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Forced Exposure New Releases for 6/23/2014

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New music is due from Michel Faber & Andrew Liles, Jacaszek & Kwartludium, Black Bananas, and Luke Abbott, while old music is due from Eliane Radigue, Live Skull, and Bad Brains In Dub.


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50WXTR 002EP

FJAAK: Don't Leave Me/Plan A 12" (50WXTR 002EP) 14.00
50 Weapons proudly presents a new artist signing -- FJAAK. FJAAK is a Berlin born and raised young trio with a futuristic mind and nostalgic feelings. They are both into analog machines and equipment as well as all kinds of digital toys. Though still very young, their hardware-only live sets are already legendary in their hometown of Berlin as well as in selected stops throughout Europe.



NEST, THE: Sayweenjoy CD (ALB 003CD) 15.50
The album Sayweenjoy by The Nest was recorded in one weekend by musicians Christoph Clöser, Thomas Mahmoud, Gerald Mandl and Tycho Schottelius at Neukölln Studios in Cologne-Mülheim, and mixed a few weeks later at Ministerium in Berlin. Whereas the music on their previous album Music for Drivers came across as much more fragmented and fractured, the new album features skillfully-arranged songs that lie somewhere between contemporary electronics, musique concrète and jazz. The album's language is warm, cynical, upbeat, cold, dark, claustrophobic, neurotic and unpredictable, all at once -- in the spirit of our times, yet full of humor. It is a musical language that knows no fear or boundaries. The vocals and the singing support the rhythms more than the musical phrases and melodies. They often have a sample-like quality in dialogue with the saxophone, which embodies the actual lead vocals and melody of the music, giving it a soul. Sayweenjoy is more danceable than John Zorn, but clunkier than Madonna. The Nest was established in 2011. Comprised of Christoph Clöser (Bohren & der Club of Gore), Tycho Schottelius (Desmond Denker), Thomas Mahmoud and Gerald Mandl (both of Tannhäuser Sterben & das Tod), they have created their own blend of electro-acoustic, jazz and noise. Their debut album Music for Drivers was described as: "Highly minimal and with due attention to space and atmosphere, Music for Drivers is poised with a sharp tension between contrasting organic and mechanical sound sources; field recordings lend an unpredictability and sense of atmospheric breadth while their patiently attuned playing paints the space between with ethereal, otherworldly strokes of synthesizer, saxophone and electronics, constantly morphing between moods which are never quite just dark and light, maybe best described in terms of psychedelic, hallucinatory light shows." (Boomkat) While their debut album was driven by the clarification of areas and fields, this album focuses on the more melodic and rhythmic structures of The Nest's very own musical language.


NEST, THE: Sayweenjoy LP (ALB 003LP) 18.00
LP version. Includes a download code.


ALGA 040-2LP

RADIGUE, ELIANE: Feedback Works 1969-1970 LP (ALGA 040-2LP) 28.50
2014 repress. Alga Marghen very proudly presents a remastered version of the complete documentation of Eliane Radigue sound installations from 1969-1970, including the broad tectonic vibrations of "Omnht," the celestial voices of "Usral," the massive chant of "Stress Osaka," and more -- the works of this artist's feedback period finally revealed. It is amazing that Radigue could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for Henry at the Studio d'Essai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance, who invited her to learn the techniques of musique concrète. Created 10 years after her Studio d'Essai experience, the feedback works of Eliane Radigue immediately take a new direction from the explorations of musique concrète. Her adventure intuitively goes towards flux, towards contemplative stasis -- a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. It is as if her musical work was in some way a martial art -- as if she meditated for 10 years before striking the first blow, with impressive precision. This is the context in which Eliane composed "Omnht" in 1970 for the architectonic spaces of the visual artist Tania Mouraud titled "One More Night," presented at the Gallery of the Rive Gauche in Paris; "Usral" (the title comes from a phonetic compression of ultrasounds slowed-down, in French "ultra-sons ralentis") is one of the first works by Eliane Radigue to be given in public as a sound environment for a sculpture by Marc Halpern in the Salon des Artistes Décorateurs at the Grand Palais of Paris in 1969; "Stress-Osaka" was conceived when the artist was invited to create a sonic environment for the International Fair in Osaka in 1970. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light -- a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music, a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. Includes a 16-page LP-size booklet with original photos, scores and liner notes.


RADIGUE, ELIANE: Vice-Versa, Etc... LP (ALGA 041LP) 25.00
2014 repress. Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigue's Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening.


RADIGUE, ELIANE: Opus 17 2LP (ALGA 045LP) 45.00
2014 repress. Alga Marghen very proudly presents Opus 17, a major turning-point in the sonic oeuvre of Eliane Radigue. Finished in 1970, it was the last work composed with feedback materials. From that experimental period, Opus 17 preserves a plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. Its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. Her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her Endless Musics and here reinserted in the five scenes making up Opus 17. In 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. Opus 17 has the quality of showing off the sum of the achieved techniques and methods. Eliane Radigue's music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. This dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in Opus 17. It is to be underlined that with Opus 17 Eliane Radigue inaugurates a technique of composition which will be her footprint, her trademark: imperceptible transformations. For that she has developed a technique of meticulous mixings, based on the slow passage from one section to the next. Imperceptible all during the piece, we pass, ceaselessly and without noticing the changes, from one frequency flux to another. Time is suspended, smoothed out, stretched. It is this technique which Eliane Radigue will be essentially using for all the electronic works to come and which she will never cease to refine and render always more subtle. Opus 17 is the great panoramic voyage through material sound, its electronic phenomena detailed as if in a microscope. As Rhys Chatham recalls: "Eliane Radigue (...) had just moved to New York and had the idea of acquiring an analog modular synthesizer, which is why she worked at NYU in order to try out the possibilities of the Buchla 100 series which we had there. One day, while gossiping, she invited me to her loft, which was just on the corner. She had me listen to a piece composed in France; the piece called 'Opus 17'. (...) What I heard changed to course of my life as a composer. (...) That piece, impressive source of inspiration, gave the impression of being in a grand cathedral, both for the sensation of immensity of being in such a large cathedral, as for the effect of being so close to God." Opus 17 was created at the artistic center of Verderonne on May 23, 1970, for the Fête en blanc (i.e. White Festival) organized by the visual artists Antoni Miralda, Joan Rabascall, Dorothée Selz and Jaume Xifra. Previously unreleased,


N 040CD

ALIEN ENSEMBLE: Alien Ensemble CD (N 040CD) 15.50
Earlier in 2014, Micha Acher and his band The Notwist presented their album Close to the Glass, and received rave reviews around the globe. Yet, it's not the only album he's going to release this year -- Acher's about to introduce his latest musical entity -- Alien Ensemble. Alien Ensemble is comprised of band-leader Micha Acher (trumpet; Indian harmonium), who is joined by The Notwist's Karl-Ivar Refseth (vibraphone) and Andi Haberl (drums), as well as Mathias Götz (trombone; harmonium), Stefan Schreiber (bass clarinet; saxophone) Oliver Roth (alto flute) and Benni Schäfer (bass), all of them long-time friends and frequent collaborators of Acher's over the years. Unsurprisingly, the chemistry of this group and how they interact is quite unique: Alien Ensemble is a group of friends with a common goal -- they want to explore sonic territory, break new ground, and ultimately create their own musical language. It's an all-acoustic line-up, devoid of electronic enhancements. And even though all members have a background in jazz, this is no classic "jazz music" either -- there's simply no need to show off technical skills. Since you'll hear anything from minimal music to Krautrock influences, from delicate brass sections to the sound of New Orleans, it's pretty much impossible to pigeonhole Alien Ensemble's sound or slap a genre term on it. What's more important: Micha Acher's compositions, the way he arranges these songs and has these great musicians make them come alive, is certainly unique in Germany's musical landscape. Always willing to think outside the box, Alien Ensemble's music ultimately serves as a reminder that you need to get rid of pigeonholes and stereotypes if you want to create true art.



