synth and drum machine, crafting a current of raw electricity that unfurls slowly over the gently pulsing foundations of Ambarchi's cymbals and builds to heights of manic intensity. When Haino later turns to wooden flute, Ambarchi answers him with nimble hand-drummed percussion in a passage that calls to mind Don Cherry's liberated combination of free-jazz improvisation and non-Western musics. The trio's move away from the power trio dynamic bespeaks a risk-taking and questing spirit that refuses to be satisfied with repeating past glories, and yet the organic, immersive flow of this single improvisation attests to the intuitive bond that has formed between them over the last five years. Exuding the signature mystery and emotion of Haino's greatest works, this release is perhaps the strongest statement yet from this acclaimed trio, and holds out a tantalizing promise for everyone hooked on their continuing exploration of 'those things said to be as of yet unseen.' --Francis Plagne; Design by Stephen O'Malley with high quality live shots by Ujin Matsuo and stunning artwork by Norwegian noise legend Lasse Marhaug.



OFFICER!: Dead Unique CD (BLACKEST 006CD) 16.50
Blackest Ever Black presents to you Dead Unique, an album by Officer! recorded in 1995 but -- outrageously, inexplicably -- never before released into the public domain. This then is not a reissue or a revival; it's a new record that just happens to have been maturing in the cask for, oh, a little shy of 20 years. It also happens to be a lost classic of English art-rock, and the crowning achievement in the career of its mercurial creator, Mick Hobbs. Londoner Hobbs' roots are in the fecund RIO scene of the late '70s and early 1980s, initially as guitarist in The Work (alongside Bill Gilonis, Rick Wilson and Henry Cow's Tim Hodgkinson), and subsequent related groupings The Lowest Note, The Lo Yo Yo, and The Momes. Over the course of the decade he became closely associated with This Heat and their Cold Storage studio in Brixton. Officer! -- the project that this incorrigible collaborator and connector calls his own -- surfaced in 1982 with a cassette tape entitled Eight New Songs By Mick Hobbs. It marked the blossoming of a singular writer and improviser, with a gift for plangent melody, ingenious arrangement and lyrics at once caustic and courtly, playful and profound (two songs from this tape, "Life at the Water's Edge" and "Dogface," have been remastered for a forthcoming limited edition 7" release on Blackest Ever Black). The Cold Storage-recorded Ossification LP arrived a year later, followed by Cough (1985) and Yes Yes No No Yes No Yes (1988). Megaphone Records, responsible for Ossification's recent 30th anniversary reissue, rightly describe it as "one of the most unusual, pleasurable and character-filled 'pop' records anyone has heard -- a timeless anomaly in the history of recorded music." By the start of the 1990s Hobbs had joined Jad Fair's Half Japanese. In the early months of '95, Half Japanese were in Baltimore to record their Hot LP; Hobbs stayed on to cut the bulk of the songs that comprise Officer!'s Dead Unique -- songs drawn from a rich store of material written and refined in the seven years since the band's last outing -- with a talented assemblage of local and visiting musicians. Returning to the UK, Hobbs brought the tracks to producer Julia Brightly to mix at her 16-track home studio in Bethnal Green; by the end of the summer, Dead Unique had taken shape. And then? Nothing. For reasons that no one, least of all Hobbs, can remember, Dead Unique was shelved, all but forgotten about until 2012, when Blackest Ever Black chanced upon it while trawling the Officer! archive maintained for Hobbs by Andrew Jacques. Finally, rightfully, this album is available to all for the very first time. A complex but thrillingly immediate avant-pop song cycle that charms and confounds at every turn, Dead Unique will give immense pleasure not only to Officer!'s existing cult following, but to anyone with an appreciation of piquant, idiosyncratic songcraft -- fans of Kevin Ayers, Flaming Tunes, Art Bears, Woo, Dislocation Dance, R. Stevie Moore, Robert Wyatt, Cleaners From Venus, Lol Coxhill or The Monochrome Set should especially pay attention. It touches upon ragged-raw rock 'n roll, sumptuous chamber music, pastoral folk, blowsy prog-jazz and paranoid dub-space, effortlessly shifting from skronking abstraction to rousing harmonic refrain and back again. The tension between composition and improvisation is key to the LP's power, with Hobbs abetted by an extraordinary supporting cast that includes Tim Hodgkinson (bass clarinet), Pleasant Livers' Fred Collins (vocals), Legendary Pink Dots' Patrick Q (violin), filmmaker/animator Martha Colburn (vocal), Gilles Rieder (drums), Jad Fair (vocals) and Jason Willett (bass, keyboards, trumpet). Special mention must go to John Dierker, whose superbly expressive clarinet and saxophone parts are a fixture throughout, and to Joey Stack, who takes lead vocals on "Good" and the show-stopping "Elephant Flowers." Nonetheless, it is the voice of Hobbs -- as principal writer, performer and protagonist of these songs -- that resonates most powerfully. Blurring the roles of storyteller, poet and prankster, he turns memorable line after memorable line, booby-trapping them with mischievous puns, fleet-footed literary allusions, sudden digressions and shifts of register, nonsense rhymes and other wordplay. But his acute wit and flair for the absurd is moored by a deep romantic sensibility, and though it delights in the minutiae of the human comedy, Dead Unique ultimately addresses its biggest themes: love, loss, commitment, independence, the mutability and inconstancy of all things.


OFFICER!: Dead Unique 2LP (BLACKEST 006LP) 31.00
Gatefold double LP version.


BZJ 7502LP

VA: Turkish Freakout 2: Psych-Folk 1970-1978 2LP (BZJ 7502LP) 24.00
2014 repress. Gatefold 2LP version. "Last summer (2010), indie label Bouzouki Joe brought you a choice selection of some of the finest rare Turkish funk and psych-rock grooves, painstakingly unearthed direct from the source in Istanbul. The result: you freaked out (in a good way). With that in mind, we present the second installment of Turkish Freak Out!, featuring another batch of classic tracks from the Golden Age of Turkish music. With spiritual guidance from Mister Jason, this compilation, comprised entirely of original 7" recordings from Turkey's most creative and experimental artists, is guaranteed to deliver another five-star freak-out." Featured artists: Afet Serenay, Kerem Guney, Gokben, Baris Manco, Gulcan Opel, Sevil and Ayla, Kamuran Akkor, Edip Akbayram, Cem Karaca and Mogollar, Ozel Turkbas, Perihan, Sakir Oner Gunham, Sirin, and Kenan.



J.E.E.P.: Answering Machine 12" (CARRY 007EP) 12.50
Carry On is back with a new vinyl release by Berlin-based producer J.E.E.P. -- also known as Jules Etienne. The EP is Jules' second solo effort under his new J.E.E.P. moniker. The charismatic original tracks "Answering Machine" and "Pager" are backed up with club-friendly reinterpretations of the title-track, done by the two befriended Berlin sound magicians Quarion and Iron Curtis. Quite rightly labeled one of Berlin's best-kept musical secrets, Jules is an ambitious multi-instrumentalist, singer and composer. Unable to settle down into one music genre, he is a part of numerous enthusiastic projects, ranging from folky pop to disco and house.



TIETJEN & CHRISTIAN BURKHARDT, CHRIS: Chamber Nights 12" (COR 113EP) 12.50
Chris Tietjen's release is a stunning joint venture with the Frankfurt-based tech-house-master Christian Burkhardt. "Chamber Night" and "Ruff Rules" are two massive and bold tracks targeting the area between house and techno par excellence. Rolling beats, dry and sold drum sounds with a little retro flavor meet mystic and hypnotic effects and magical strings. The two create a vibe that reminds us of packed clubs, hot air, dancing people. Dyed Soundorom contributes a cool remix for "Chamber Nights," lending it a minimal techno air.



GORBACHEV, PHILIPP: Silver Album CD (COMEME 005CD) 17.00
Russian dance avant-gardist Philipp Gorbachev is in self-imposed exile -- from Moscow to Berlin -- due to his political views, and for the purpose of joining Cómeme in 2011. This collective of musicians and artists, operating between Latin America and Europe, is known for a killer instinct in producing forward-thinking dance music beyond any standards of the contemporary music industry. Focusing on serving dance music audiences all around the globe, Philipp Gorbachev composes, produces and performs music in a way that resembles the heritage axe of Russian avant-garde and Moscow's Conceptualist movement, rather than following any current dance music tradition. Based on a unique performing and recording technique -- created and tested together with his buddy Matias Aguayo in The District Union studio in Berlin -- Silver Album is a well-collected music piece consisting of nine live performed arrangements, crafted with insurgent Russian lyrics that are fable-like inventions, fairy tales that deal with spiritual vibes, using the sound of the Russian language in order to form a new alternative music. Musicians like ex-Helmet-and-now-Battles drummer John Stanier, as well as co-producers and mixing engineers like Butthole Surfers guitarist Paul Leary; Mexican Cómeme brother Daniel Maloso; or Non Standard Productions head-honcho and Ostgut Ton artist Tobias Freund, have been welcomed by Philipp Gorbachev to take part in the production of the record. The first single of the album, called "Arrest Me," is a dedication to the imprisoned people around the world, a journey-starter towards freedom of spirit, pioneering in never-before-expressed sounds, timing and space control. If you need an easier punchline: it simply is "The First Russian Dance Album."


GORBACHEV, PHILIPP: Silver Album LP (COMEME 005LP) 25.00
LP version.



DEWALTA & SHANNON: The Runaway Sugarcube EP 12" (CYN 097EP) 12.50
Dewalta & Shannon have teamed up for their most twisted combination of techno to date. The shuffled funk of "Capitaloid" takes you straight into the deep depths of the warped afterhour soundtrack. So many details swirl about, including subtle vocals mumbling in the background about finance, with morphing wave table digital funk and analog bass power driving the groove. "Jus Wanna" takes things up a notch with a harsh, over-compressed groove and a mean-ass grinding bass line. Lastly, "Under Your Tongue" has the downbeat acid touch. A tip of the hat to the sounds of Plastikman and Speedy J on this one.



ELEKFANTZ: Dark Tales and Love Songs CD (DOC 003CD) 17.00
After their stunning 2012 debut single "Wish" and 2013's "Diggin' on You," the incredibly gifted Elekfantz return to the fore with what can only be called a brilliant full-length premiere. The duo of Daniel and Leo first met 20 years ago, when they played together in a blues band. Leo continued his career as a professional musician while Daniel started to discover a new musical path. The latter was born and bred at the electronic music temple in South America, later becoming a resident DJ and local hero, known as the right guy to prepare the dancefloor and set up the right mood. He's one of the finest DJs of the Brazilian new wave of electronic aficionados. Leo is a professional drummer, singer and composer since the age of 15. He played and recorded with some of the greatest artists in Brazil. Their debut album Dark Tales & Love Songs sports all the intimate melodies, lush harmonies and organic undertones that the duo has become known for and then some: from pop-infused songwriter house to highly-emotive primetime anthems, you'll find lots to love about this expertly-crafted collection of melodic gems. Engineered to perfection by label head Gui Boratto, it's an exciting step for the imprint and the project alike.



BLAXX, ALEX: It's Been Done Before 12" (DES 121EP) 14.00
Alex Blaxx drops three original tracks for Dessous Recordings. Blaxx himself excels in lush house productions with plenty of soul and a lot of dancefloor knowledge. The EP's title-track gives a healthy nod to the hugely fertile period of New York house in the 1990s, but retains a freshness and spark that sets it apart. "Gilmore Heureux" is a darker affair, with a raw groove and a Detroit flavor. It's got plenty of grit, and a few innovative twists and turns along the way. "All the Difference" slows the pace slightly, unwinding a killer groove driven by a piano and punchy drums.



MALAYEEN: Malayeen LP (CREP 010LP) 25.50
Discrepant proudly presents the vinyl edition of the debut album by Lebanese trio Malayeen. Malayeen is the project of Lebanese musicians Raed Yassin (keyboards, turntables & electronics), Charbel Haber (electric guitar & electronics) and Khaled Yassine (darbouka, percussion). Born from Yassin and Haber's love for the music of quintessential Egyptian guitarist Omar Khorshid, Malayeen disassembles and re-configures the work and style of the iconic guitarist's innovative take on Arabic music. The final result makes for an original and unique update of Khorshid & belly dancing-inspired songs from the past. Over the course of seven compositions, appropriately named after Khorshid and famous belly dancers from the Arabic diaspora, the three musicians' varied backgrounds and techniques collide and coalesce in an experimental yet magical fashion, not actually playing Khorshid's music, but inspiring themselves from the cult guitarist's genius to create something completely new, modern and unexpected. A unique LP featuring the combined talents of key players of the Lebanese avant-garde. Special vinyl one-time pressing of 500 copies.


EB 101CD

VA: King Size Dub Special - Dubvisionist CD (EB 101CD) 9.00
Felix Wolter, better known as The Dubvisionist, is probably the most "future-sized" roots dub person on the scene since 1981 in Germany. A sort of genre crossover, but with definite reggae and roots culture. Originally the drummer of the German wave band Der Moderne Man, he was always technology savvy and interested in studio works. His early recorded works started with a 4-track tape machine and a Roland band echo in the very early '80s -- a vortex of modern wave dub. He installed projects and bands like The Vision, Trance Vision Steppers, Chin Chillaz and Pre Fade Listening. The King Size Dub Special is a combination of exclusive, brand-new remixes and some pearls from his exciting back-catalog of projects over the years. Artists include: TVS, Pre Fade Listening vs. Dub Syndicate, Ari Up & Dubblestandart, The Vision, TACK>>HEAD, The Senior Allstars, Dactah Chando, Fettes Brot, Chin Chillaz, Herbman Band, Dellé and The Senior Allstars.



HASWELL & PAIN JERK, RUSSELL: Electroacoustic Sludge Dither Transformation Smear Grind Decomposition No!se File Exchange Mega Edit 2CD (EMEGO 200CD) 21.00
Electroacoustic Sludge Dither Transformation Smear Grind Decomposition nO!se File Exchange Mega Edit is the long-awaited collaboration from two of the world's finest purveyors of noise, electroacoustics, and top-shelf audio mayhem. Having met at the legendary Tokyo venue 20000 Volts in 1997, Russell Haswell and Pain Jerk (Kohei Gomi) stayed in touch with the intent to collaborate at some point in the future. This was eventually realized in 2012 when they were offered a gig to play together at the Rammel Club in Nottingham. Prior to the show they exchanged files of solo recordings, as a means of forming a basis for what was initially conceived as an "extreme duet tag mass attack." It was here that the foundation was laid for the epic extreme end-result we now encounter. The Nottingham performance was recorded and both parties took away the results in addition to their solo recordings to re-edit and re-send, back and forth, for two years, re-editing and re-contextualizing these original sounds. The results of this extended collaboration is a punk academic collision which utilizes advanced computer music techniques and analog/digital modular synthesizer splurge, along with the more basic and belligerent frequencies found in distortion and feedback. This can also be read as a study of editing in all forms; hyper-editing, editing in pop music, editing in dance culture, electro-acoustic editing, the editing techniques used in musique concrète, editing used in film and advertising along with the notion of gaps -- the audible and inaudible. A blistering 2CD collision of transformation, technique, ideas and form which resides equally in the advanced fields of electroacoustic study and the high energy freeform noise from which both practitioners sprung.



This 2CD set collects Papir's two latest albums, previously released on vinyl only. III (EPR 012LP) originally came out in February 2013, IIII (EPR 015LP) in February 2014. Papir from Copenhagen, Denmark have gradually developed their unique vision of instrumental psychedelic rock over the course of four albums. The band manages to transform heavy, psychedelic music into something new and relevant, something truly unique. By now the band's concerts have become awe-inducing experiences, earning them slots at major European festivals including Roskilde (2012), and Roadburn (2014). It's stunning to witness how Papir pull numerous influences together with natural ease in their often lengthy excursions. It sounds inspired. These two albums perfectly encompass everything the band represents -- from explosive, guitar solo-driven peaks through motorik Krautrock grooves to peaceful and atmospheric soundscapes. Recorded in two different sessions, one in Copenhagen and another out in the Danish countryside with Causa Sui's Jonas Munk, who also mixed and mastered both albums, producing them with an organic but powerful sound and maintaining the full dynamic range.


EM 1126LP

LP version. The relaunch of EM Records' Thai music series. Paradise Bangkok, Soi 48 and EM Records have teamed up to deliver a new series showcasing the extraordinary performances of some of Thailand's greatest musical legends. The first release is the seminal album Isan Lam Plearn, released in 1975 by Angkanang Kunchai. This album represents a crucial moment in Thai musical history when the performance styles of Molam and Luk Thung were fused together for the very first time. Born in the province of Ubon Ratchathani in Isan (the northeastern region of Thailand), Angkanang Kunchai was a young female prodigy who emerged on the Molam scene, and became one of the first generations of Molam performers who were able to "sing" popular music. From an early age she was mentored by renowned national Molam artist Chaweewan Dumnern, and in her mid-teens joined the legendary musical troupe the Ubon-Pattana Band as the lead vocalist. In 1972 at the age of 16, she released her debut single "Isan Lam Plearn," which went on to become an enduring classic, covered most recently by major contemporary pop star Tai Orathai. The song was also a defining moment in the career of Ubon's legendary producer Surin Paksiri, as it was the first recording in which Isan music -- in particular Molam -- was fused with Luk Thung from Bangkok to form the new musical genre of Luk Thung Isan. This music invented by record industry genius Paksiri, transformed Molam groups into rock bands and saw them starting to perform with the same kind of intensity as Luk Thung artists. The mix of contemporary singing styles with traditional Molam broke a major taboo and resulted in some truly outlandish music. "Isan Lam Plearn" became a major hit as the theme tune to the film Bua Lam Pu, and before long this new forbidden cool began to infect everyone, with performers turning in their droves to the Luk Thung Isan style. This turned out to be a precursor to the spread of Isan music across the country and the Molam boom that engulfed Thailand in the '90s -- an unprecedented period in Thailand's musical history in which Luk Thung singers were simply not able to make it in the record business unless they could perform Molam. While typically albums produced in Thailand tended to be collections of singles, this work produced by Paksiri has an unusual degree of conceptual unity, and this is a very significant aspect of the album. It is an undeniable masterpiece that sees the Ubon-Pattana Band, led by Paksiri, delivering a performance that dramatically traverses genre boundaries, in an eerie soundscape populated by the cute and rarefied tones of the young singer. It stands above and apart from the many Luk Thung Isan works that followed. As a bonus track is Kongpetch Kaennakorn's version of the much-covered "Isan Lam Plearn." Includes commentary in English and Japanese and an explanation of the lyrics. Newly-remastered.



"Double-bassist Bellatella is a member of Louis Moholo's Viva la Black. Guitarist Mike Cooper has appeared on more than sixty records to date, including 2000's World Slide, an EP of experimental blues and Hawaiian music, also for Ethbo. On drums and percussion, Fabrizio Spera has worked with John Butcher, Lol Coxhill, Tristan Honsinger and Wadada Leo Smith, amongst others. In silk-screened sleeves. A very limited run."



AGNELLI, LUCA: Orion 12" (ETB 017EP) 12.50
Etruria Beat's 017 release sees its founder at the forefront, Luca Agnelli. Two original tracks, "Orion" and "Cassiopea," plus two remixes by Brett Johnson and Dachshund. "Orion" has an old-style flavor, characterized by a 909 groove and a bass line from an old 303; the main element is the Moog synth, that is addictive, melodic and hypnotic. Brett Johnson turns "Orion" into a much more deep track, playing with the main synth and making it suitable for afterhours. Dachshund has a tech-house touch, lending groove to the track. The last track is "Cassiopea," inspired by the sound of Ostgut Ton.



ELIJAH & SKILLIAM: Fabriclive 75 CD (FABRIC 150CD) 16.00
Elijah & Skilliam of East London outfit Butterz are arguably grime's ambassadors, having helped raise it to the forefront of the electronic music landscape through their long-running label, Rinse FM show and FabricLive residency. Showcasing the breadth of the music without diluting their own identity, Fabriclive 75 includes tracks made specifically for the mix, exclusive dubplates and VIP versions, amongst a host of unreleased heavy-hitters, creating a landmark release for the grime scene. Artists include: Royal-T, Four Tet & Terror Danjah, Terror Danjah & Champion, Flava D, Lil Silva, D Double E, Royal-T & Champion, Swindle, P Money, Kowton, Preditah (feat. JME), Darq E Freaker, P Jam, Murlo, Footsie, JME, 040, Swindle & Silkie, Wiley (feat. Andreena Mill), Kelela, DJ Q, Sir Spyro (feat. JME & Alahna), and Moony.



BOGNER, URSULA: Recordings 1969-1988 CD (FAITICHE 001CD) 18.00
New 2014 edition, with similar hard-cover bookstyle packaging, including an 8-page booklet. This is the debut release on Jan Jelinek's label Faitiche: a collection of unheard electronic experiments from an unlikely source. Ursula Bogner was a pharmacist, wife and mother, and she was obsessed with electronic music -- an obsession that drove her to build her own studio for extensive recording and experimentation. Ursula Bogner was born in 1946 and raised in Dortmund -- she moved to Berlin at 19 to study pharmacy. She immediately went to work for pharmaceutical giant Schering, followed by marriage, children and a successful yet by no means sensational scientific career within the multinational heavyweight. At the same time, she developed a keen interest in electronic music. Throughout her early 20s, she followed the activities of Cologne-based Studio Für Elektronische Musik, attended seminars by Studio founder Herbert Eimert, exhibited great enthusiasm for musique concrète and, later on, shared her children's enthusiasm for British new wave pop. Nevertheless, Ursula Bogner never involved herself in any scene, never made her music public. Besides composition, she also tried her hand at painting, printing (the booklet features reproductions of two of her linocuts) and developed a strong fascination for mysticism, esotericism, and Wilhelm Reich's "orgonomy," the psychoanalyst's bizarre late work on his discovery of "orgonenergy" or life-force. Her compositions are studies and sketches: humorous and -- in view of her biography -- almost silly, rather than mystical or scientific. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles, leading to a huge wealth of work and a bewildering variety of titles, from filter modulations, tuba tweaking, bass anthems, looping experiments, synth-pulse symphonies, to rhythmic patterns trapped in echo chambers. In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, Jelinek only found individual tracks of pieces recorded on a four-track-recorder -- in these cases, he had to recombine the separate tracks to recreate the original piece. Invoking the original's authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this CD are such "reworkings." All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even "poppy" side. An exhilarating find from a truly undiscovered electronic artist.



MY BUBBA: Goes Abroader CD (FDR 025CD) 17.00
My Bubba (formerly My Bubba & Mi) are a daringly sweet pair of Scandinavian ladies, whose songs are slow and easy, teasing and pleasing. After a soft start in American folk, they are now exploring the dance moves of more far-fetched and exotic inspirations -- they just finished a record with producer Noah Georgeson, featuring carnival rhythms, jungle poems, and desert riding chants! All silky-like, simple and melodic, with a sassy crunch.



EL_TXEF_A: We Walked Home Together CD (FIAKUN 002CD) 17.00
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.



FAKI & JOHANNES HEIL, LEN: Volume III 12" (FIGURE 055EP) 12.50
Faki and Johannes Heil team up for the third installment in their collaboration series. Well-known for their high production values and unique ability to capture the kind of intense energy needed on the dancefloor, Volume III sees the two masters on top form again. A devilish combination of weighty break-beats, clattering old-school snares and static electricity, "Perception" takes a spoken-word sound-byte and twists it into a monstrous beast. A useful a capella version is included here too, for DJs who know. "Happy 808" shows off masterful drum programming, coupled with a super-spacey mixdown that elevates the 808 to new extremes.



VA: Figure SPC R 12" (FIGSPC R) 12.50
Taking the opportunity to delve into the hard drives, DAT tapes and archives of some up-and-coming producers, (as well as some rather well-known ones, like Markus Suckut), Figure SPC goes abstract with this Various Artists EP. Lodbrock builds on a '90s techno stomp, with a paranoid synth trip for the very late hours. Markus Suckut contributes "Sunrise," a deeper jam for the otherwise heavier techno producer. Regal brings "Report a Crash," in an ode to some classic Birmingham-scene techno. A crafty modern banger with a healthy nod to the classics. Finally we get thoroughly "tripped" with Z.I.P.P.O's "Symmetrica Therapy." Endless swathes of synthetic textures are introduced in an evolving, purist ride.



CHROME SPARKS: Goddess EP 12" (FCL 109EP) 14.00
This EP finds Jeremy Malvin, head of Chrome Sparks, mining the depths of bass music, synth pop, ambient hip-hop, and everything in between. "Goddess" builds around a wordless vocal sample, pitched and manipulated to blend in with the surrounding melodies. "Star Step" ebbs and flows, with the song's synth melody rooted firmly in Chrome Sparks' typically intricate and ornate percussion. "Enter the Chrome Forest" and "Lost in the Chrome Forest" are two cavernous songs that play with the space of the mix as much as they do the song's melody. "ZzzzzZ" recalls the West Coast beat scene-style hip-hop purveyed by the likes of Teebs and Salva.


GET 54068LP

J.B.'S, THE: Food for Thought: Get on Down Edition LP + 7" (GET 54068LP) 31.00
Repress, originally released for Record Store Day 2014 "There are funk bands. And then there are The JB's. In the early 1970s, James Brown's production stable was quite simply overflowing with soul. Beyond his own genre-bursting music -- which brought funk and R&B to new stratospheres with each platter he released -- he began to curate his own label, People Records, to explore and expose the lesser-known talent in his own groups and musical universe. After a mysterious, psychedelic album by a group calling themselves The Grodeck Whipperjenny in 1970, The Godfather of Soul released a slew of 7" singles for the next several years on People. In doing so, he firmly established the label as the world's premier outlet for super-funk, with artists including James Brown himself, Lyn Collins, Hank Ballard and Fred Wesley. In 1972, the next album on People was an easy choice: The JB's and their ridiculously funky full-length debut, Food for Thought. Made up of JB sidemen including bandleader Fred Wesley, Maceo Parker, John 'Jabo' Starks, St. Clair Pinckney, Fred Thomas and Bobby Byrd, the group was the definition of a powerhouse. As proof, look no further than the fact that the ten songs on this platter have been sampled by an almost uncountable list of producers over the past 40-plus years, and grooved to by hundreds of thousands. From 'Pass the Peas' and 'Gimme Some More' to the sonic attack of 'The Grunt' (which also contained work from William 'Bootsy' Collins and his brother Catfish, who had recently defected to join Parliament-Funkadelic) Food for Thought remains one of the funkiest albums ever made. The renowned Get On Down label pays reverent tribute to this classic by pressing it on 150 gram vinyl, in a '70s style Stoughton jacket and housed in an eight-gauge custom bag emblazoned with an embossed People Records logo. And the deluxe-ness does not end there: in addition, the Record Store Day package comes with a 22" x 22" poster featuring the original cover art, as well as a 7" of 'The Grunt Parts 1 & 2' pressed on purple vinyl."


GW 002EP

DILO: 21st Century Fox 12" (GW 002EP) 12.50
Get weird. More like encouraging advice than a description of our sound. A home for music of the night. Music to make you wonky and stay out longer than you planned. Dilo is from Argentina but makes music in Berlin. He's been flying under the radar, but not for long. This track is slinky and tripped-out and Get Weird loves it. They also love Mathias Meyer's music and alongside Patlac, they've been creating some magic as of late. Strings and tight beats make for a more emotional journey, which they also like. If you go out tonight, remember to GET WEIRD.



SHIELD PATTERNS: Contour Lines CD (GZH 055CD) 17.00
Since their inception in 2012, Claire Brentnall and Richard Knox's project has evolved from solo endeavor to fully-realized duo. Starting with 2013's single The Rule, Shield Patterns have shown a maturity and sophistication beyond their years. Spacious soundscapes are scattered with trembling piano phrases, skittering beats and waves of warm keys, all shaped into dark, menacing pop songs by Brentnall's bewitching vocals. Their two singles thus far have already caught the ear of alt-J and Dutch Uncles, both of whom have provided remixes of those singles. Now comes their debut album. Following on from critically-lauded lead single Dust Hung Heavy, Contour Lines carries the listener deeper into their world. Each track is laden with the kind of dark atmospherics most groups take years to unearth. Here, the fragility of Brentnall's early demos remains, but finds itself imbued with a richness of sound that can only come from studious soul-searching and a cathartic creative process. The vulnerability of her intensely personal lyrics is tempered with highly-processed strings, subby bass-lines, and ambient passages that brood as much as they shimmer. Lines between aesthetic and content are blurred, so that singer and song are intertwined. What's remarkable about Contour Lines is how adept the band are at contracting their landscapes as well as expanding upon them. In the largely instrumental "Present State," abrasive electronics cast a claustrophobic shadow across the listener before releasing their grip in subsequent tracks. "WeYouMe" reinstates the album's meditative pace, as the singer reflects against a ghostly backdrop sprinkled with reverb while, elsewhere, layered clarinets compete with discordant drones in "Charon." Each of the album's elements is laid down with the precision of an architect but delivered with the grace of a dancer. And like any good art, repeated rotations reveal different facets.