IMAGINARY SOFTWOODS: The Path of Spectrolite CD (AICD 003CD) 18.00
Archives Intérieures re-releases The Path of Spectrolite by John Elliott's Imaginary Softwoods project. The Path of Spectrolite is a gorgeous, light-emitting exploration into dazzling musical colors. Starting with the opener "Entrance Through Selenite Pillars," John Elliot takes the listener into a highly textural musical space. Synth melodies shift into drones, evoking shimmering rays of supernatural light. "Eye Color" opens the spectrum even more, allowing a glimpse into a musical universe where past psychedelic traditions team up with a contemporary approach to composition. John Elliott treats his sounds with the utmost care and dedication. He allows plenty of openings for the listener to join in and take the trip down the chosen path. Through their respective multi-colored lenses, "Rainbow Obsidian Key" and "Globe II" are compositions which succeed in existing perfectly in the present moment. In the second phase of the album we arrive at "Black Water and Ice," the first track which presents a vague hint of percussion. It slowly progresses into a lush, string-based texture. Finally, "Crystal Pond" leads us into the last part of the trip. Its swirling notes evoking a sense of elegant liberation, of final transcendence and arrival. Archives Inte?rieures decided to re-release The Path of Spectrolite because the label feels it is an absolutely essential album. As a work of art it is almost confrontational in its honesty. Elliott's approach to attain an absolutely clear and focused sense of natural beauty and spiritualism is breathtaking. As no other, he knows how music and sound connect us to a wider perspective. Therefore, Archives Inte?rieures feels it is essential to give this album another push after its initial vinyl release on Amethyst Sunset in 2011.


BS 002LP

DOUM & THE FARYDS, AL: Positive Force LP (BS 002LP) 25.00
The Positive Force LP is a collaboration between Black Sweat Records and Julia Dream Recordings, in an edition of 300 copies. The music is the result of combining psychedelic music (first of all, Krautrock) and ethnic sounds; also using ethnic instruments such as darbuka, mbira, Tibetan bells, rhaita, and sitar to create a good ear-trip. This is what has been written about them by Julian Cope: "This fucking righteously Out There declaration comes on like a lobotomized Xhol Caravan meets Shiva's Tongue meets one of those low, low-grade reggae recording bands like Ras Michael & The Sons Of Negus, all jamming-ah on the 100° Fahrenheit obsidian-strewn plains of Southern Sardinia. Yes, it's hot. Throughout these proceedings, therefore, mucho Arabian percussion is shaken and kicked, much soul-clapping is embarked upon, and several times repeated Middle Eastern flute'n'sax themes of extreme unmemorability perk up then dwindle with an almightily stoned purposelessness. All quite exquisite. And although arid M. Karoli EBow occasionally flames up to provide a vast horizon of cosmick beauty, the Faryds' main themes always remain so VU-crunchy and agricultural down at their 'What bottom end?,' that even the off-kilter lipping of their sub-sub-Madness/Faust-style sax warbler appears sumptuous by disc's end. A fuck of a journey, kiddies, you gots to hear these cosmic jokers on repeat in order best to witness the dissolving of your immediate world."

BS 005LP

EMBRYO: Message from Era Ora LP (BS 005LP) 22.00
One of the most original and innovative Krautrock bands, Embryo fused traditional ethnic music with their own jazzy space-rock style. Over their 40 year existence, during which Christian Burchard has been the only consistent member, the group has traveled the world, playing with hundreds of different musicians and releasing over 20 records. This is an album of never-before-released jams recorded live in 1976 in various locations. This is the only recording of their collaboration with the Italian jazz legend Massimo Urbani during a wild live performance in a church in Udine, Italy. If you freaked out on Jimmy Jackson's organ-playing on Steig aus, then Message from Era Ora is right up your alley. Dieter Miekautsch is heavy on his Fender Rhodes and Urbani's alto sax fits like a glove on this exuberant but relaxed fusion Kraut session. Christian Burchard's drumming is as agile as ever, while Uve Muellrich's bass gallops alongside Roman Bunka's funky, psychedelic guitar. Message from Era Ora is much more than just another unearthed archival recording, it's a rare occasion to actually feel the enthusiasm and joy that fuelled their jams back in 1976.

BS 007LP

KALMA, ARIEL: Osmose LP (BS 007LP) 25.00
Born and raised in Paris, Ariel Kalma studied electronics, computer science, music and art in Paris, he performed with several bands, then toured the world and visited Europe, Japan, India, Eastern Canada, and parts of the USA. Apart from rhythm & blues, pop and jazz, he acquired assorted experiences in Middle Age French, electro-acoustic, and modal music. All the travels broadened Ariel's musical horizons tremendously; listening to and playing with different styles, people, and instruments, intricate scales, techniques, timing and rhythms. After learning circular breathing from a snake charmer in India, Ariel practiced it on soprano sax (for many sleepless nights) in the basement of a cathedral in New York, when he was not playing upstairs on the large harmonium. Returning to France in late '76, Ariel could include those endless notes into his own long-delay-effect system with which he toured, playing solo concerts. Ariel contributed to the birth of (then) new music genres: minimalist, space, ambient, new age, and electronic. In 1977, Paris, Ariel Kalma was preparing an album of new music. Through an INA connection, Ariel was recommended to Richard Tinti, who had just come back from Borneo (Papua New Guinea) with hours of rainforest ambiences in high quality recordings (on a Nagra recorder). To their amazement, birds and keyboards, flutes and crickets, saxophones and frogs, war drums and (very vintage) drum machines had much in common in terms of pitch, rhythms, effects (i.e. crickets and fast flanged synthesizer). Ariel decided to blend his new compositions with the rainforest atmosphere, and thus Osmose was created. Limited edition of 400.