GB 015CD

SONIDO GALLO NEGRO: Sendero Mistico CD (GB 015CD) 17.00
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).



Live In Manchester. Recorded by Phil Todd. Limited to 100 copies only. Includes beautiful silk screened artwork by Alex Humphreys. "Of course, guitars have long been middle-brow targets for commentators as somehow signifying everything that was cock-bound and self-aggrandizing and technically impudent about rock music. But when it's played like this, with a blurring of technique that allows a bunch of northern punks access to the combined freak potential of more than a half century of electric six-string excess, it's a reminder of the electric guitar's uncanny ability to respond not just to where it's been, but to where it's at." --David Keenan, The Wire; "I can't remember the last time I felt myself overcome by so many conflicting emotions -- awe, excitement, envy, exasperation -- and yet it all coalesced into a contented, feverish fervor. I cannot tell you how great a feeling that is -- a near robotic state, the only movements being to get up and change the record... So if you are into your overtly intricate, caterwauling, explosive, experimental improvisational psych rock jams, this album is your ticket to Valhalla." --Sonic Masala



SLEAFORD MODS: Divide and Exit LP (HARB 121LP) 23.00
Divide and Exit sees Sleaford Mods once again released on the elusive Nottingham-based low-profile Harbinger Sound label. Once dismissed around their native Nottingham as "two skip rats with a laptop," the last 12 months has seen the Sleaford Mods simply knock all their distractors clear out of the way. The mounting hysteria surrounding their 2013 album Austerity Dogs (HARB 106CD/LP) has spread like chlamydia at a teenage house party and saw them topping many "End of Year" lists worldwide. Along with a handful of limited 7" releases on labels as diverse as Matador and X-Mist, plus an extensive European touring program have all helped to solidify their growing reputation as "ones to watch ." The Sleaford Mods duo of Jason Williamson and Andrew Fearn have also been busy throughout the year working on this follow-up album. Divide and Exit contains 14 new tracks all written over the last 12 months and the result is as immediately in your face as its vicious predecessor. While Fearn's beats and loops will pull you up into the urgency of Sleaford Mods, they also allow you to run the gauntlet from deliberate, clumsy dancefloor swaggers to full-on punk throwabouts with them. Williamson is let free to spit out his litany of bile and anger towards the bloated and tedious. His verbal salvos and side-swipes are often savage and brutal, yet at turns, hilarious, but always spot-on as Sleaford Mods rage and despair as the country sinks deeper into a cesspool of its own idiocy. It's an album that doesn't have the privilege of luxury, indulgence or extravaganza and it will strike a resonant chord with many because it simply refuses to compromise. Many critics have attempted to tag and align the Sleaford Mods with other artists and have done little other than to advertise their own shortcomings and lack of knowledge. If you need a pointer, try and imagine an East Midlands take on Suicide that survived rave culture and looked to the Wu-Tang Clan for the escape hatch. The down-to-earth observations and story-telling of Ian Dury or Patrik Fitzgerald are maybe closer than any other names flung about in desperation. If you wish to tag and place Sleaford Mods, you're only limiting yourself.



DEWALTA & VOIGTMANN: Ground Effect EP 12" (HELLO 023EP) 14.00
This is Dewalta & Claus Voigtmann's debut release on Hello?Repeat.


HP 5501CD

SZABO, GABOR: High Contrast CD (HP 5501CD) 15.00
An unusually successful pairing of Hungarian jazz guitar innovator, Gábor Szabó with R&B legend Bobby Womack. Szabó digs deep into a soulful groove, inspired by Womack's silky-smooth originals. High Contrast (1971) features "Breezin'," the Womack tune written especially for Szabó, which George Benson parlayed into a massive crossover hit in 1976, and several tunes Womack popularized in the film Across 110th Street. Produced by Tommy LiPuma, featuring Womack's sympathetic rhythm guitar and inspired drumming from the great Jim Keltner.

HP 5502CD

UPCHURCH, PHILLIP: Darkness, Darkness CD (HP 5502CD) 15.00
In 1971, shortly after he departed Chicago where he served as a prime sideman to both Curtis Mayfield and Jerry Butler, guitar king Phil Upchurch headed for the West Coast and recorded Darkness, Darkness (1972), a double album full of laid-back funky grooves and elegant, mind-blowing guitar work. Also features in-the-pocket string and horn arrangements (as well as some fine Fender Rhodes work) from Donny Hathaway with legendary session bassist Chuck Rainey and smooth jazz piano great Joe Sample in the house. Upchurch is one of the rare guitarists who can walk the line of jazz, blues, rock, soul, and funk, and that is displayed on countless occasions here.



KIRBY PRESENTS V/VM, LEYLAND: The Death of Rave (A Partial Flashback) CD (HAFTW 015CD) 20.00
Leyland Kirby: "The idea for The Death of Rave was conceived in early 2006 after a visit to the Berghain Club in Berlin. At the time, Berghain was about to explode on the international club scene as a temple. The feeling was in the air that something special was happening. I went and saw a pale shadow of the past. Grim and boring beats, endlessly pounding to an audience who felt they were part of an experience but who lacked cohesion and energy. For me personally, something had died. Be it a spirit, be it an ideal, be it an adventure in sound. Rave and techno felt dead to me. The original The Death of Rave project was vast, over two-hundred flashbacks, using all of the dancefloor hits from the time and stripping them of energy and spirit, turning them into shadows and ghosts. The material pre-dates the recent obsession younger musicians have for re-creating remembered rave textures and memories. This was not nostalgia, It was an inverted paean to a time when the music was about bringing people together for a shared experience. A time when only the music and advancement of sound and getting on one mattered. Of course The Death of Rave was vast, too vast to digest. It was available for free download for a number of years via the V/Vm Test label. In the end the The Death Of Rave died itself when the V/Vm Test web site was deleted in full in 2008. In the intervening years I have at various times re-visited the work. And so eight tracks were lifted from the project and have now been remastered by Matt Colton as a 'document from a dead past.' A monument to a lost work, an idea finally set in stone via a physical format. Proof of its existence. Ivan Seal, himself a veteran of the original 'rave times,' provides the glorious cover artwork in keeping with all 'History Favours The Winners' releases. The tracklisting is in reference to the strongest rave-memories I have from those nights. The people, the DJs, the cars, the violence and the long-lost clubs. Flashbacks only, now consigned to my own dusty experiences. 'They danced like they never had before. They danced in the darkest hour before daybreak.' It's dead now, over. Long may it live...""Collective memory was the subject of the Death Of Rave project, inspired by Kirby's participation in the Manchester club scene of the late '80s and early '90s. Recalling the surge years of rave between 1988-96, Kirby says ''Everyone thought everything was possible on those long nights. The World was ours. Now I think this generation is very disillusioned. They saw a glimpse of light on the dance floors, but that light has gone out and the future seems grim and predictable.''' --Simon Reynolds, Retromania


KIRBY PRESENTS V/VM, LEYLAND: The Death of Rave (A Partial Flashback) LP (HAFTW 015LP) 23.50
LP version.



THROWING SNOW: Mosaic CD (HTH 019CD) 15.50
Throwing Snow, one of the UK's most unique electronic artists, releases his much-anticipated debut album Mosaic on Houndstooth, following the Pathfinder EP, which drew acclaim from Pitchfork, The Guardian (Track of the Week), DAZED, Quietus and FACT. Throwing Snow spent large parts of 2013 attending Red Bull Music Academy in New York, making numerous Boiler Room appearances and supporting the likes of Bonobo, Atoms For Peace and Jon Hopkins. Mosaic features fellow RBMA attendees Adda Kaleh and KNOX, rising UK songwriters Py and Jassy Grez, while Ninja Tune signee Kid A vocalizes the mesmerizing "Hypnotise." Mosaic combines different influences from instruments and equipment rather than styles and musicians to form a coherent whole with varying sounds of production distilled into something cohesive. Mastered by MPG Mastering Engineer of the Year 2013, Matt Colton at Alchemy. Presented in bespoke PVC sleeve with spot varnish pattern.



PRIEBE, PHILIPP: The Being of the Beautiful CD (ILYA 005CD) 17.00
Romanticism is at the center of the music Philipp Priebe is creating. The idea behind his house is to combine melancholic, warm sounds with pushing elements. It should create the will to dance and to love while listening to it. Starting to collect and listen to music obsessively as a teenager, Priebe grew up in a small town in a region of Germany without a fixed musical identity. As a consequence, an odyssey through the music world led Priebe to discoveries in music magazines and fanzines, which opened new doors to music styles he identified with. As time goes by, he is still on his cruise, always open-minded to new music types. Nevertheless, traces of his first love -- independent music -- can be found within his tracks. Priebe's songs invite listeners to experience an otherworldliness. Includes remixes by Steffen Kirchhoff and Lorin Sylvester Strohm.



BARROTT, MARK: Sketches from an Island CD (IFEEL 029CD) 17.00
Mark Barrott's Sketches from an Island compresses this Balearic heartbeat into nine warm gems which paint a picture of the island, the people, and the magnetic beauty that pulses through it. Recorded in Ibiza's northern hills using "weird percussion, some slide guitars and a few borrowed synths," it's a melodic and mysterious representation of a place seeped in a rich and rebellious history. Opening track "Baby Come Home" radiates with carefree tropical sounds and upbeat harmonies. The blues-soaked melodies of "Essene" perfectly navigates the tension between heart-bursting happiness and melancholy and "Go Berri Be Happy" is like Prefab Sprout gone to Ghana. Its color-smudged, hazy emotions swirl between Brian Eno, Penguin Café Orchestra and Compass Point vibes into a free-flowing cascade of live playing and synthesized sound, perfectly epitomized on the future classic "Formentera Headspace Blues." Barrott himself is a man of serious musical pedigree. He founded the highly-respected International Feel label back in 2008, after moving to Uruguay, where his A&Ring tempted the elusive DJ Harvey out of studio retirement for his genre-defying Locussolus project and he followed it with new work from artists like Quiet Village, Gatto Fritto and the Italian cosmic disco-don Daniele Baldelli. Since moving to Ibiza, he's continued producing and releasing music anonymously on his label as Rocha, Bepu N'Gali, Flights Of Fancy, Boys From Patagonia and The Young Gentlemen's Adventure Society. The releases covered house, Afrobeat and proper downtempo Balearic and quickly sold out. "Sketches is inspired by those weird, unique little oddities that would turn up on early José Padilla mix tapes that he'd sell in the Las Dalias hippy market, before he even went to the Café Del Mar," says Barrott. "It's influenced by living in Ibiza year-round, and by the feeling of what I think Balearic sounds like." It's warm and widescreen music for the days when you need musical sunshine. Or as Café Del Mar's José Padilla, says: "This is what I call Balearic."



LP version. 2011 release. The mighty Scientist meets Jamaica's original Crazy Mad Professor in a dub showdown pitching their best musical shots against each other. The connection between these two great mixers/ producers is that they both learned the trade and also cut their musical teeth working with the master himself King Tubby. Scientist (b. Overton Brownie, 1960, Jamaica) and the Crazy Mad Professor (not to be confused with the London-based Mad Professor, Neil Frazer, Ariwa Sounds) initially both helped King Tubby (b. Osbourne Ruddock) wind his transformers for his main business of electrical repairs. They both moved over to engineering and mixing when the need arose due to the heavy demands on Tubby's time and studio became too great. Scientist and The Crazy Mad Professor built their careers on these formative years of training, as they say if you learn from the best, your knowledge can only hold you in good stead and it certainly has with both these talents. We have pitched both against each other on some great rhythms recorded at the legendary Channel 1 Studios and then mixed them at King Tubby's Studio, as was often the case when rhythms needed voicing/versioning for that classic dub cut.


JBJ 1055EP

CONTOURS, THE: Whole Lotta Woman/Regional Version 7" (JBJ 1055EP) 11.00
The Contours' "Whole Lotta Woman" is a great example of the exciting early soul era, and the trend-setting sounds that were emerging from Detroit's R&B scene of the early '60s. With one foot in the raw, saltier waters of the 1950s, and the other tapping a groovier, less jagged rhythm that was about to take hold of the nation's clubs, this track sits perfectly on the cusp. Appearing here is the song's first incarnation -- and the one which made a lot of noise locally in Detroit -- as well as the reworked, "polished" version which Berry Gordy hoped would ignite nationally.


YOUNG JESSIE: Don't Happen No More LP (JMAN 068LP) 25.50
LP version. Housed in an old-style, heavyweight paste-on sleeve with notes written by Liam Large based on new interviews with Obie Jessie. Strictly limited to 999 numbered copies. Young Jessie is one of the unheralded greats of the R&B, rock & roll and soul eras. Beginning his career as a young teenager in L.A. vocal group the Flairs (with schoolmate Richard Berry, later of "Louie Louie" infamy), he then signed on with Modern Records and cut several high-quality R&B sides through the mid-1950s. Never quite achieving the level of fame and fortune of some of his immediate peers, the closest Young Jessie got to a hit was 1956's "Mary Lou," which sold well regionally and was later on covered by the likes of Bob Seger and the Steve Miller Band. Meanwhile, Young Jessie busied himself recording demos with Leiber & Stoller for one of their regular artists, Elvis Presley. Flitting between labels at the end of the '50s and into the '60s, his own output remained consistently of a very high quality, and always in step with the changing times -- from doo-wop in his beginnings through blues, R&B, rock & roll and into soul. Throughout all of that, Young Jessie always considered himself a jazz singer first and foremost, and this influence underpins all of his vocal performances. This is a special retrospective LP of some of the finest moments of Young Jessie's career, between 1953 and 1963.


KI 006CD

PINEIRO, SEAN: Saved Once Twice CD (KI 006CD) 17.00
Ki Records presents the debut album by electronic artist Sean Piñeiro. After he left his anthropology studies in Utrecht, he moved to NYC to pursue a degree in music composition at City College of New York. Shortly after he completed his undergraduate degree, he moved to Europe. Sean Piñeiro makes sample-based music. He's a constant observer of his environment and finds elements for his production from different sources, regardless of their quality or rarity. This can be samples from movies, commercials, YouTube videos, cartoons, and music far away from the dancefloor such as jazz, folk and classical. Like in a musical mosaic, he combines these elements into one stringent sound story, filled with anecdotes and short stories that were written between Brooklyn, Barcelona and Berlin. His work is like a musical diary. The oldest track on the album is "Reaper," which was made in Piñeiro's closet in Brooklyn, because at the time, the only room he had to fit his studio in was his closet. "Reaper" is a driving, downtempo beat accompanied by dreamy melodies and sound fragments that slowly sneak in from the background. "Grounds" is dominated by a yearning piano and a nostalgic-raw soul vocal that is combined in his very clean arrangement and production. In "Tunnel to Castle," a repetitive rhythm meets a vocal sample with a deep meaning if you listen closely. "Medallion" combines a rich choir with understated wind instruments and the listener gets lost in an ocean of sound. The complexity of Piñeiro's work is what made Ki Records decide to release Piñeiro's debut album.