BS 008LP

KUREK, PIOTR: Edena LP (BS 008LP) 25.00
Released on tape by the Polish label Sangoplasmo, Edena is the amazing record by Poland's Piotr Kurek. As a composer and multi-instrumentalist with a penchant for vintage sound equipment, as well as the practical sense to know where their limitations are, his musical compositions -- part melodic narrative, part sound collage -- distill a sense of nostalgia into a romance for the present. Using a Moebius comic he had never seen (Le Monde d'Edena) and an instrument he would never have (a Mellotron) as a conceptual starting point, the Warsaw-based, Polish artist presents Edena. A hypnotic, circular motion pervades all of Edena; a cyclic life-force that gives the impression of forward motion, while really folding back on itself, reflected by the infinity symbol of the cassette cover. The record is full of warm analog synth sounds and strange voices, like Roberto Cacciapaglia's "6 Note in Logica," and shares connections with the minimalistic music and '60s experimentalism of Steve Reich, Philip Glass and the hyper-energetic electronic nirvana of Terry Riley's 1967 masterpiece A Rainbow in Curved Air.

BS 011LP

S.J. HOFFMAN & H. RAVEL & LES BAXTER: First Electronic Chillout Music LP (BS 011LP) 25.00
This LP contains Music Out of the Moon and Perfume Set to Music, containing some of the first electronic chillout music ever composed, originally released in 1947 and 1948 on 10" 78 RPM. An unusual mix of different styles and music represented by the three men who contributed to the album: Dr. Samuel J. Hoffman played Theremin for several sci-fi and horror movies during the '40s and the '50s -- masterpieces such as Spellbound and The Day the Earth Stood Still. Les Baxter "The Father of Exotica" and his dreams of Pacific and Oriental islands can also be found here -- musical impressions of tropical fantasies. Harry Ravel is also featured, a talented English composer of musical theater and soundtracks for Hollywood movies. These two records were unique collaborations between three disparate talents, who envisioned a world of sound inspired by science fiction, perfumes, and meditative moments. Without them, the Theremin could perhaps never have been considered in a pop context, and projects as disparate as "Good Vibrations" and Silver Apples might never have happened. The influence of this music is clear in the multiform artist Sun Ra, who covered the song "Possession" on his second LP Jazz by Sun Ra. Digitally remastered and limited to 300 copies.


BC 045CD

ABBOTT, LUKE: Wysing Forest CD (BC 045CD) 15.50
Four years of slow-burning success, on from the rolling primal rhythms and joyous arpeggios of his 2010 debut Holkham Drones (BCR 030CD/LP), Luke Abbott makes a bold return with his sublime second album offering, Wysing Forest. Comprising a series of improvised live recordings compiled into one rapturous movement and hallmarked by the majestic elegiac pastorals of the two-part "Amphis" theme, this is most definitely an album which is greater than the sum of its parts, designed to be listened to in one immersive go. Although only a pair of tracks -- "Free Migration" and "Highrise" -- approach the idiosyncratic lumpen danceability of Holkham Drones, it is thanks to Luke's perfectly-judged elegant transitional dynamics that neither piece feels out of place amongst the album's more mellow moments.

BC 045LP

ABBOTT, LUKE: Wysing Forest LP (BC 045LP) 23.00
LP version with digital download.


CJS 9006LP

TAYLOR, CECIL: The World of Cecil Taylor LP (CJS 9006LP) 12.00
Exact repro reissue of Cecil Taylor's first album for the Candid label, originally released in 1960. Featuring Cecil Taylor (piano), Buell Neidlinger (bass), Dennis Charles (drums), Archie Shepp (tenor saxophone).


CC 015CD

DAVE AJU: Black Frames CD (CC 015CD) 17.00
Black Frames is a creation from two major life transitions for Dave Aju, namely the end of a long-term relationship combined with a move away from his hometown of San Francisco. Punctuated with philosophical statements and political punches, the former MC proves he isn't afraid to use his voice and production skills to unite music and passion with his latest album on Circus Company. The outer rhythms of deep-rooted electronic music form the backbone of Black Frames, while its veins are filled with the red-hot attitude of hip-hop, outerspace soul, and forthright lyrical content. A remarkable variety of songs covering topics such as personal relationships, cultural issues and global government actions rock alongside bass-centered dancefloor bombs. Through its body, Aju also tips his hat to '60s psych rock, early '70s fusion, and the soft undertones of blues as can be felt in the magnum opus of "Vins Noirs" with its full choir finale, the wildly fun and uptempo "Bee's Birth," and the reflective close of "When We Drift." With a decade of releases under his belt and remixes for the likes of Nicolas Jaar, JT Donaldson and Herbert, San Francisco Bay Area native Marc Barrite aka Dave Aju is a true maverick of the electronic music scene and Black Frames is a proper follow-up, both a literal nod to the classic '60s/'70s artwork that hung in his home studio, and a bold statement toward that rare place where breaking a sweat and breaking the rules come together. Aju's distinctive voice, a fixture in his production and live performances, has proven to have a life of its own. His formative years added stripes to his coat as an MC in the underground hip-hop scene, paying off in consequent vocal contributions for fellow artists like dOP and Tiefschwarz, and an ongoing collaboration with fellow Circus Company artist Guillaume & The Coutu Dumonts as lead vocalist for The Side Effects band. Aju's third album features collaborations with close friends and hometown-heroes of the San Francisco scene, including SF native sister Qzen, who lends vocals for the back-and-forth duet of "Psylica," while SF/Chicago masterclass act DJ Tyrel Williams teams up on "Nobody Knows." Once again, Dave Aju takes us on a personal journey set to the groove of a damn good party.



OF NORWAY: Accretion CD (CNS 019CD) 17.00
"Ever since we first got together in Oslo to produce music under the Of Norway moniker in 2006, we had dreams of producing a cohesive body of work rather than just single tracks and EPs. Following a few 12" singles on Connaisseur Recordings in 2011 and 2012, we got to talking to the label about producing a full-length album. Two years later we are very proud to present the completed Accretion. We chose the album title Accretion (def: 'Growth or increase in size by gradual external addition, fusion, or inclusion.') as we felt it applied to the entire process of recording and writing music. We start out with one sound or melody and build upon that by adding more and more layers. And it's something that quite often is reflected in the structure of our tracks. Furthermore the title applies to how the album came about, in the sense that we started off with the title-track, which defined our sound and we kept building around that until we had a solid body of work. Accretion was not an easy album to make, as it is our first album and uncharted territory for us. We both had the idea that the album should not just be a collection of random tracks, but rather more a little documentation of our lives, and something personal. This made it doubly difficult, since it also exposed us as people and not just anonymous producers. We wanted to play as many of the instruments as we could ourselves, not relying too much on loops, samples and programming machines alone. We opted for more dynamic instruments and outboard gear, in conjunction with some loops/samples and sequencers. Not that we shied away from groove-based sequencing totally -- we used the Native Instruments Maschine to a great extent, for instance -- but we wanted to try to get more expressive and personal, and thought we could achieve this by mixing it up a little. Chief among the instruments we've played on the album is the Fender Jazz bass, various guitars, percussion instruments (anything from wood blocks to the Korg Wavedrum), and some synths like Moog Slim Phatty, Waldorf Blofeld, Korg DSS1, and so forth. Not to forget the help we've gotten from our vocalists, who've put their unique signatures on some of the tracks! This was all quite time-consuming and challenging, but also very rewarding. The album showcases productions from the very organic and almost entirely acoustic works to long, trance-inducing pieces that take your mind for a ride if you let it. The end result being a mix of moods and personalities and a glimpse into our lives at a period of time, which is a scary concept to present to the world, but sometimes you just have to jump out in the deep end and hope you stay afloat. We are both very proud of our debut album and hope you enjoy our Accretion as much as we do. Much love, Vegard Wolf Dyvik & Carl Christian Steenstrup."



CLONE: Son of Octabred LP (VCR 006LP) 22.00
We've seen a lot of oddities reissued over the last few years, but few come close to capturing the bewildering brilliance of this bizarre instructional Birthing album recorded somewhere in Alaska in 1982 and resurfacing now on a first-ever vinyl pressing, thanks to the supreme Ethno-musicological skills of Andy Votel and his Dead-Cert imprint. Utilizing the ARP 2600, ARP Odyssey, Polymoog, harmonica/synthesizer interface, Eventide Omnipressor, Roland vocoder and genuinely bizarre narration imploring the listener to "push..." over a background of retro-futuristic space-age progressions, these recordings edge the concept of extreme American outsider music to its furthest reaches. Originally broadcast as a one-off transmission for electronic harmonicist Gary Sloan's Import Hour show on Anchorage radio station KGOT FM, it's one of the rarest recordings in the very limited line of Clone breadcrumbs released to date -- the audio discovered by Sloan in his own time capsule of C60 compact cassettes used to document the unlikely synthesized wing of an untraveled North American micro industry. Son of Octabred is unlike any other Kosmische or early synth record you're likely to have heard, arcing from the surreal instructional opening segment to pop-wise synth hooks before eventually building into a monumental layer of synthesized drone you'll have trouble comprehending after the umpteenth listen. As a label set up to give life to recordings that were never really intended for wider public consumption, Dead-Cert has done a commendable job shining a light on lost DIY aesthetics -- this album perhaps making for its most compulsive, odd outing yet.


DL 75129LP

PEPPERMINT RAINBOW, THE: Will You Be Staying After Sunday LP (DL 75129LP) 14.00
Cut-out original copies of the 1969 album from Baltimore bubblegum pop quintet The Peppermint Rainbow. Produced by Paul Leka and featuring the hit title track.



IKE YARD: Remix EP 2 12" (DESIRE 080EP) 14.00
Ike Yard was a product of the New York No Wave scene, but also stood very much apart from it, then as now -- propulsive, paranoid, aggressive electro minimalism, with as much attention paid to the mixing board and effects processors as to vocals, guitar and synth. This second remix EP includes Tropic Of Cancer, who delivers a great, ethereal version of "Half a God." Former Ike Yard member and synth wizard Fred Szymanski also reinterpreted the track with a unique musique concrète-inspired electronica piece under his Recombinant guise. On the B-side there's a long Detroit-inspired techno version of "Cherish 8" by Arnaud Rebotini.


LIVE SKULL: Cloud One CD (DESIRE 085CD) 15.50
Of the eight records Live Skull released throughout the 1980s, Cloud One is probably the one most often cited as the definitive LS album. This was the record that fine-tuned the band's sound, transforming the polarizing power of the original no wave into music that got under your skin and stayed there. A tightly-knit collection of songs and anti-songs years ahead of its time, Cloud One's chaos-scrambled hooks were a direct influence on the later breakthrough projects of Sonic Youth and Swans, Live Skull's co-conspirators in the so-called "noise scene" that emerged out of New York City in those years. Cloud One captures Live Skull at a creative peak, with the band generating a profusion of arresting sounds and ideas via the most basic rock and roll vocabulary: bass, drums and two traditionally-tuned guitars. The resulting record, an inexplicably seductive song cycle that filters art through the nasty mood swings of rock, was something radically new for 1986. Nearly 30 years on, Cloud One remains a transcendent musical hybrid as mysterious as it is memorable. Reviewing Cloud One upon its 1986 release, Forced Exposure called the album "Live Skull's densest and most orgasmic disc yet," while Melody Maker UK declared, "Live Skull willfully derange and disengage conventional pop structures, harmonies and rhythms, preferring instead to exert a vice-like grip of droning guitars around the heart of the beast. It's an awesome racket." Acclaim for the album has continued through the years, with online source shockofDAYLIGHT describing Live Skull's magnum opus as "Primo scary artnoise from the epicenter. The band's album happens to be their best and most focused. Right as you're trying to make sense of the bafflingly hot n' pre-apocalyptic cover art, you get walloped by one of the best opening tracks in rock history. I have a hunch that bands like Fugazi, Unwound, and Halcion got their entire careers from this album." Finally reissued after nearly three decades out of print, Cloud One is now available on limited edition vinyl and (for the first time ever) on CD, complete with a lavish booklet including extensive liner-notes by founding members Tom Paine and Mark C, and eight extremely rare bonus tracks. This is the third release in Desire Records' Live Skull project, an ambitious eight-title series of reissues of the entire Live Skull catalog, personally overseen by Mark C and Tom Paine.


LIVE SKULL: Cloud One LP (DESIRE 085LP) 23.50
LP version. Includes download code with the 8 additional previously-unreleased bonus tracks, plus a lavish 24-page booklet including extensive liner-notes by the founding members and rare and unseen pictures.


LIVE SKULL: Pusherman EP LP (DESIRE 086LP) 19.50
LP version. Includes a download code with six additional previously-unreleased bonus tracks, plus a lavish 24-page booklet including extensive liner-notes by the founding members and rare and unseen pictures. Recorded in 1986, the Pusherman EP is the final studio record released by the original Live Skull quartet of Mark C, Tom Paine, Marnie Greenholz and James Lo. Along with Sonic Youth and Swans, Live Skull was the face of New York's post-no wave "noise scene" during the 1980s, and the songs on the Pusherman EP are in many ways the culmination of that movement and the essence of what Live Skull was all about. Relentlessly fierce but with an unnerving ability to insinuate themselves in your brain, the songs on the Pusherman EP further refine Live Skull's pioneering strategy of threading unlikely hooks through mystifying interference patterns that subvert traditional rock in previously unheard ways. The EP would deserve its classic status if only for its free-associating version of "Pusherman" (a very curious hit on college radio back in '86), a thoroughly abstracted but weirdly faithful cover that re-imagines Curtis Mayfield's original through the cracked and filthy lens of Live Skull's crumbling East Village. Less than a year after this record's release, Live Skull would find itself in transition, eventually becoming a quintet with drummer Rich Hutchins and Thalia Zedek on vocals -- but the Pusherman EP stands in the minds of many fans and critics as not just the original line-up's final testament, but possibly its finest. In his much-quoted review for The New York Times, Robert Palmer declared, "With each new record, New York's Live Skull delivers a more concentrated brand of emotional intensity, a more ferociously disciplined sonic assault. Live Skull's music -- a high-wire act played for keeps, without a net -- is as challenging, as spiritually corrosive, and ultimately as transcendent as Albert Ayler's mid-'60s free jazz or the implacable drone-dance of the early Velvet Underground. It's one of the essential sounds of our time." Out of print for nearly 30 years, Live Skull's Pusherman EP has now been reissued on limited edition vinyl.