SMITH, SLIM: Keep the Light Shining CD (KSCD 051CD) 14.00
Slim Smith is high on the list of great singers that came out of Jamaica. Although Jamaica was bursting with musical talent, few could match his soulful and heartfelt style. Sadly, he had a very short career, but he produced a catalog of music that still stands the test of time -- like all the great artists, his story carries through the songs he left behind. Kingston Sounds have compiled some of his finest moments from his period working alongside the hit-maker from Jamaica, producer Bunny Lee. A great set of tunes that the label hopes will keep his memory alive. Includes four CD bonus tracks.


KIS 4049CD

TIFFANY SHADE, THE: The Tiffany Shade CD (KIS 4049CD) 17.00
Having formed in Cleveland in mid-1966, The Tiffany Shade swiftly became one of the city's hippest acts, sharing stages with Janis Joplin, the MC5 and others. A fine blend of folk-rock, garage and psychedelia, their sole album was swiftly recorded in the fall of 1967 and appeared that December. The band split soon after its release, but it has gone on to earn a significant cult reputation, and makes its long-awaited return to CD here, together with background notes.

KIS 4050CD

TRUK: Tracks CD (KIS 4050CD) 17.00
Originally from Oklahoma, where they started life as No Large Trucks, gritty hard rockers Truk featured Willie Daffern (formerly of psych legends Hunger), and cut their sole LP in California. Co-produced by Buffalo Springfield's Dewey Martin, it's a bludgeoning classic reminiscent of other lost classics by bands like Euclid and Troyka, and makes its long-awaited return to CD here. Includes background notes.

KIS 4051CD

SIDE SHOW: Side Show CD (KIS 4051CD) 17.00
Originally released in the summer of 1970, this unconventional psychedelic pop LP features several songs by the band's singer/guitarist Paul Giovanni, who went on to create the unforgettable music for 1973 cult classic film The Wicker Man. Combining vocal harmonies with distorted guitars, Moog synthesizer, saxophone, melodica and more to impressive effect, it makes its CD debut here.

KIS 4052CD

US 69: Yesterday's Folks CD (KIS 4052CD) 17.00
This Connecticut quintet's sole album is remarkably diverse, spanning dreamy sitar psych, garage rock, jazzy pop, Afro-pop, electronica and more. It did little upon original release in March 1969, but has gone on to have a considerable cult reputation, even being sampled by DJ Shadow. It makes its long-overdue CD debut here. Includes background notes.



GUSGUS: Mexico LP+CD (KOM 301LP) 23.00
LP version. Pressed on 180 gram vinyl. Includes a CD copy of the album. An obvious fan favorite, GusGus' last full-length offering Arabian Horse exceeded all expectations and ranks among Kompakt's biggest bestsellers in recent years. Now, the core crew of Birgir Thorarinsson, Daníel Ágúst, Högni Egilsson, and Stephan Stephensen returns with new masterpiece Mexico: a hugely satisfying follow-up to past exploits and another step into the future of anthemic pop music. GusGus are dead set on maintaining the towering might of their songwriting, infusing the new album with the same luster as their earlier work, but presenting the deed with the snappiness and intricate production values needed for contemporary debauchery. From opening anthem "Obnoxiously Sexual," to the Existentialist shuffle of closing ballad "This Is What You Get When You Mess With Love," this album leaves no stone unturned on its journey to sonic bliss, delving ever deeper into its timeless melodies with every subsequent track. It's hard to pinpoint highlights from an album like Mexico, as each of those cuts stands well on its own without sacrificing its role in the ensemble. In a way, that's a good metaphor for GusGus itself, as this project again and again manages to successfully pool the forces from a group of exceptionally gifted individuals. Take "Sustain," "Airwaves" or "God-Application": drawing from influences as diverse as '80s synth pop, UK garage or '90s trance, each of these tracks showcases a unique identity but still interlocks with the overarching aesthetics of the album and its omnipresent penchant for brilliant pop hooks. Frequency-shifting house-stomper "Another Life" and deep string groover "This Is Not the First Time" might come closest to the predecessor's voluptuous textures, engaging in the same kind of floor-friendly agility against the backdrop of monumental synth washes. Interestingly enough, title-track "Mexico" is the only instrumental on the new full-length, fittingly bringing a more linear flair to the proceedings. Sporting the nuanced narration of a coherent artist album as well as the eager excitement of a great track selection, GusGus' latest holds the potential to become a source for many a personal best-of mixtape. All killer, no filler!


LU 5001LP

CUTTHROATS 9, THE: Dissent LP (LU 5001LP) 18.00
Following a full decade off the grid, San Francisco-based noise/sludge rock trio, The Cutthroats 9, marks their proud re-invasion of the human population once again in 2014. Blending earthy bends and cool, organic harmonics into the bed of foundation-crumbling low-end swagger and massive amplification, Dissent brings The Cutthroats 9 back into the mix in massive style with seven slamming new tracks. With long-time skin-smasher Will Carroll (Old Granddad, Death Angel) returning to the line-up, and the addition of bassist Tony Baumeister (16, Aeges) joining founding guitarist/vocalist Chris Spencer (Unsane, Celan), Dissent was recorded and mixed at Louder Studios with producer Tim Green (Melvins, Bikini Kill, Dystopia, The Fucking Champs, Wolves In The Throne Room) where the band recorded their 2000-released self-titled debut LP, bringing everything full-circle fifteen years later.



MILICEVIC, DEJAN: Perception EP 12" (LIEBE 043EP) 14.00
This EP is brought to you by Serbian DJ and producer Dejan Milicevic. The obvious clash between nu school in terms of editing and old school in terms of sample choice will make you dance with nostalgia as if you were a clubber back then. The sound of Roland 303, 808, and 909 will take you where it all began with an extra touch of sophisticated production width and a crackling nerve on top of it. The tracks aligned tell the story of true and raw Chicago-influenced dancefloor slammers.


LUSA 25102

NEUZA: Flor di Bila CD (LUSA 25102) 22.00
"Flor di Bila, the debut album by Neuza, unveils the secrets of Fogo Island rhythms such as talaia baxo, rabolo, and samba. On 'Trabessado,' one of the key tracks on this album, Neuza explores the curcutiçan, a traditional lyrical battle between female and male voices using irony and provocation. Neuza is joined by Michel Montrond who is an author, composer, and singer."


M 007EP

MAURIZIO: M7 12" (M 007EP) 10.00
2014 repress; released in 1997. "The Maurizio story continues with two more techno dub tracks of astonishing width, depth and presence of every single sound element. Some chords appear after a break in the middle and gives the ongoing groove even more drive."



ELEKTRO GUZZI: Observatory CD (MACROM 039CD) 17.00
Live "techno-tanzband" trio Elektro Guzzi are set to release their third studio album Observatory via Berlin-based record label Macro. From their 2010 self-titled debut album ("hauntingly beautiful" --Resident Advisor) and 2011 follow-up Parquet ("hypnotic, near kosmische reverberations" --Clash), Elektro Guzzi have taken their man-machine live show of bass, guitar, and drums around the world, from landmark clubs like Fabric and Berghain to major festivals such as Roskilde, Sónar and Mutek. With Observatory, Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer shift everything anyone could expect from a live band. Tellingly, instrument credits have been wiped off the record sleeve. Still, a string and a drum skin at the source, the sound emanating from the speakers seems to have travelled light years. Utterly alien, Observatory unfolds into a paradigm for both the performance of music and the music performed. Despite advances in software, ironically it is this live band that initiates a redesign of how techno could leap into the future. There is nothing retro about it. No citations of historic moments. The album resembles a party on the edge of the solar system, with scraps of distant sound memories -- a shocking abandonment of anything an instrument was supposed to do. The recordings' warmth is in stark contrast to the music's Skynet thrust: a time capsule of techno projected into the dark unknown. Metallic and human at the same time, a love-cry miles from home...



MADLIB: Pinata Beats 2LP (MMS 024LP) 25.00
Double LP version.



BIXIGA 70: Ocupai CD (MAIS 024CD) 15.50
Mais Um Discos are thrilled to provide the worldwide release of Bixiga 70's Ocupai -- a heart-stopping carnival of Afrobeat & Brazilian funk where Ethio-jazz, brass bands, polyrhythmic paeans, Bootsy Collins jams and Saharan grooves combine to produce a riotous joy of stomping rhythms and horns. Hailing from the Bixiga neighborhood in São Paulo, Ocupai sees the band build on the sound that saw their self-titled debut album top many Brazilian tastemakers' best-of lists for 2011. They combine the obvious touch points of Fela Kuti (the band's name tips a hat to the most famous incarnation of his band) and Tony Allen (with whom Mauricio Fleury from the band studied with) and bounce through boundaries to harvest textures of mandingo from Guinea and Mali, soukous from the Congo and Ethio-jazz -- all the while pulling in threads from the pioneers who first caught their ear; Pedro Sorongo, Os Tincoãs, Gilberto Gil, João Donato, Baden Powell, Deodato, Orchestre Poly Rythmo, Miles Davis and Lee Perry. Having collaborated with Souljazz Orchestra, Criolo, Emicida and Banda Black Rio, the band have also shared the same stage as their heroes Antibalas, Ebo Taylor, Tony Allen, Gilberto Gil and Q-tip at the likes of Denmark's Roskilde and Amsterdam's Paradiso and are set to return to Europe in May/June 2014.



ABATZI, RITA: I'm Burning, I'm Burning LP (MRP 059LP) 15.00
"Beautiful and haunting Greek urban songs recorded between 1933 and 1937. Rita has a haunting voice and is accompanied by stunning Greek master musicians. Includes classics such as 'Don't Cry Anymore,' 'In The River - My Clothes,' 'Two Hearts Pained and Mother,' 'Don't Send Me To America. ' Insert with liner notes by Ian Nagoski. A co-release with Canary Records."


STAPLE SINGERS, THE: Uncloudy Day LP (MRP 075LP) 17.00
"The first Staple Singers LP reproduced at last - exactly as it originally was released in 1959! Some of the deepest, most intense music ever recorded. Pop Staples tremolo guitar is maybe the purest sound ever to hit air. Mavis Staples voice is maybe the most emotionally pure ever recorded. Every song is arresting and marvelous. The arrangements are spare - just Pops guitar, simple drums and the voices of the Staples. Maybe the most influential gospel group of all time. Includes classics such as 'Uncloudy Day', 'I Had A Dream' and 'Going Away'. Old school 'tip on' cover. Two inserts - a small frameable press photo and extensive liner notes by Opal Nations with archival photos. A co-release with Yeti Records. "


STAPLE SINGERS, THE: Will The Circle Be Unbroken? LP (MRP 076LP) 17.00
"The second Staple Singers LP reproduced just as it was originally released in 1961. Includes the seminal version of 'Will The Circle Be Unbroken', the intense recorded live in church 'Too Close', the uplifting 'Don't Knock', and the stunning 'Downward Road'. Spare and perfect arrangements featuring Pops Staples tremelo guitar, minimal percussion and the voices of the Staple Singers. A true masterpiece of Gospel music. Old school 'tip on' cover. Two inserts - a small press photo and extensive liner notes by Opal Nations with archival photos. A co - release with Yeti Records."


STAPLE SINGERS, THE: Swing Low LP (MRP 078LP) 17.00
"The third Staple Singers LP reproduced exactly as it was originally released in 1962! Some of the Staples finest songs including 'I've Been Scorned', 'This May Be The Last Time', 'The Day Is Passed And Gone' and 'Two Wings'. Spare arrangements with Pop Staples stunning guitar work at the front, sparse percussion and the angelic voices of the Staple Singers. One of the great masterpieces of gospel music. Old school 'tip on' cover. Two inserts - a small press photo and extensive liner notes by Opal Nations with archival photos. A co-release with Yeti Records."



STOTT, ANDY: Luxury Problems 2LP (LOVE 079LP) 25.50
2014 repress on transparent vinyl; gatefold double LP version. Following on from a pair of extended players released in 2011 (Passed Me By/We Stay Together) Andy Stott returns to Modern Love with Luxury Problems, an eight-track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's one-time piano teacher whom he hadn't seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened -- but after almost a year of studio work, the result is really quite unlike anything you'll have heard from him before. "Numb" opens the album with Alison's voice; layered and looped, but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more fucked. "Lost and Found" follows and deploys a growling rave bass line and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. "Sleepless" started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of Passed Me By, here re-tooled and re-built for its next evolutionary phase. "Hatch the Plan" ends the first half of the album with some heavily treated location recordings and a low-end grind that probably doesn't quite prepare you for the vocal arrangements that follow -- it's just a beautifully inverted pop song. The second half opens with "Expecting," the most recognizably "Stott" moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at half-speed; those heavy kick drums sucking in everything around them. "Luxury Problems" offers up the album's most quietly euphoric moment; conventional arrangements and drum loops are disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the Box" fucks with the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down amen edit, creating a kind of narcotic jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbearably-beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant. Mastered and cut by Matt Colton at Air Studios.



BANKS, ALEX: Illuminate CD (MONKEY 043CD) 15.50
Having received wide critical acclaim for his remixes of Bonobo and Andreya Triana, and award-winning DJ mix for Ninja Tune's Solid Steel series, Alex Banks spent two years in the studio working on his latest album Illuminate. After meeting 50weapons' Phon.o when they played together in Zurich in 2013, the link to Monkeytown was made. These 10 tracks explode with vitality, flecked with subtlety and depth, at once utterly contemporary but tinged with all the genres and flavors he's ever dipped into. The single, All You Could Do, for instance, replete with a Phon.o remix, comes on like a pin-sharp glitch-hop Esben & The Witch, but elsewhere "Sheya" throbs like Art Department's deep house at a dubstep convention, opener "Silent Embrace" is a silky match for the likes of London Grammar and Jesse Ware, and the bouncing "Initiate" is pitched midway between what Maceo Plex and James Holden are up to. All in all, it's a potent brew.