JBLA: Belleville EP 12" (DESIRE 088EP) 16.50
JBLA came into being after Julian Jöckel (Midnightopera) and Stuart Argabright (Ike Yard, Black Rain, o13) performed at a party in Brussels on invitation from Bernardo Risquez & Michael Langeder (Different Fountains). They set up a rather improvised jam session with Julian on a Yamaha Dx7, Bernardo on an old organ while Michael contributed machine sounds and took care of the live fx engineering. Stuart put together some words and brought a beat. This EP features two cuts from that session with remixes from Ron Morelli & Svengalisghost and Vereker.


OTO: Anyway 12" (DESIRE 096EP) 16.50
After starting the influential French fanzine Atem in Nancy, France in the early '70s, Gerard N'Guyen started to produce bands for the Atem label such as Univers Zero, Art Zoyd and Present, and discovered, produced and managed French synth gods Kas Product. He set up his own independent label called Les Disques Du Soleil Et De l'Acier (Coil, Sprung Aus Den Wolken, Pascal Comelade), and the label's second release was Oto's Anyway single in 1984, which was played by rock, EBM and hip-hop DJs. 2014 marks its 30th anniversary and Desire reissues it here in collaboration with Mitzvah Records. Cover art by Thierry Merigout. First pressing on black vinyl -- limited edition.


OTO: Purge an Urge LP (DESIRE 097LP) 23.50
After the success of the Anyway 12'', Oto, now a three-piece band, played a few gigs before entering the studio to record their debut (and final) album Purge an Urge. Produced by Vincent Hachet from French industrial duo Geinst Nait, Purge an Urge was supposed to contain nine tracks but the final release saw only six tracks. Cecile, from fellow Nancy band Candidate, even did some backing vocals. Released in 1986 on French label Divine, known for their releases of Mecano, Tuxedomoon, Fra Lippo Lippi and Minimal Compact, it was poorly promoted and was mainly sold in the Nancy area. But the music was as vibrant as their first effort and evokes bands like Second Layer, End Of Data, Das Kabinette, Grauzone and Martin Dupont. Pascal Hubert then formed and still performs in successful French alternative band Double Nelson. Now a much sought-after record, Purge an Urge is reissued for the very first time on vinyl. Includes a download coupon.


CANDIDATE: Side by Side LP (DESIRE 098LP) 23.50
Kas Produkt was a key figure in the French scene at the beginning of the '80s. They proved it was possible to sing in English and have success in other countries, but they were also responsible for the birth of an electronic pop scene. Candidate emerged in 1983 from Nancy, the home-town of both Kas Produkt and Oto. The boy/girl duo (the same formula as Kas Produkt) released their first cassette in 1984 on Permis De Construire (Nox, Geinst Nait, Muslimgauze, Zero Kama) to be shortly followed by a split 7'' with Gangrene. In 1987 they released their debut (and only) album for local label Dum Dum Records. Side by Side was really well-received and the band played a lot of gigs to support it in France, Belgium, Switzerland, and even Poland (more than 100 concerts during their career). Side by Side is now reissued for the first time and has been entirely remastered by Anders Post. For fans of Deux, Moderne, Kas Produkt, Martin Dupont, Dark Day, etc. First pressing on solid blue vinyl -- limited edition. Printed inner-sleeve. Includes a download coupon.


ORPHAN SWORDS: Risk in a New Age 12" (DESIRE 099EP) 16.50
Brussels-based Orphan Swords is the duo of Yannick Franck aka Raum, sound experimentalist & founder of the Idiosyncratics label, and Maze, producer & Bozar Electronic Arts Festival curator. Previously described as "industrial-slanted techno" or "new school industrial" by XLR8R and The Quietus, Orphan Swords' music results in the collision between Raum & Maze's widely different influences, including techno, noise and cold wave. Orphan Swords has been recently remixed by SHXCXCHCXSH, Dwellings, Paul Purgas (Emptyset) and Exoteric Continent and collaborated with Ike Yard's Stuart Argabright. Limited edition on opaque blue vinyl, packaged within a 350 gram cardboard sleeve with gloss laminate finish.


AGENDER: Fixations LP (DESIRE 105LP) 25.00
A G E N D E R started out as a solo lo-fi punk excursion for Romy Hoffman (Macromantics, Romy) and has since morphed into an all-girl three-piece, known for their intense, fast, tight-knit punk shows. A G E N D E R play a unique blend of schitzo, synthy, paranoid punk. The first record Self (en)titled was entirely written, recorded, played and mixed by Romy Hoffman, with additional mixing and mastering by Mikey Young (Eddy Current Suppression Ring, Total Control). A G E N D E R's sophomore album Fixations was recorded onto 2" tape, at Head Gap Recording Studio in Melbourne, Australia, by Casey Rice (Liz Phair, Red Red Meat, The Dirty Three). It was co-produced by Rice and Hoffman. The songs on this record are fixations on, and fetishes with femininity, and explore the desperate/disparate nature of queerness, sexuality and obsessive, dysmorphic desire. Side A of the record is a synth-heavy post-punk affair, while Side B is a raw onslaught of classic punk brashness. Some of the songs on this side were recorded in one take. Fixations is a spillage of sexual secrets and the purging of perversions. Limited edition, clear vinyl. 350 gram sleeve with a 12"x12" insert. Matte finish. Includes a download card.


COLD NAME: Eat Your Hand LP (DESIRE 107LP) 25.00
Cold Name is the solo project (started in January 2013) of Nobuyuki Sakuma from Jesse Ruins. Cold Name released its first cassette Not in Love on Living Tapes in April 2013. A second cassette is due to be released also on Living Tapes later in 2014. Eat Your Hand is Cold Name's debut album and contains 12 short electronic songs that 20JazzFunkGreats describes this way: "Cold Name's 'Intent to Kill' isn't in some un-danceable time signature. It's not obtuse. It's perfectly possible to dance to its techno. It just doesn't seem to want you to. Its drums envelop like a thick black ooze. Suspending you in an aural sensory deprivation chamber. Around you, you hallucinate what it'd be like being inside a bass bin at a mega-club. No, actually being the bin; at one with its wood and paper and rubber and plastic. Oscillating for the delight of the big room crowd singular in the knowledge of what you are and what you do. Divorced, in your distortions and pulsations, from everything else. As if all the bodies and the architecture were just a complex feedback chamber for your own personal enjoyment. Inside your bass-bin-head you hear the words of Bob, and the occasional sound of fire being recorded in the red." Limited edition of 300 copies. Solid white vinyl. 350 gram sleeve with gloss laminate finish. Includes a download card.


IKE YARD: Loss (Regis Version) 12" (DESIRE 109EP) 14.50
As a taster of a forthcoming Ike Yard remixes CD collection, Desire is proud to present a very limited one-sided vinyl with a new mastered version of a Regis remix of "Loss." This is no 21st century techno makeover; Ike Yard's music requires no such updating. It sounds more like Regis sneaked into The Ranch in '82, thrashing out a mix on the desk, then and there. Ike Yard was a product of the New York no wave scene, but also stood very much apart from it, then as now. Propulsive, paranoid, aggressive electro minimalism, with as much attention paid to the mixing board and effects processors as to vocals, guitar and synth. Clear vinyl housed in a heavy-duty PVC bag with flap.



SABLE SHEEP: Vagabond from Hell 12" (DESOLAT 025X-EP) 14.00
Sable Sheep is one of the finest purveyors of dancefloor-oriented underground sounds and he now releases an EP in the Desolat X series. "Fallen Lead Showers" features a distinctive tech-infused psychedelic quality which develops until a classic sample comes in alongside percussion flourishes. "Vagabond from Hell" features sharp percussion and deep elastic bass, with speckles of trippy sounds entering the fray. "Sobriety" is underpinned by a driving beat while a meandering electronic synth, incessant hi-hats, and mechanical sounds all combine with fantastic results. "Crown" features a slowly-building bouncy beat and industrial bleeps, showcasing a twisted house aesthetic.



A collaboration with the renowned author Michel Faber (The Crimson Petal and the White, The Fahrenheit Twins, Under the Skin) and Andrew Liles. Ohrwurm is a fantastical dark tale narrated by Michel with musical interludes, refrains, leitmotifs and sound design supplied by Liles. The CD is packaged in a 6-panel cock pack with artwork by photographer Eva Faber and a booklet of the complete story.


DC 581CD

BLACK BANANAS: Electric Brick Wall CD (DC 581CD) 13.50
"Black Bananas is Jennifer Herrema, Nadav Eisenman, Brian McKinley and Kurt Midnes s. They work with their machines to play rock that's progressive, experimenting and never less than super-exciting, fuckingly awesome amazing. They do it becuz it 's fun and it sounds rad. With eyes and ears out for the phases and strains of rock past and present, Black Bananas are on the lookout for a sound that mainly exists in their mind, an idea of sound to wrap around the tunes, a cattle-prod sneaking around the backside of your aural cortex. To jolt you into magical thinking. And to make you jump, and make your hair stand up. Yeah, Black Bananas' production pays forward the psychotropic effect with ultimate line blur, but Electric Brick Wall is solidly composed of time-tested elements -- the beat, the groove, licks, builds and bridges, fused together for projection as a new musical shred-spress to the stars."

DC 581LP

BLACK BANANAS: Electric Brick Wall LP (DC 581LP) 19.00
LP version.

DC 589EP

HAGERTY & THE HOWLING HEX, NEIL MICHAEL: Fool's Watch/Lord Gloves 10" (DC 589EP) 17.00
"The Howling Hex continue to patrol the borders of our shared musical culture, reflecting on the strange things a man might see out there in the wilderness -- and more to the point, the details a man might miss. Their latest release is a 10" single with two long tracks that push beyond previous entries in The Howling Hex's catalog -- believe it! While it is true that The Howling Hex routinely set and achieve this goal on all their albums, on this special 10", the reemergence of Neil Michael Hagerty as a leading entity gives the two epic performances a unique spin. Also special: hand rendered jackets and a print run that some might call 'limited edition.'"



APPLICATION: System Fork 2LP (DUST 041LP) 33.00
Double LP version. System Fork was designed around the principle of itamae, where every detail was described and thought about before any work in the studio was done. This process took two years before a set of rules and principles were fully realized for the creative process in the studio. Working with Human and Shaun Bloodworth, Application also applied more design aesthetics to artwork, videos and photographs, which will become the prototypes for a live show with video. Application are Martin and Richard Dust.


EB 103CD

BAD BRAINS IN DUB: Conducted by Kein Hass Da CD (EB 103CD) 17.00
Since their debut album Hirntrafo, the band Kein Hass Da has constantly been on tour to promote their German-lyrics version of the Bad Brains. Their new album, released under the Bad Brains In Dub moniker, celebrates the reggae and dub side of the Bad Brains and pays tribute to this important aspect of the Bad Brains' musical and cultural legacy. With official support and assistance of the Bad Brains management in the United States, Kein Hass Da, in combination with first-class dub and reggae remixers, including Bad Brains' very own Darryl Jenifer, has succeeded in creating a heavy masterpiece in 13 chapters. Drenched in echo, the sounds in this dub treatment contravene the rules of space and time. In the words of Kein Hass Da: "The truth is: We are not from this world. Our earth is not as backward as this one -- on the other hand, punk has never happened there, and Alice Cooper died in 1973. With the help of this thing we came to YOUR world, and then met the Bad Brains in the years of 1979, 1982, and 1989, to be exact. This was also our first encounter with punk -- we were really impressed! The impact on KHD was so great, that we had the idea to play the Bad Brains' songs in OUR world ... claiming WE were the BAD BRAINS!!" Features artists such as Dubvisionist, Trance Hill, Umberto Echo, and Bad Brains' own Daryl Jenifer.


BEC 5161721

MR FLASH: Sonic Crusader 2LP+CD (BEC 5161721) 28.50
Double LP version in a deluxe gatefold sleeve with CD. Who is Mr Flash? The best-kept secret in French Touch? The beat-maker who ran with the TTC crew in the '90s? The passionate collector of rare and bizarre records? The producer that was called in to help Sébastien Tellier build his blue musical cult? The man behind a handful of 12"s with saturated contours on Ed Banger Records, combining rock, hip-hop and electro? He's all of that, really. Mr Flash's debut album is titled Sonic Crusader (in reference to an article in Dazed & Confused on the start of Ed Banger), which perfectly illustrates his musical philosophy. Fifteen tracks -- including the classics "Domino" and "Motorcycle Boy" -- resulting in a genuine sonic odyssey condensing all of Mr Flash's obsessions: his passion for phat and melodic hip-hop, his taste for cinematic and illustrative sequences, his influences of polished '70s and '80s productions like Prince, AC/DC, Herbie Hancock or Sun Ra, and electro notions nourished by new-wave and industrial music. The whole thing is enveloped in a cloak of musical grandiosity. A sonic crusade shaped like a rollercoaster of influences that Mr Flash orchestrates with subtlety, taking us in one fell swoop from the sweaty dumps of a club to the melancholy of California highways, sneaking us into the jungle and having us wake up dressed as a modern crooner, before throwing us head-first into the twinkling stars. In the end, it's the perfect soundtrack to a film that's never been shot. Includes a poster.



ANGEL: Terra Null. CD (EMEGO 163CD) 15.50
The fourth release by Angel for Editions Mego expands upon their singular combination of electronics, traditional instrumentation and extended technique. The musical reduction & simplicity of Terra Null. is a beautiful and brooding statement on cultural Darwinism. At a time when the dominance of capital and greed blanket our world in a singular destructive objective, Angel deploy a reductionist technique that opens a path towards a potential new reality. Slow-moving drones peer from the cracks, providing a fluid motion of dark beauty. This is Angel at their most abstract, their most static and the result is their most focused work to date. Exquisitely produced by the line-up of Ilpo Väisänen (csg, oscillators, effects), and Dirk Dresselhaus (guitar, oscillators, effects) with guests Hildur Guðnadóttir (cello, voice) and Lucio Capece (bass clarinet, soprano saxophone, preparations), Terra Null. takes the listener on a journey from the acoustic-dominant timbres of the opening "Naked Land," crossing into the shadowy instrumental interplay of "Monolake" and the microtonal explorations of "Colonialists." "Quake" concludes proceedings with an assault of drones, distortion and instrumental aggression, an expression of complete dissatisfaction that offers a means of reconsideration. Terra Null. embraces radical long-form statements of both musical and political matter.