KARKOWSKI & BRIAN O'REILLY, ZBIGNIEW: The Difficulty of Being CD (MONO 064CD) 17.50
"Though Zbigniew Karkowski and I started working together not long after our first meeting in France in 1998, this disk marks our first release. The majority of our activities together had always been focused on live performances or the generating of materials for different works we were each producing individually. When working together, we usually did not speak about specific pieces of music or about what we were going to work on. We did however speak about different ways sounds could be organized, referencing techniques other composers use. The techniques of Xenakis were used as a reference point frequently, as did many ideas and exploitations of concepts by Luc Ferrari's, the microsonic and code of Curtis Roads and also many contemporary works from a multitude of electronic/noise artists. On the day of the recording in Singapore, we took a long (by Singapore standards) train ride from the city to the woodlands on the Malaysian border. During the journey, we had a conversation about the work I did for Éliane Radigue as her music assistant in the late 1990s. What we both were interested in is how her works progressed through the exploration of slowly moving textures whose constant transformation eludes perception. Radigue's work can create elusive edges that are always in a state of flux, blurring the lines between movement and stillness, forcing the listener to shift into different ways of listening. Shifting from active to passive listening modes, the frequencies wash over your ears and when you switched back from one mode to another, you would be in a different place. All throughout the recording we kept stopping each other from changing the patch, Zbig said at one point with a laugh 'let it Radigue.' On a more technical level the audio sources were created solely using a Buchla 200e. The majority of the sounds from the patch centered around the 266e Source of Uncertainty module, which played a major part in guiding the evolution of the textures with its fluctuating voltages. The time and care we took to build the patch into a performance system was an important factor determining the outcome with the deconstruction of the patch an equally influential factor. The work unfolded by randomly removing both audio and voltage control cables, reducing the system to even more "primitive" structures and interactions of sound. The recent death of Zbigniew Karkowski has been difficult for myself and all close to him. As a collaborator and close friend, I will deeply miss our time working together, performing, traveling, and the ever unfolding hijinks that always ensued when we did, and most of all the difficulties they could often cause." --Brian O'Reilly


EMITER: Air/Field/Feedback CD (MONO 072CD) 17.50
Air/Field/Feedback is a new production from Emiter performed live using microphones, analog and digital carriers, mixer and field recordings. Combining composition, a mix of audio material of different quality and improvisation, Emiter searches for the synthesis of analog/digital sound and organic connections in the sound itself. An air transmitter becomes a starting point for music. A lot happens in the air -- practically every moment something flies through. It is the channel of emission, clutter, audio violence and silence. A field border breaks our expectations, routines, and musical convenience into pieces. Feedback is a physical/auditory experience. Marcin Dymiter aka Emiter is a musician and improviser. Emiter moves within electronics, and improvised music. He experiments with sound, transforming the sounds present in our everyday life. He uses and combines different qualities -- lo-fi/hi-fi or sounds commonly seen as interference. He creates sound installations, radio plays, soundtracks for films, performances and public spaces. He plays for dumb films. He conducts audio trainings and promotes field recording. He works with visual artists and dancers, such as: Anna Baumgart, Joanna Rajkowska, Anna Witkowska, Ludomir Franczak, Risa Takita, poet Marcin Swietlicki and writer Daniel Odija, with whom he creates literary-musical form North Lines and the "Listen With Your Ear" project -- a cycle of live radio plays. He plays in such projects as: Niski Szum and EmiterFranczak Audio Video Performance.


MOSS/HANNES STROBL, DAVID: At the Beach: Music for Voice and Electric Bass CD (MONO 078CD) 17.50
"We enjoy the interplay of our two musical positions tremendously. I really feel this has to do with a 'story-telling' or an 'intuition for the narrative' that we both have. And I mean it even in the most general, abstract sense" -- says David Moss. Together with Hannes Strobl, they've found rhythmic and even philosophic connection that made the duo work, as a natural extension of their earlier project, created with Hanno Leichtmann's band Denseland. "When Hannes told me he had developed a number of solo bass pieces and song-frameworks that might be interesting for my voice, we easily and fruitfully created this album," explains David. At the Beach -- Music for Voice and Electric Bass is a story told in music. It starts with the specific sound of the electric bass, an instrument played mostly in pop, rock or jazz, but rarely found in contemporary, experimental music. Strobl created a special way of playing the electric bass and combines his two instruments -- one of them an electric upright bass -- with various electronic devices. Each piece on this album brings together particular advanced playing techniques and preparations with particular electronic setups. Together, the pieces make the impression of being a single cohesive work with an intimate quality, sometimes moving forward with a steady drive, sometimes rotating around themselves. In some places, the music is very physical and microscopic, one can hear how the strings are scraped or how the vocal sounds start. In other places it keeps the secret of its genesis, playing with the possibilities of psychoacoustics. David Moss brings the sounds, texts, stories, narratives and 'mystery geschichten' out of his mind in a stream of consciousness. He uses points within the rhythmic patterns to connect to or to jump from, to dive off to new words or new sounds. The connection words and sounds have to meaning, switches on and off. "When Hannes developed those bass-based pieces and played them for me, I started singing immediately. The first take was always as if we were playing live together, so I did not listen to the piece before I jumped into his 'worlds' with my voice," says David Moss. After their live act, the artists sometimes do other takes of vocals, either completely different approaches, or in order to amplify the idea of the first take. At the end, the perfect version of the vocal, the one which fit the mood, atmosphere and energy of composition was the one chosen.


SCHLOSS MIRABELL: Ghosthour Diary CD (MONO 079CD) 17.50
Florina Speth, born in 1983 in the mountains near Salzburg, started playing the cello and piano at the age of 6 and began studying music at the University Mozarteum Salzburg when she was just 11. She won several prizes playing solo and string quartet ensembles, and was part of orchestras like Bayerisches Landesjugend Orchester and Salzburger Junge Philarmonie all over Europe. Besides classical music she has always keenly been interested in contemporary music and was part of performing ensembles in lots of world premieres. Since that, she has been obsessed with creating music electronically and started Schloss Mirabell. She plays in different constellations with musicians such as Nicholas Bussmann, Dasha Rush, Niels Böttcher and Maximilian Stadler. Orchestras here are replaced by unknown sound characters that listen to each other, exchange, react, adopt dynamic shifts and act freely -- in parts, the conducting composer cannot control it. In her compositions, these sound characters step into fine-grained dialogues between her cello, bleeping spheres of electronic hummingbirds and multi-time codes. These scenarios take place in pitch-black carpets of dead butterflies falling, simmering shapes of polyoscillations against luminance or in vacuums of icy dust. The sound creates patience for unspeakable things that glamorize time -- namely music. Her album Ghosthour Diaries is a musical narrative of those unspeakable perspectives on things. As all pieces were composed after midnight during the "ghost hours," it is an intimate view of the states before sleep.


PIOTR, DEREK: Tempatempat CD (MONO 080CD) 16.50
Derek Piotr is a Poland-born sound artist currently based in New England, whose work focuses mainly on the voice. He has been an intern to Meredith Monk, collaborated with AGF and Richard Chartier, and had works featured on ResonanceFM. His second record, Airing, was nominated by the Jury for the Prix Ars Electronica Prize 2012. Tempatempat could be seen as Piotr's "gamelan album"; after records focused on the sound of bells (Airing, 2012) and Eastern tonality (Raj, 2013), this focus was the next logical step. Unlike Raj, where straightforward rhythms aimed to express simple, primal energy, Tempatempat sees Piotr construct deeply layered and largely complex song-based tracks, the majority of which veer close to pop territory. Piotr sings in English on the majority of tracks, an extreme departure from his primarily wordless back-catalog. Tracks "Bhadrakali" and "Yogyakarta" were sung entirely in Indonesian during an experience Piotr had being possessed by a Sufi. The English translation of these tracks was discovered only months after they were recorded, with the aid of a translator. Tracks "Rift." "Encloses" and "Conifers" are constructed entirely from Piotr's voice. A remix of "Encloses" produced by pioneering sound artist Steve Roden appears as a bonus track. Polish composer Szymon Kaliski and accomplished multimedia artist Bartholomäus Traubeck both contributed to "Slow March," Traubeck providing sections of his successful YEARS project for the intro and outro, and Kaliski processing Piotr's original piano and voice into fluttering drones. Many of the gamelan samples on this album were provided courtesy of Elisa Hough. Kent Williams provided engineering assistance on a handful of tracks, and Antony Ryan of acclaimed duo ISAN mastered the record.


MR 342LP

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

MR 343LP

TEENAGE FILMSTARS: (There's A) Cloud Over Liverpool LP (MR 343LP) 21.00
Repressed, originally released for Record Store Day 2014. Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: "(There's A) Cloud Over Liverpool" (Clockwork Records), "The Odd Man Out" (Wessex Records/Blueprint Records) and "I Helped Patrick McGoohan Escape" (Fab Listening Records). After self-releasing two records with his band 'O' Level, in 1979 Ed Ball continued the path of '60s-influenced new wave pop already present in that band's The Malcolm EP (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help, Ball released a first single in September 1979 featuring two songs: the A-side was taken by "(There's A) Cloud Over Liverpool" (a tremendous chorus-song) and the B-side contained "Sometimes Good Guys Don't Follow Trends" (a comment on youth culture). The song "(There's A) Cloud Over Liverpool" received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon. June 1980 saw the release of their second single, titled "The Odd Man Out," where Teenage Filmstars offered as the lead track a catchy ska-pop number in the vein of Madness. The other side featured "I Apologise," a beautiful pop melody punctuated by the kind of guitars characteristic of the revival mod bands of the time. Their last single, from November 1980, included the track from their repertoire with the biggest potential, "I Helped Patrick McGoohan Escape" (re-recorded in 1982 for Ball's next project, The Times, again along with Dan Treacy), an homage to the actor Patrick Joseph McGoohan, who worked on the late 1960s cult TV series "The Prisoner." The single's other side featured "We're Not Sorry," a power pop nugget which links them with bands such as The Jam and Merton Parkas (who were mocked on one of the two sleeves of "(There's A) Cloud Over Liverpool"). This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of 'O' Level: "He's a Professional" (anti-military punk-pop) and the folk-punk anthem "The John Peel March," dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated to November 1980 which produced three tracks ("Storybook Beginnings," "Dressing Up for the Cameras" and "The Sun Never Sets") which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times. Ed Ball's music career would continue into the 1980s and 1990s in bands such as Television Personalities (until 1985), The Times (until 1999) and many more projects, including four albums as a solo artist.


NA 5081LP

VA: True Soul: Deep Sounds From The Left Of Stax 4LP BOX (NA 5081LP) 68.00
2014 repress. Deluxe 4LP boxset combining True Soul volumes 1 and 2 (NA 5079CD/NA 5080CD). "The complete anthology including all 32 rare and unreleased 60s and 70s soul, funk, disco and party-rap cuts from the True Soul vaults. Twenty page full-color booklet contains never before seen photos, ephemera, extensive liner notes and a candid interview between producer Eothen 'Egon' Alapatt and Lee Anthony himself. All tracks remastered from the original master tapes. 4xLP box with detailed sleeves and original logos."



TERJE, TODD: Leisure Suit Preben 7" (OLS 005EP) 14.50
Special 7" related to Todd Terje's recent It's Album Time CD/2LP.


TERJE, TODD: Delorean Dynamite 12" (OLS 007EP) 14.50
First 12" single taken from Todd Terje's recent It's Album Time CD/2LP.



THROWING SHADE: Mystic Places 12" (OM SHADE) 16.00
"A brace of tripped-out R'n'B burners. Iridescent digital soul from London. Nervy, far-flung, sweet." On white vinyl.


OT 008EP

BOOT & TAX: Fusci 12" (OT 008EP) 14.00
Optimo Trax releases Boot & Tax's Fusci EP. These Milanese maestros deliver four dancefloor delights in their own inimitable and distinctive style. Working across a range of tempos and incorporating more of Boot's great vocalizing, they also manage to weave a jaw's harp solo in there and make it seem like a potential replacement for the TB 303.



GLASS, PHILIP: The Dublin Guitar Quartet Plays Philip Glass CD (OMM 092CD) 20.00
"This release from Orange Mountain Music features the Dublin Guitar Quartet performing string quartets by Philip Glass on classical guitars. The quartet performed in Ireland with Glass in 2008 and later produced a YouTube video performing Glass's Third String Quartet. The video was seen by Orange Mountain Music which immediately resolved to collaborate with the group. The recital presents Glass's quartets Nos.2, 3, 4 and 5 in arrangements by the members of the group themselves. The transcriptions are thoughtful adaptations that show unusual insight and understanding of the music."


GLASS, PHILIP: Symphony No.1 'Low' CD (OMM 095CD) 20.00
"Orange Mountain Music presents a new recording by the Basel Sinfonieorchester of Philip Glass's Symphony No.1, subtitled Low, a work based on the music of popular music artists David Bowie & Brian Eno. Composed in 1992, Glass took his departure from Bowie & Eno's beautiful melodies in crafting a three-movement symphony. This new recording, only the second set to disc, is conducted by Glass champion Dennis Russell Davies and offers a shimmering rendition of the work."



Ornaments presents a 12" from Davina/Carlos Nilmmns/Niko Marks. A quintessential blend of Detroit house tracks on clear marbled vinyl. Features a remix by Andrés.



LP version.


This is the debut LP from Berlin producer Answer Code Request on Ostgut Ton. Whether through his DJ sets, his increasing appearances as a live act, or with impressive releases on Marcel Dettmann Records and his own label ACR as an emergent Berghain resident, Patrick Gräser is one of the new exciting faces on the label. Code is a statement that coquettishly plays with the crucial question of electronic music -- which tasks and perspectives a techno album should demonstrate. All created during the last year, the 12 tracks introduce a genuine, reverent and adult sound concept which presents itself as a fog-shrouded journey through time -- combining Gräser's influences and history with several genres of dance music: from Detroit-inspired elegies over the UK sound with its breakbeats and IDM references, to the warm side of Berlin techno from the '90s. Despite the occasional nostalgic depth, Code is shrouded in a shadowy aura and a mystical mood that runs like a common thread through these tracks. Following on from the calm of the title-track, "Blue Russian" unveils Gräser's verve for detailed structure. His synthesis of swirling sci-fi sounds and stoic percussion develop a seething climax, which is constantly fed by his dramatic pads. "Field Depth," with its tandem of warm synths and the precise, powerful bass drum, clarifies that ACR's author-focused techno goes way beyond the composition of mere sketches. The UK-influenced design between warm and dark sounds evokes a mix of claustrophobia and restlessness while enchanting shades converse like they are hailing from a foreign galaxy. "Odyssey Sequence" sets foot on disturbing terrain where an ambient synth arrangement unfolds itself in the manner of a sound painting in atmospheric, gliding flight. "Zenith" emphasizes the drum-based focus of his compositions, while next to its rigidity, a melodic figure communicates in the background like sparkling moments of longing and hope. "Relay Access" continues this fragile magic in a downtempo-driven way where each beat, each soundscape and even the rudimentary, swirling spirals enjoy sufficient room to develop. On "Status" the floor is a fixpoint from where to carry out some grumbling bass modulations in unison with mechanical hi-hats and oracular soundscapes. Both the rattling breaks of "Haul" as well as the mantra-like prayer "Spin Off" embody a non-conformist ritual, before the British artist and singer Elizabeth Bernholz, known from her project Gazelle Twin, brings her impressive timbre between whispers and choral meditation into heavy pulsation backed by some heartthrob beats on "Axif." As the final sounds of the dreamy "Thermal Capacity" fade away, the moment has been reached where Code is halfway deciphered. Patrick Gräser's debut adds a pondering and sublime facet to the Ostgut Ton catalog, while also being emancipated from the dancefloor.


OP 007CD

HARRINGTON, DAVE: Before This There Was One Heart But a Thousand Thoughts EP CD (OP 007CD) 14.00
Dave Harrington's first solo release is a two-track, multi-movement EP called Before This There Was One Heart But a Thousand Thoughts. Casting synapses between his work as a multi-instrumentalist, DJ and producer, Harrington leads a sonic odyssey through this latticed world rich in wild experimentation and sublime, combustible beauty. Journeys of rapture turn into journeys of fear and then to bright light. An upright bass creaks up and down woody scales for a moment of formless, astral groove, then sizzles off to a field of shimmering tambura-like drones and reversed guitar chords. Clusters of percussive metal writhe and clang. Deep, growling static contracts and contracts to a point, pumping out new sounds like solar flares. The pings of a high-keyed synth rush by like stars. For Harrington, what begins as one ends in many places -- every sound is infinite.



LP version. Cafe OTO's tenth Otoroku release sees a return to the group that kick-started the label -- the veteran German reedsman and free-jazz pioneer Peter Brötzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of The Worse The Better, that group went on to play a series of devastating shows in Europe and to emerge as one of Brötzmann's finest working groups. Over the same period, Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself onstage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Brötzmann for impact while the extended sustain of the vibes opens up an eerie space for some of Brötzmann's most fertile lyricism. The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention -- stoking the others onwards. Brötzmann was clearly energized, dancing at the side of the stage while exchanging a shattered reed. And for all the usual rhetoric of free jazz bluster and machismo, this is a meeting characterized by the joy of communal creation that makes you want to dance -- even if only in your head. Peter Brötzmann (alto and tenor sax, B-flat clarinet, Taragato); Jason Adasiewicz (vibraphone), John Edwards (double bass); Steve Noble (drums).



Right in time for the summer of 2014, Paul Kalkbrenner surprises us with a brand-new remix album. Eight years after his 2006 Reworks CD which showcased brilliant remixes of that part of his career, Paul Kalkbrenner presents X with reworks from his latest albums Berlin Calling (BPC 185CD), Icke Wieder (PKM 002CD/LP) and Guten Tag. The selected crew of remixers is staffed by long-time personal friends and other related artists out of Paul Kalkbrenner's world of music. To keep it in the Kalkbrenner family, his brother Fritz Kalkbrenner delivers excellent new vocals for "Kruppzeug's" transformation into a classic house track while Paul's wife Simina Grigoriu refines the techno track "Kleines Bubu." The French techno legend Vitalic presents his remix for the Berlin Calling classic "Altes Kamuffel" while Joris Voorn hands over his hit-tune deep house interpretation of "Jestrüpp." The Berlin school of techno & house gets represented by Format:B, Housemeister from the Boys Noize camp and the legendary Maertini Broes, consisting of Mike Vamp and the E-Werk veteran DJ Clé. Also hailing from Berlin are Pan-Pot, who have been 2013 world tour buddies with Paul Kalkbrenner. They deliver a well-produced big room version of the 2011 hit single "Das Gezabel," Impressive in a similar way is Cab Driver's remix of "Globale Gehung" from the Guten Tag album. Another musical highlight is the Robag Wruhme remix of the massive tune "Sky & Sand," which is a completely new and unique approach to the Berlin Calling classic. The Mallorca-based duo Pig & Dan rounds out this great Paul Kalkbrenner remix package with their tech-house production of the Icke Wieder opening track "Böxig Leise." Comes in a jewel-case with a 14-page Leporello booklet.



Just in time for the summer, rather appropriately, here's two glorious renditions of Gershwin's evergreen "Summertime." Female singer Carl Henry Hall's version works the timeless melody into a groovy, horn-led riff which keeps on building. A great dancefloor worker. On the flip, Jimmy Randolph's take is a slower, jazzier piece, with finger-snapping rhythm and swaggering, deep male vocals.


QA 007CD

GIANA FACTORY: Lemon Moon CD (QA 007CD) 17.00
Following up to their much-applauded international debut Save the Youth (QA 001CD/LP), Denmark's answer to Warpaint, Giana Factory, return with their second album Lemon Moon. Fronted by Louise Foo (sister of Sharin of The Raveonettes) and flanked by Lisbet Fritze (who also plays guitar in the Trentemøller Band) and Sofie Johanne, Giana Factory specialize in a wonderful kind of iced pop, beautiful songwriting with a lot of depth, and DIY attitude punch. Take the throbbing synths, quivering guitars, and clipped, canned beats of the first single "Lemon Moon," and the deep but imminent pop feel of "I Live at Night," and "Walking Mirror" as prime examples. It's music that's given a human heartbeat by Louise's effortlessly expelled vocals which are downy-soft but harbor a cool confidence at their core. The record is produced by electronic music maverick Anders Trentemøller. It incorporates personal stories and musings on the interconnectivity of relationships between people and their relationship to the world. "Our intention with the new songs was to cut them to their bones by trusting the melodies, lyrics, and sounds enough to let the songs stand naked and uncontrolled." They likened Lemon Moon's creative process with building a screenplay, as new characters and storylines entered the picture until the final product materialized, exploring and playing with the concept of time and place, dream and reality. All this is reflected in the great artwork of Italian/American photographer Andrea Galvani, who , inspired by Giana Factory's music, extended his much-acclaimed picture series "Death of an Imagine" for his own version of Lemon Moon's sleeve design.


RB 107EP

BROWN, RUTH: Shine On/Please Don't Freeze 7" (RB 107EP) 11.00
Two killer Latin beat R&B sides from the queen of sassy, '50s R&B, Ruth Brown. "Shine On" is a high-tempo, rollicking rumba screamer, while "Please Don't Freeze" is slower and sexier. Both sides are equally essential, however, and both sound better than ever on this loud pressing new reissue pairing.



LAY LLAMAS: Ostro CD (LAUNCH 065CD) 16.50
This is the debut album from Lay Llamas, the Rome-based duo of Gioele Valenti and Nicola Giunta. Recorded in an old house in the Segesta countryside of Sicily, Valenti and Giunta soaked up the history-imbued environment. The makeshift studio was located alongside the great Temple of Hera that dates all the way back to 6th century B.C. These recording sessions have resulted in a heavily layered album, filled (but not clogged) with various instrumentation -- from the usual guitars, bass, synth and drums, to the more unexpected sounds of Tibetan bells and ukulele. Ostro reflects a continent-leaping, platform-splitting array of personal influences that then seeps into their lysergic output. Purely on a musical level there is a joint love of artists such as Ennio Morricone, which then splits off into the structured and the song-heavy (Angels Of Light, Nick Drake, Mike Scott) to the rhythmic, both the hypnotic and groove-laden sort (Fela Kuti, Broadcast, Sun Araw, Kraftwerk). Italian tradition plays a pivotal role, too, with the creeping tones and floating atmospheres of '60s and '70s Italian library and soundtrack music playing a subtle supporting-role. Ostro is a constantly shifting record, never remaining stuck or fixated on anything for too long. Crossing continents, be it musically, stylistically or physically, seems to be something the pair return to over and over again, and the subtle radiations of Africa that can be heard on the record are no accident. While the duo work from a shared vision that places a keen focus on stream-of-consciousness approaches or, as Valenti puts it, "a prismatic panorama, or well, a BRAINMATIC PANORAMA," there really is an ambiguity, an uncertainness and a sense of the unknown, the otherworldly and the mystical when traversing through the vast spheres of the record. The pair's own descriptions of some of the album's tracks are testament to the sprawling, shifting, mass of it all -- "Suicide and Oneida dancing together around a big campfire." Some records aim to exist by not coming from a particular place but to exist in the transitions and journeys in-between them. Be them real, mystical or imaginary, present or past, the focus is on the movement rather than the end destination and the Lay Llamas' debut album is most certainly one such record.


LAY LLAMAS: Ostro LP (LAUNCH 065LP) 25.50
LP version.


RM 441CD

PIMMON: The Oansome Orbit CD (RM 441CD) 16.50
The Oansome Orbit is the latest work from Australia's electronic godfather Pimmon (known to friends as Paul Gough). Over the past decade and a half, Pimmon has carved out a unique space for himself through producing a series of masterfully-executed excursions into abstract electronic sound. With this new edition, he strikes out at some of his most harmonic territory to date, merging washes of rich tone against irregular grids of texture. The results are wholly individual and utterly consuming. Pimmon: "The Oansome Orbit is about connection and disconnection. In playing with micro loops of sound -- macro listening-worlds are made; universes of white noise wash, blurry melancholic tones, jagged granular debris. As all these seemingly disconnected sounds orbit each other, often I feel transported to somewhere vast -- distant -- majestic; yet in the process I feel a great sense of loss, being 'oansome.' While recording the works for The Oansome Orbit I was struck by the words of author Russell Hoban. His worlds are bleak and dark, funny and imaginative. His characters are scared and scarred. In Riddley Walker, he created a composite apocalyptic language -- a pigeon English where unfamiliar words are made familiar by context alone. 'Oansome' is one such word. It conjures a forlorn aloneness. In a world more connected than ever before, the sense of isolation looms larger. I often feel at my most 'oansome' when in a room full of people. The music contained in Oansome Orbit is my exploration of this juxtaposition. This album is dedicated to Broadcaster Tony Barrell. Tony was a lover of sound and noise. His work has inspired many, including me. His great skill as a producer was coupled with a lifelong passion for music. He was able to weave wisps of words and other aural delights, lacing them together (even when they fought it) to create grand galaxies. I hope one day our orbits will cross paths again."


SS 003EP

POTTER, COLIN: I Couldn't Agree 7" (SS 003EP) 15.00
"Two tracks originally self-released in 1981: abrasive post-punk-come-proto-industrial, with vocals, guitar, programmed drums and synths. The first in a series of CP revives promised by Sacred Summits for 2014."



After a string of releases through Soma, the label is pleased to present the debut album from Italian DJ/producer Roberto Clementi. Roberto first came to Soma's attention through a series of very slick demos and it was clear from the outset that this was a producer who not only had a grasp of the modern underground techno movement but one who also appreciated the finer things that can be found in electronic music. Hailing from a remote, beautiful area of Southern Italy, Roberto's background and culture has shaped him as a producer, elements which he uses to fill his music with depth and emotion. For Roberto, every track has a background, a story, and through his use of organic grooves and well-defined melodies he allows each individual listener to experience their own interpretation of his music. With the opening pads of "Your Turn," Roberto sets the tone of the album; deep, grooving and brought to life with electronic feeling. He keeps a steady hand as tracks like "Lei," "Subavia," and "Receed" keep the opening dubby vibes of the album in tow while still retaining a dancefloor appeal. The slo-mo electronics of "Obscuria" swell perfectly in the middle of this album, its sluggish subs and tweaking synths breaking the mold. Normal service resumes quickly as "When Love Clashes" (already a previous hit on Soma) and "Untime" come hurtling in. The latter, probably one of Roberto's most grooving tracks, pulses with dubbed-out synths and chugging drums, making for perfect peak-time action. It's at this point Robert brings us slowly out of his universe. The eerie and resonating "Visceral," while ominous, alludes to that light at the end of every tunnel, as percussive keys flash through the cavernous low-end. The stepping "Agile" glistens with perfectly chopped and arranged vocal cuts that lend themselves intuitively to the beat. Jazzy keys with spring-like synths brighten this track from the core, eventually drifting into the ether. At the end of his journey, Roberto closes with the incandescent "At the Fruit." Stuttering beats and otherworldly bass are flanked by beautifully improvised keys tripped-out with space-like FX, tying the album together under his full spectrum of production techniques. Roberto has crafted a very unique and self-exploratory body of work with N Lights, one that has come together with faultless ease.



BRUGNOLINI, SANDRO: Underground LP (SME 003LP) 23.50
Recorded in 1970 during the same period as Overground, Sandro Brugnolini's Underground was recorded in two volumes (RT 104 and RT 16), both released in the same year in May and June at Dirmaphon Studios, Roma. Together with Overground, these records are really fascinating instrumental free jazz/psych/library records, featuring the auxiliary of historical Rai session-musicians, guitarist Silvano Chimenti and organist Giorgio Carnini. This record collects all Underground tracks on one LP. Established jazz composer Sandro Brugnolini composed among the greatest Italian soundtracks and library music, ever. Limited edition of 500 copies.


MICALIZZI, FRANCO: Lo Chiamavano Trinita LP (SME 004LP) 23.50
Sonor Music Editions are proud to announce the reissue of one of the Italian Western soundtrack-milestones, Lo Chiamavano Trinità (trans. "They Call Me Trinity") -- now available again in the marketplace on this deluxe vinyl edition. Totally improved sound from the 1970 stereo tapes and featuring five tracks not included on the original Ariete/Carosello LP. Lo Chiamavano Trinità was a great success on the screen and featured the famous duo of Terence Hill and Bud Spencer with a cool orchestral/pop score by Franco Micalizzi, directed by E.B. Clucher (Enzo Barboni), with acting performances by Farley Granger, Steffen Zacharias, Ezio Marano, and Michele Cimarosa. Bonus tracks are previously unreleased on vinyl. Limited edition of 500 copies. Includes a 30 x 38 cm poster.