Editions Mego is proud to present the first recordings by Edvard Graham Lewis released this century. Having made his name in legendary punk/experimental outfits Wire, Dome and He Said, Lewis has developed an exceptional voice with ceaseless exploration of a wide variety of musical forms. All Over is a song-based album that resides amongst the cracks between narrative and song, sound and music. Cloaked in an atmosphere of beauty and paranoia, All Over conjures the spirit of Wire's experimental pop trajectory while simultaneously exploring a multitude of sonic possibilities. Gritty mechanical operations support Lewis' wry human observations in a uniquely disturbing mélange of punk, industrial, techno and pop. A dream logic plays throughout All Over, courtesy of Lewis' odd lyrical content being set with all manner of disorientating sound and rhythm. All tracks were written and composed between 2003-2013 in parallel with the works included on All Under. Several contributors generously collaborated at distance from L.A., Japan, Scotland, Italy, Germany, UK and Sweden, furthering this catchy excursion into the unstable grid of the 21st century. All Over is a major amalgamation of music, media, man and mind. Contributors: Howardamb (bartered tones, tracks 2,4,11); Andreas Karperyd (electronics, track 1); Linda Dahl (vocal, track 5); Jim Ascroft, Fabrizio Clemenza, and Giovanni Romano (vocal, track 5); P.T. Kirk (additional electronics, track 9); Jan Lundquist (lead vocal, track 12). Mastered by Russell Haswell. Cut by Rashad Becker at Dubplates & Mastering in Berlin.


All Under, the companion release to All Over compiles soundtracks to films, installations and a self-penned short story. This is familiar terrain for Edvard Graham Lewis, who, along with Bruce Gilbert, produced the early interactive audio-visual installation "MZUI" at London's Waterloo Gallery in 1981. Since this period, Lewis has been involved in countless soundtracks to all manner of cultural artefacts. The haunting score to Gunilla Leander's 2003 short film All Under was improvised in real time with a sampler and FX processing and recorded onto mini disc. The results are a viscous ambience of swirls, feedback and distortion. This material was then adapted for an immersive three-screen installation of the same visual material which features combinations of six nude bodies (four men, two women) fighting and wrestling, filmed underwater. The soundtrack here crawls further in the depths as electronic phrases swim amongst a foreboding ambience. Both of these works encapsulate the same disembodied effect of the visual material as hovering, uncanny sound worlds seep into the listener's subconscious. "The Eel Wheeled" features Lewis reading one of his own bizarre stories underscored with a suitably disorienting soundtrack sourced from sound effects of the Prime Sounds SFX Library. This version was remixed by Thomas Öberg (member of Bob Hund and 27#11). "No Show Godot" concludes the set. A soundtrack to a "sky movie" (road movies be warned) completed in 2013. Coming out of the initial sub-aquatic environments of the opening works, "No Show Godot" takes us on a spiraling high before folding into a gritty, godly industrial mantra which comes along as a perfect means of tying up these two concurrent releases as a symmetrical whole. Track #3 is a remixed version by Thomas Öberg. Track 4: Pauline Svanerö (vocals), P.T. Kirk (additional drones). Mastered by Russell Haswell. Cut by Rashad Becker at Dubplates & Mastering in Berlin.



DEETRON: Fabric 76 CD (FABRIC 151CD) 16.00
Fabric 76 is a captivating ride through disparate sounds, scenes and styles, all brought together immaculately by Swiss maestro Deetron's perfect sequencing and tight, inventive mixing. There's everything from Chicago and Detroit classics, modern gems from fast-rising artists, no-nonsense techno and a series of pleasing left-field diversions, making for a truly kaleidoscopic set -- the sound of a DJ digging deep, having fun, and stamping his distinctive character all over the mix. Features artists: Johnny Blas, Carl Craig, Jaime Read, Baba Stiltz, SoulPhiction, DJ Sneak, Juxta Position, Redshape, Ripperton, Greg Beato, Tom Trago, Seven Davis Jr., Galaxy 2 Galaxy, Afefe Iku (feat. Osunlade), Marquis Hawkes, Gemini, Presk, Ondo Fudd, Four Tet & Terror Danjah, Seiji, E-Dancer, Moderat, Marcel Dettmann, Caribou, Joe, Atoms For Peace, Function, Design A Wave, and Nils Frahm.



JACK RUBY: Jack Ruby LP (FTR 105LP) 18.50
"Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and -- chuffed by the fact we'd name-checked the band in the book -- some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the band's story continued to roll out. They'd actually formed in 1973 with Boris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. They'd done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. 'Hit and Run' and 'Mayonnaise' are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. That's 'Bored Stiff,' 'Bad Teeth,' and 'Sleep Cure.' The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound they'd evolved. The last one was in November '77 at Max's with Vivienne Dick's then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless." --Byron Coley; Edition of 600. Includes download code with purchase. Volume Two coming soon.



Few artists have crafted a catalog as rich and deep as Donato Dozzy has done in minimal techno's more atmospheric realm. The Italian producer -- who also performs in the excellent Voices From The Lake duo with Neel -- has become revered for his unerring ability to create tracks that are at once ethereal and oceanic, inducing both a sense of tranquility and urgency. His debut album, K, which Further Records originally issued in 2010, stands as a towering example of Dozzy's skill for electronic music that triggers profound feelings with only a few scrupulously-selected elements. K's seven tracks offer a masterly seminar in subtly altering the grid-like beat programming that dominates techno. Dozzy puts odd emphases on certain beats and adds percussive eccentricities and effects to others. Which means that this isn't a collection of bangers geared for hands-in-the-air, goofball moves. Instead, Dozzy's working on a much more refined level, one where tricky, intricate drum patterns trump simple booming kicks -- although "K3"'s staunch, methodically funky kick and hi-hat pattern and "K5"'s swift and elegantly propulsive beats could heat up a club. The greatest pleasures of K occur in the way Dozzy's eerie, aquatic drones swirl around his well-wrought rhythms, submerging everything in a restorative, algae-tinged film. At their best, these pieces convey a Chain Reaction-like rigor and a cinematic quality (of the Jacques Cousteau variety) utterly devoid of cliché. This reissue of K reminds us that it remains a crucial component of Donato Dozzy's catalog, the first major statement in a career that's becoming a manifesto of understated, underground-techno brilliance.