KABALE UND LIEBE: Realitivity CD (SWS 019CD) 17.00
Realitivity is Kabale und Liebe's debut album. As a successful DJ and producer, co-owner of the irrepressible Soweso record label (launched in 2009 with fellow Dutchman, Lauhaus), Liron van Daalen (aka Kabale und Liebe) is constantly striving for the highest level of quality throughout everything he does. After building up a solid following DJing across the Netherlands, by 2007, just a few years after he had started producing, he released "Mumbling Yeah," which was named "Track of the Year" by Resident Advisor and established him as a notable producer. Since then, his music has emerged on esteemed labels such as Rush Hour, Souvenir, Rejected and Strictly Rhythm. After various singles and EP releases, this debut album heralds a change in direction for the Dutch master. Switching from software-based music programming to exclusively working on hardware has given him a new lease on life, creating a renewed sense of excitement about music and inspiring him to work on the biggest project of his career so far. Realitivity is based on the notion that everybody's reality is relative to their own personal interpretation. In the context of the album, the music on offer is open to interpretation, avoiding genre specifics and representing Liron's diverse personal tastes. The productions are raw and typically groovy, the result of numerous jam sessions in the studio -- recorded in one take and run through his analog mixing desk. Listeners can expect a refreshingly human feel to all of the tracks and a few surprises. Opening with the gently bubbling and unfurling "Intro to Mindmanifest," the album then starts in earnest with the funked-up techno of "The Hunter," with its shuffling beat and dappled synths, before "Dim" builds and builds into a solid house groove, inflected with warmth and emotion. "Bats 'N Butterflies" injects an African rhythm into Liron's pulsating house invention before "Lima Sweet Dreams" offers a more melancholic, introverted melody that soothes across a sparse staccato beat. Tracks such as "Fat'ish' Ass (Twerk Track)" highlight Liron's unique take on booty bass, injecting house rhythms into the rump-shaking formula, while "Can I Have S'Amore" cranks up the groove for a more driving techno version of the Kabale und Liebe sound. "Sammy Hoboken" and "Nordlove (Instrumental Version) are two tracks full of swinging, Detroit-style strings, melody, passion, and that all-important KuL groove. "Pop Artro" shakes things up, providing a short yet totally absorbing abstract interlude before the powerful bass intensity of "Too Many Circuses, Not Enough Freaks." Finally, Liron once again shows off his maverick studio flair, this time re-wiring old school electro-bass with "1535'08 10" and providing us with another facet to his kaleidoscopic production talent.


KABALE UND LIEBE: Realitivity 3LP (SWS 019LP) 34.50
Gatefold triple LP version.



KOLETZKI, OLIVER: Schneeweiss III CD (SVT 127CD) 17.00
Over the years, Oliver Koletzki has continuously cited Berlin as a point of reference, and, more importantly, a source of inspiration. Friedrichshain, one of Berlin's vibrant districts, has always held a special place in Oliver's heart. This is where he started out when he first moved to the city, and this is where he lives now. Moreover, the Stil vor Talent HQ is situated in the center of the bustling Kiez. So is Schneeweiss, one of Friedrichshain's best and most-loved restaurants. Over the course of eight years, the stylish eatery has impressed many a Berlin foodie with its contemporary take on alpine cuisine and attention to detail. Music is part of the experience here, which is no surprise, due to one of the owners' extensive background in the early days of Berlin's club scene. Pairing striking, award-winning interior design with a homey, laid-back atmosphere, Schneeweiss welcomes everyone with open arms: Kiez locals and celebrities, students and businessmen, hipsters and families -- all can be found here, Oliver Koletzki among them. Thus, after many a late-night label dinner, an idea slowly formed: why not join forces and collaborate on a compilation that represents both: Oliver Koletzki's and Schneeweiss' taste? Compiled specifically with the restaurant in mind, Schneeweiss III convinces as a tasty treat for the music connoisseur and a musical treat for the culinary aficionado. For the third installment of the compilation, Oliver Koletzki gathers stunning tracks by the likes of Dixon, Stimming, Chopstick & Johnjon, Mano Le Tough, Avatism and Lexy & K-Paul, filled with melancholic melodies, subtle sunshine and blissful energy. Other artists include: Niko Schwind (feat. Heartbeat), Mind Against, Roy Rosenfeld, Dan Caster & Björn Störig, Oliver Schories, HVOB, Stimming, Animal Trainer (feat. Jan Blomqvist), You And Alex, The Supermen Lovers, and Pyur.


SCHWIND, NIKO: Grippin' World CD (SVT 129CD) 17.00
Berlin-based DJ and producer Niko Schwind presents his third album Grippin' World. This album captivates listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal melodies. "Don't Stop Your Love" offers an inviting entrance with its full-bodied broken beats and dreamy chords, while the title's lyric repeats itself to form a mantra. With "Perfect Fit" we are handed an initial highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proves he's more than capable of practicing restrained minimalism with a pop impact. Crystal-clear claps and a stuttering rhythm then introduce "You Can't Stop Me," and provide the backbone for soulful r'n'b vocals, again sung by Heartbeat. Next, "Twenty-Four" surprises as an old-school-leaning hip-hop track -- here, everything revolves around clever sampling, quirky instrumentation and a mildly paranoid lead melody. Niko then ups the tempo on "My Heart Is on Fire," one of two collaborations with the Australian singer Lil' Magdalene. We are treated to classical pumping piano house, which wouldn't have been out of place in early '90s Manchester. Thanks to a healthy dose of the TB-303, "Saturday" initially also nods towards the old school, yet evolves into a grooving deep-house burner. Timeless chords and soulful hooks set the tone, much like on the following track, "Suffering (feat. Sergi)." Things take a turn for the tougher on the title-track "Grippin' World," as a monstrous bass-line wraps itself around Lil' Magdalene's beguiling voice. Niko then presents another slice of hip-hop, which delights with feel-good piano-rolls and a pinch of funk. Next up, "Beautiful Place" is simply hypnotic due to the ominous spoken-word, which rides atop of dub chords and a pressing bass-line towards nirvana. Supported by Serge Erége's wonderful voice, the relaxed groove and sunny synth-stabs of "Higher Love" offer a contrast -- light-footed tropical house crafted for the dancefloor. "Fantasia" bids us farewell with its nostalgic piano keys and sweet synths. On Grippin' World, Niko Schwind clearly emphasizes that music is the emotional extension of the heart.


SF 088CD

VA: 1970s Algerian Folk and Pop CD (SF 088CD) 15.00
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 CD comes in a digipak with a booklet featuring lovely images from the period and extensive liner-notes by Omar Zelig, Algeria's most legendary radio DJ.



WORKING ELITE/TUFF CITY KIDS, THE: Ten Years After/See Men Jump 12" (POMMES 001EP) 14.50
Thomas "Saap" Sabrowsky is a man of many trades. And you're now about to witness the seasoned cook, barkeeper, label-dude (Brontosaurus), band-member (Extraproduktionen), and music biz veteran (Intergroove) approaching his latest attempt to wrestle down the world. Starting a house music label has just entered the Top 10 of best Business Concepts 2014 in Forbes Magazine, and instead of hiring people who know what they are doing, he teamed up with his old colleague Daniel Nentwig as Working Elite and Tuff City Kids (Gerd Janson & Philipp Lauer). Success guaranteed.



ARABI, OSMAN: Destroying Symmetry Cassette (TTW 066CS) 7.00
Improvised, channeled and recorded in one take at Tunefork Recording Studios on August 9, 2013, Beirut, Lebanon. Mixed and mastered by Fadi Tabbal on October 10, 2013, Beirut, Lebanon. A unique figure in the international noise and industrial music scenes, Osman Arabi is a composer, producer and sound designer from Tripoli, Lebanon. His work elicits images of desolate industrial landscapes and shamanistic rites. From his beginnings in black metal, Arabi has progressed through such genres as dark ambient, industrial, tribal, psychedelic, electro-acoustic, power electronics and noise. His many projects have included Seeker, Kafan, Veinen, Shamanic Death Trance, The Ritual Inclusion Of Code, harsh electronics outfit 20.SV, as well as nihilist Dutch collective Stalaggh. In 2000, Arabi stopped performing live -- vanishing into the underground, not resurfacing until 2009. For the past decade, Arabi has been developing -- in complete secrecy -- his "occult guitar" playing, based on the sigil work of Austin Osman Spare. This new thread to his work was only recently unveiled, in late 2013, and is set to become the backbone of his live rituals here on in. Limited to 150 copies. Illustration by SavX.


GAL, SHARON: Birdsongs Cassette (TTW 067CS) 7.00
Sharon Gal is a vocalist, artist, performer and musician -- voice/electronics/free improvisation/collaborative group compositions/field recordings/radio/mixed media. She performs solo, and in regular collaboration with Steve Beresford, Steve Noble, Alex Ward, John Edwards, Dylan Nyoukis, Phil Minton and Feral Singers. She also conducts and performs a series of experimental collaborative group compositions; L'esprit d'escalier -- for voices in a staircase, Long Drone -- for a large ensemble of various instruments, Toy Orchestra -- for children and adults, and Gals with Guitars -- for female guitar players. Gal is a founding member of London's arts radio, Resonance 104.4 FM and over the past 13 years, has presented and produced various programs, including; Diggers, with Edwin "Savage Pencil" Pouncey, Venus Rising, In Search of Inspiration, and a weekly sound-diary, Stereo Cilia. Her music has been released by Ash International, Paradigm Records, Chocolate Monk, Emanem and Ecstatic Yod, with the most recent 7" release, Melancoholic, being on the American Tapes label. Limited to 150 copies only. Illustration by SavX.


DOWDALL, GRAHAM: Outside Broadcast Cassette (TTW 068CS) 7.00
Graham "Dids" Dowdall has been active on the outer limits of music for several decades. Starting out as drummer in Manchester cult band Ludus he then worked with Eric Random & the Bedlamites and spent several years recording and touring with Nico. He's collaborated live and on record with many others along the way including John Cale, Suns Of Arqa, and Band Of Holy Joy. He is currently a member of avant rock legends Pere Ubu, has an acclaimed solo electronica project Gagarin and works with rising Welsh-Iranian singer-songwriter Roshi, in Roshi featuring Pars Radio. His last solo Gagarin album Biophilia (yes, Björk nicked the title) received great reviews, being described in Musicweek as "stunning beautiful glitchy electronica" and in Mojo as "electronica in its rawest sense." He has a wide-ranging portfolio career that also includes running music workshops with disabled children, and training and teaching at Goldsmiths College. Outside Broadcast is a departure from the more beat-driven glitchy style of Gagarin and is an evocation of childhood evenings sitting at an old "Portable" radio, obsessively tuning bakelite dials across the airwaves -- finding a weird sound to luxuriate in, then a bit of strange music, an exotically-named station, a call sign or simply the sound of the dial, all masked in MW/SW/LW noise. It's a distressed and lo-fi sound-world created with a cassette release in mind -- no sharp beats or hi-fi. The main instrument was a '90s radio-cassette player alongside two iPad apps. It's hoped that repeated play will enhance the sound as the tape deteriorates. 150 copies only.


MUENNICH, MICHAEL: Schamprozessionen Cassette (TTW 069CS) 7.00
Recorded and assembled by Michael Muennich 2013/2014 at Fragment Factory, Hamburg. Mastered by Phil Julian. Michael Muennich was born in 1980 in a South West German border town close to France. Relocated to Hamburg in 2004. Founded Fragment Factory in summer of 2009 as a platform to publish their own and friends' musical (or non-musical) effusions. Recent and forthcoming releases on Fragment Factory, Banned Production, Firework Edition Records, Noise-Below and Geräuschmanufaktur. Primarily working on the basis of everyday surrounding sounds, focusing on all kinds of objects as tone generators. 150 copies only. Illustration by Mario Caroli.



CHEMOTEX: Schrade Knives 12" (TRILOGY 020EP) 23.00
"Bracing portions of the screaming abdabs dressed as naked, hooligan machine-funk -- fizzing, stomping, juddering and going mental in the furnace of high noon like whizzed-up children of the hydra's teeth."



KENNEDY, INIGO: Vaudeville CD (TOKEN 043CD) 17.00
From his first EP release in 1996, British producer Inigo Kennedy has built a sound which embraces both the traditional and the ambitious, as well as the emotional, organic energy of live performance. Continuously studying the effects and capability of digital equipment, Kennedy has released in excess of 100 records, either as himself or through alternative monikers (Reducer, Tomito Satori). He has released these records on labels such as Missile, Semantica, and his own Asymmetric. Since 2007, Inigo Kennedy and Belgian label Token Records have had a particularly close and fruitful relationship. Kennedy had three releases on the Ghent-based label in 2013, including the thumping "Emitter" and spiraling epic "Cathedral." Inigo now returns to Token -- and with a project that feels like the culmination of all those years and all those records. In true, theatrical manner, Vaudeville is a collection of differing themes -- from the abstract and freakishly odd to the direct and resonant. And just as the Vaudevillian shares a common purpose with his co-stars as the "voice of the city" ("voix de ville"), there runs through the center of this record a clear narrative for urban experience. "Narrative" presages the mood with a cold wind, before "Birth" emerges with rain on the ground and a helicopter searching in the swirling darkness. "Requiem," next, is more direct, as a warm kick and frenzied timbres interlock; the rumble recalls echoing and unhappy machinery. As one cornerstone of the record, "Plaintive" is Requiem's anxious but happier brother: an organ winds its way down a slope, as soft toms herald the start of reflection on a heroic journey. "Lullaby" has a deep and echo-laden undercurrent, building from afar but also warm and so incredibly close. "Vallecula" is lower-slung still, the atmosphere rough and unpredictable. "Winter" is the rolling patter of rain through clashing snare taps and dragging hi-hats, solid thumps in haunted isolation. "Petrichor" strides like a king through his realm, again wrapped in dank surroundings. "Aleph" is the coolest act, a tremor of synth and an icy kick of determination. It's a race through the streets in sturdy boots, swirling in its certain melody. And at last there is the final cornerstone -- "NGC5128" (a galaxy in the constellation of Centaurus). A reflective end, this galactic rumble is late-of-bar heavy, and has a fitting space-synth jagging in and out.


TEG 75506LP

DEL THA FUNKY HOMOSAPIEN: No Need for Alarm 2LP (TEG 75506LP) 21.00
2014 repress; 2005 release. "After breaking out of the Bay Area underground scene in the early '90s Del the Funkee Homosapien made a radical turn with his sophomore release, 1993's No Need for Alarm. Casting aside the familiar G-funk vibe of his debut, perhaps as No Need was produced without the involvement of his cousin Ice Cube, he moved into a jazzier -- some would say more East Coast -- direction on this project. The verbal content on No Need shifted as well, moving away from comic interludes and towards a focus on battle raps. No Need for Alarm was produced with his Oakland based Hieroglyphics Crew with Domino, A-Plus, and Casual all contributing beats making the record one of the three 'Hiero Golden Age' releases (along with Souls of Mischief's '93 til Infinity and Casual's Fear Itself)."



JACKMATE: Halios EP 12" (TURDJR 005EP) 14.00
Michel Baumann alias Soulphiction aka Jackmate presents three new power-generators on Treat Your DJ Right, equipped with the right measure of steam and courage. "Beyblade" is a glossily-illuminated, sensory-enhanced modern club production which shows that Chicago and Detroit could be sister cities, in the heart of Trollinger-Town. "Juan" is soaked with pure Chi-town pads, and applied, frenetic, subterranean bass. Through a fully conscious, shifting rhythm and hi-hat that whispers as if a drum is being stroked with a brush, it manages a compelling groove. "Beams" demonstrates a velvety, soulful sound.



PYE CORNER AUDIO: Black Mill Tapes Volumes 3 & 4 2LP (TYPE 118LP) 25.50
Limited repress. Pye Corner Audio corner has finally completed his follow-up to the crushing Black Mill Tapes Volumes 1 & 2, and unsurprisingly it's just as faded as its predecessor. While Volume 3 has been available via the mysterious producer's Bandcamp page, this is the first time Volume 4 has ever been heard, and marks the completion of the series that has catapulted him into acclaim. These two diverse full-lengths have been re-mastered and slotted together on one record, and mark a transitional period in the Head Technician's production history. Eschewing the whimsical ambience of the previous chapters, there's a notable shift into beat-laced darkness on Volumes 3 & 4. "Electronic Rhythm Number Five" is maybe the producer's most obvious nod to classic house yet with its punchy square-wave bass line and dusty disco snare. Elsewhere, we're treated to a slice of sizzling darkwave with "Inside the Wave," and gloomy John Carpenter-influenced rumblings with the sparse "Dystopian Vector Part One." Black Mill Tapes Volumes 3 & 4 is yet another expertly-crafted collection of electronic vignettes, handled by a producer whose veteran's touch can be heard in each note. This is the soundtrack to the flickering neon light outside your bedroom window, and should be approached with caution. Mastered and cut by Matt Colton at Alchemy.


WEIS, MIKE: Don't Know, Just Walk LP (TYPE 119LP) 20.00
"I used to think that music was my escape from reality, now I think it's an escape into reality." --Mike Weis, 2014. Mike Weis is probably best-known for sitting behind a plethora of drums and gongs in long-running Chicago three-piece Zelienople, but his music is just as potent unaccompanied. Weis might be an obsessive collaborator (his work with Scott Tuma, Mind Over Mirrors and Kwaidan is also essential), but on his own, he is able to allow his unique percussive skills to bubble to the surface, without the intervention of conflicting egos. He began working on Don't Know, Just Walk under particularly difficult circumstances. It was 2013, he had just been diagnosed with prostate cancer, and was gearing up for a punishing year of "man-diapers and boner pills," that could very well have been his last. Thankfully though, the time wasn't entirely spent holed up in a hospital bed under the watch of urologists -- Weis managed to spend choice moments in the woods or on prairies with a microphone, and in the Zelienople studio (which has long been in his basement) while the family slept upstairs. These late-night sessions weren't only musical -- Weis used the time to meditate, and to clear his head of the mental baggage that was clouding his view of the world. In spending time using Zen Buddhist techniques (which the title references), this allowed him to not only meditate on life (and its brevity), but also to inform his compositional and recording techniques. At this point, the music came naturally, and Weis began experimenting and recording without hindrance. Using loops of field-recordings, gongs, radios, home-made instruments, drums and traditional Korean percussion, Weis pieced together an album that is as reflective as it is mesmerizing. Solo percussion albums are rare, certainly, but Weis uses his drumming simply as the record's backbone, allowing his ideas to flourish overhead. Don't Know, Just Walk is a complicated record -- an album about death that doesn't dwell on the negative, and one created by a drummer that doesn't contain a whole lot of rhythms. It's right to expect the unexpected, and as Weis found solace in the recording process, we too can find solace in the listening. Mastered and cut by Matt Colton at Alchemy. Limited edition of 500 copies.



DANGEROUS RHYTHM: Dangerous Rhythm CD (CSM 237CD) 15.50
One of Mexico's seminal punk groups, Dangerous Rhythm saw their first record released in 1979 (one of Latin America's first punk releases) and the songs collected here, all in English, show them at their snotty, primitive best with a sound clearly influenced by The Clash. This collection includes a rare cover of The Rolling Stones' "Stray Cat Blues" as well as some great punk originals like "No, No, No." Other titles include "The Bar," "Electro Shock," "Social Germ" and "I Pity You."


LOS FUGITIVOS: En La Esquina CD (CSM 238CD) 15.50
Here we have a great garage-y record from Los Fugitivos cut in 1969. The group is in top form here on these 23 tracks and the album includes fantastic Spanish-language covers of songs like Creedence Clearwater Revival's "Down on the Corner (En La Equina)," "Good Morning Little School Girl (Buenos Días Colegiala)," Vanity Fare's "Hitchin' a Ride (Pidiendo un Aventón)," and "When We Get Married (Cuando nos casemos)" by 1910 Fruitgum Company. Other songs include "Cuando era jovencito," "El tren," "El hombre de las nieves," "El espiritista," and "Si te alejas."


BATIZ, JAVIER: Javier Batiz Y Su Onda CD (CSM 239CD) 15.50
Despite what the magnificent blues-rock of "I Was Born in Chicago" might lead you to believe, Javier Bátiz was, in fact, born in Tijuana, Mexico. Though not exactly known as the birthplace of the blues, Tijuana received plenty of blues and rock sounds from the likes of T-Bone Walker, Chuck Berry, B.B. King, and others because of its proximity to the U.S. A phenomenal guitar player, Javier masterfully mixes these influences into a potent blues-rock brew on this album, Javier Bátiz y Su Onda, from 1973. How fortunate we are to be able to enjoy these fantastic electrified blues once again! Other tracks include "You Don't Have to Go," "Bright Lights Big City," "I Was Born in Chicago," "I'm in Love Again," "Charlena," "Baby What's Wrong," and more.


LOS CARRION: Exitos De Los Beatles Con Los Carrion CD (CSM 240CD) 15.50
First off, the group's name, Los Carrion, refers to the last name of the brothers Eduardo and Ricardo who fronted the group, not to the fact that they scavenge the songs of The Fab Four on this record. Recorded in 1966, the group turns in a great, reverential set of Beatles tunes performed entirely in Spanish. Their cover of "Yesterday" (here titled "Desde Ayer") is particularly lovely with a great, close two-part vocal harmony that calls to mind The Everly Brothers. Songs include "Niña (Girl)," "De mi parte (From Me to You)," "La noche anterior (The Night Before)," "Estoy perdido (I'm a Loser)," "Lo hemos de arreglar (We Can Work It Out)," and "Y la amo (And I Love Her)."


BATIZ, JAVIER: Batiz and Hair CD (CSM 242CD) 15.50
Despite the album's title, exceptionally psychedelic cover art, and the stupendous version of "Aquarius/Let the Sunshine In," it is really at its core a fantastic soul and blues rock album with the occasional psychedelic accent. It features awesome, gritty vocals and terrific bluesy rock guitar-playing from Javier Bátiz that sometimes calls to mind the style and tone of Jeff Beck in his days with The Yardbirds. The album also stands out for the massive and driving horn section that appears on several songs and really adds a lot of soulful "umph!" to tracks like "Hard Life." Other tracks include "The Best I Can," "Kansas City," "Blue Monday," "Lucila," "Slippin and Slidin," and "Bye Bye Baby."


QUIRAZCO Y SU GRUPO, TONO: A Ritmo De Boogaloo CD (CSM 243CD) 15.50
A Ritmo de Boogaloo, originally cut in 1967, is a magnificent collection of boogaloo from bandleader Toño Quirazco that also incorporates a variety of other styles like Motown and ska (which he had introduced to Mexico two years prior with his classic Jamaica Ska). Toño and the musicians assembled here meld these various influences into a fantastic sound where the groove is the king and it's tight and upbeat. Titles include "Aprieta arriba," "Asi me gusta," "Veronica," "Pulpa de tamarindo," "Bugulu," "Punctacon," "Hey," "Pikina," "Tiempo de verano," "Zapatero remendón," and more!


PIMENTEL, GUSTAVO: Percusiones CD (CSM 246CD) 15.50
Originally released in 1963, Percusiones by Mexican bandleader Gustavo Pimentel is an unbelievably groovy set of songs that certainly delivers on the album's promised percussion! Congas, vibraphone, güiro, maracas, and timbales, among other percussion instruments, drive the sound which is filled out melodically by a horn section. The album grooves on a range of Latin styles and there is a clear bossa nova influence on much of the material plus some touches of jazz. This record was clearly made with dancing in mind and it is sure to get everybody moving from the moment you set it spinning! Really fantastic stuff! Titles include "El manicero," "Nocturnal," "Granada," "Copacabana," "Bali hai," "Cielito lindo," and "Carioca."


DECIBEL: El Poeta Del Ruido CD (CSM 247CD) 15.50
Recorded in 1978, the instrumental El Poeta Del Ruido by Decibel could be labeled a prog album but don't expect it to sound anything like Yes! This is more in the spirit of Art Zoyd, Univers Zero, Henry Cow, Faust, and Gong, which is to say, quite experimental, a bit dark, complex, and generally highly-structured (though it's also sometimes deliberately disjointed). Classical instruments form an important part of the group's sound, but it is augmented by interesting sound effects and there are extended moments of space-y electronic exploration. Masterfully executed, this album is a compelling listen from beginning to end. Tracks include "El Poeta del Ruido," "Orgón Patafísico," "El Fin de los Dodos," "Manatí," and "El Titosco" and more.


BER'T, JULIAN: Boogaloo CD (CSM 248CD) 15.50
Venezuelan musician Julian Ber't plays boogaloo with touches of mod jazz and piano a go-go on this 1967 album. A clear Latin soul influence permeates this groovy set of songs and like his other work such as Julian Ber't and His Beat, this is an album meant for the dancefloor with a focus mostly on instrumentals. Ber't was a fantastic arranger and pianist and Vam Records is happy to be able to enjoy his work again. Really great stuff! Titles include "Zulianita," "Rosa Rosita," "Do the Boogaloo," "El Tonto," "Oh Yeah," "Pete's Boogaloo," "Pulpa de Tamarindo," "Bang Bang," and "Mañana Será."


QUIRAZCO Y SU GRUPO, TONO: Jamaica Ska CD (CSM 249CD) 15.50
Perhaps the most important figure the in history of Mexican ska, Toño Quirazco both introduced the genre to Mexico and, backed by his Hawaiian Orchestra, became its most important purveyor in the mid-'60s. Toño traveled to Jamaica himself, sent by Orfeon Records to learn the secrets of ska music and bring them back to Mexico. On his return, it was decided that some Jamaican ska was too slow for Mexican audiences so Toño speeds things up bit and the result is a very upbeat record, indeed! The album is largely instrumental although a few songs are vocal numbers like "Jamaica Ska" which introduced the new rhythm to the Mexican audience, saying you dance to it "as if it were cha-cha-cha," and the Spanish language version of the classic "Shame and Scandal." Though it has an irresistible, authentic Jamaican rhythm at its core, its and sound and charm are augmented by a lot of fun touches that you wouldn't find on your average Jamaican record of the period. For instance, a number of songs have their melody carried by a Hawaiian slide guitar (Toño's instrument) and there's the vaguely Russian sounding "Moscú Ska." Other tracks on this magnificent set include "Mérida Ska," "Tutricumbanchi Baila Ska," "La Múcura," "Ska Hawaiiano," a bouncy version of Herbie Hancock's "Watermelon Man" called "El vendedor de melones," "Ska de los Santos," and a cover of "Mack the Knife" here called "Pepe el navaja."


VF 006EP

FINNIH, MONA: I Love Myself/People of the World 12" (VF 006EP) 14.50
Boogie-down cosmic funk from late-'70s Nigeria. Breaking through with The Sunflowers in Nigeria's late-'60s soul explosion, Mona later moved to the U.S. There she was active in the new jazz scene, before returning home towards the end of the '70s, and forming The Sensationals with guitarist Jimi Lee Adams. An unsung pioneer, Mona was Nigeria's first female pop bandleader. Adams packs his inner Hendrix off to Funky Town and Mona runs it all down with an irresistible West African tilt. Fifth in the series: remastered at Abbey Road, cut at Dubplates & Mastering, pressed at Pallas; and presented with a 24"x12" full-color poster.


WG 016CD

LA FLEUR: Watergate 16 CD (WG 016CD) 17.00
After the announcement of Kerri Chandler's The Watergate Files EP, which also includes a remix of Watergate recent addition La Fleur, she is now in charge of the 16th Watergate compilation. With 15 tracks, including six exclusive ones, the Swedish producer proves her skills on 78 minutes of playtime. Her musical spectrum extends from old house classics to contemporary techno pearls, mixed with love and intuitive feeling. The compilation starts with dreamy vinyl-crackles and an exclusively deep production of Matthias Meyer: "Miss Apre Gate (Beatless Version)" is a perfect, moody opener and sets a high standard from the beginning. The next three in-house tracks create a dense and mystical atmosphere with festival vibes. In the second quarter the mix develops a technoid old-school character, placed between La Fleur's unreleased productions "Stella" and "Arms Around." As a direct consequence: Miss Kittin's "What to Wear," included as the formerly-unreleased SPN remix, proves La Fleur's excellent taste and her rock-solid electronic socialization. Quantum Entanglement (aka Ninja Tunes' Fink and Watergate's Lee Jones) marks the beginning of the end. "Acid Thunder" will be released on Vakant and lives up to its name. The grande finale is at first as dream-like as at the very beginning, but then it turns into trippy BPM-fireworks with Laurent Garnier's massive anthem "Flashback." Watergate 16 is a masterfully mixed orgy of good taste. Other artists include: Of Norway, Casino Times, Show-B, DJ Sprinkles, MCDE, Peace Division, Andrea Parker, Johannes Volk, Hans Berg, and Sunday Brunch.



FABRIANESI, CLAUDIO: The Age 12" (WWR 012EP) 12.50
After releasing one of the most memorable records of the year in 2013, Roman DJ Claudio Fabrianesi returns with another amazing piece of work. "The Age," on the A-side, is an ambient track with psychedelic rock and new age music incursions, once again showing his love for downtempo stuff. "Orion 314," on the B-side, is a slow and straight, deep techno train that will appeal to all lovers of this kind of sound.

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