GB 016CD

SEYMALI, NOURA MINT: Tzenni CD (GB 016CD) 17.00
"'Tzenni' in Hassaniya means to circulate, to spin, to turn. It's the name for a whirling dance performed to the music of Moorish griots, often under khaima tents thrown up for street gatherings in the sandy quarters of Nouakchott and out across the wide deserts of Mauritania. Tzenni is an orbit, the movement of the earth around the sun, the daily progression of light and dark, lunar cycles, tides and winds. Tzenni, the dance, comes forth as the cyclical trajectory of a Moorish musical gathering builds to a feverish pitch. Produced and recorded across an appropriately dizzying array of locations and social contexts (New York City, Dakar, Nouakchott), the album Tzenni is a contemporary articulation of Moorish griot music from Mauritania -- an artform that has been evolving and gaining momentum for centuries -- as voiced by Noura Mint Seymali, an artist profoundly steeped in its history and rigorously devoted to its global resonance. Noura Mint Seymali comes from a long line of visionary musicians. Seymali Ould Ahmed Vall, her father, was a scholar-artist instrumental in opening Mauritanian music to the world; devising the first system for Moorish melodic notation, adapting music for the national anthem, and composing works popularized by his wife (Noura's step-mother), the great Dimi Mint Abba. From her precocious beginnings as a teenaged backing vocalist with Dimi Mint Abba, Noura Mint Seymali now drives the legacy forward, re-calibrating Moorish music for our contemporary moment. Her band's arrangements, rigor, and experimental spirit may be understood as a continuation of the tradition of Seymali, Dimi, her grandmother Mounina, and countless others. Together with her husband, heroic guitarist Jeiche Ould Chighaly, who brings the force of yet another powerful branch of Moorish musical lineage, the band on this recording was conceived as a distillation of essential elements, the 'azawan' and the backbeat. The ardine & tidinit (or guitar) together are the 'azawan,' the leading ensemble of Moorish traditional music, while bass & drums, played here by Ousmane Touré and Matthew Tinari, fortify it with genre-transcendent funk and a basic pop urgency. Tzenni re-visits several classics of the Moorish repertoire, but does so within a novel formation, conversant in the pop idiom, and with Noura Mint's practice of aligning music to a given socio-historical and personal moment, it is an essential charge of the iggawen, or griot, and, we believe, of artists everywhere. As we seek to convey another turn in the Mauritanian musical dialectic, Tzenni is ultimately an album about shapeshifting, faith, and stability found through instability." --Matthew Tinari, producer/drummer for Noura Mint Seymali


GR 702CD

2009's We Are Only Riders is more than just a "various artists" compilation. It's a musical collective of artists who have come together to interpret (and in some cases, complete) unfinished skeletal works by Jeffrey Lee Pierce, an artist they were friends with or whose work they admired. Artists featured on the album include Nick Cave, who has done his own solo track, as well as dueting with Debbie Harry, and playing piano on Debbie's solo track, and added backing vocals on the Cypress Grove track. Mick Harvey contributed to two of the Nick Cave tracks and has recorded a solo track. Barry Adamson plays bass on the Nick Cave solo track and also on the Mark Lanegan solo track, who has also recorded a duet with Isobel Campbell. Kid Congo Powers contributed to Nick Cave's and Lydia Lunch's tracks. About three years ago while clearing out his attic, Tony Cmelik (aka Cypress Grove) came across a bag of dusty old cassettes. He started to sort through them and found one marked "JLP Songs." As soon as he put it on he remembered what it was; Tony & Jeffrey rehearsing material for the album they made together (Ramblin' Jeffrey Lee and Cypress Grove with Willie Love). The album was initially going to contain country songs, but it gradually evolved into a full-blown blues album. It was recorded on an old boombox in Tony's bedroom, just the two of them on acoustic guitars. The sound quality was terrible, but good enough to make out the songs, which were excellent. Tony thought it would be fascinating to hear how different artists might interpret these songs as well as other found Jeffrey Lee Piece material from this most basic and crude of templates, the cassette. Other artists include: The Raveonettes, David Eugene Edwards, The Sadies, Crippled Black Phoenix, Johnny Dowd, and Dave Alvin.

GR 702LP

Gatefold double LP version. Pressed on 180 gram vinyl.

GR 762CD

2012 release. The Jeffrey Lee Pierce Sessions Project follows 2009's acclaimed We Are Only Riders collection with a second volume of the late Gun Club leader's previously-unreleased works-in-progress, brought to life by old friends, collaborators and acolytes. Many songs started as nascent ideas captured on a cassette unearthed by Pierce's latter day collaborator Cypress Grove while clearing out his loft. Harking back to the collective ethos of Pierce's beloved jazz, artists spill into each other's tracks, reinterpreting or finishing lyrical and melodic sketches while some chose personal favorites from his catalog. This time, the Jeffrey Lee Pierce Sessions Project includes Nick Cave (who also takes part in a return duet with Debbie Harry on "The Breaking Hands"), Mick Harvey, Debbie Harry & Chris Stein, Lydia Lunch, The Jim Jones Revue, Kid Congo Powers, Tav Falco's Panther Burns, Mark Lanegan and Isobel Campbell, Vertical Smile, Steve Wynn (Dream Syndicate), Warren Ellis, Barry Adamson, Bertrand Cantat & Pascal Humbert, Thalia Zedek & Chris Brokaw, Hugo Race, Dom Beken and Kris & Michelle Needs, sometimes in different combinations. "This is not a tribute project, which usually consists of third rate re-treads of an artist's most famous work, but brand-new material from beyond the grave. In some cases the artists have had to finish the songs, so there can be no nonsense about this not being as good as the original version, as these are the original versions! It's a musical collective of artists who have come together to interpret or complete skeletal, unfinished material by Jeffrey. Where possible we have used Jeffrey's contributions, so he actually appears posthumously on this album." Pierce and his ever-changing Gun Club line-ups poured America's roots music forms into a blender of hard drugs and liquor, wrenching the udders of America's bloated cow to spew out toxic, low-life hollers and swamped-up songs of love and desperation. He seemed to have located the dark main artery of the blues, loaded up an overblown hypo and set the plunger to permanent stun. Includes a 20-page booklet featuring memorabilia and extensive liner notes by Kris Needs. Proceeds from the first volume went to Amnesty International, but Pierce's sister Jacqui is setting up The Jeffrey Lee Pierce Foundation to help fulfill her brother's long-standing desire to provide musical instruments for under-privileged kids in L.A.

GR 762LP

Gatefold double LP version. Pressed on 180 gram vinyl.



ZATH: Black Goat Razor/Pain Reaper 7" (GODRECORDS 006) 5.50
"GOD? is the fire and ice this summer. With a storm of riffage played with precision and fury, Zath's 'Black Goat Razor' will ride like a dark horse of the apocalypse to the top of your singles play list throughout the hot months, and whatever remains of time beyond."



VA: Imaginations: Psychedelic Sounds from the Young Blood, Beacon and Mother Labels, 1969-1974 CD (GUESS 051CD) 17.00
Famous in collector circles for being the home of rare progressive/psych albums such as Salamander, Julian's Treatment or Moonkyte, Miki Dallon's group of labels also released many obscure 45s during the late '60s/early '70s. Here's a selection of the most psychedelic-sounding ones, plus some overlooked LP-only tracks. From mod-psych to hard-rock, from psychedelic pop to early glam, including the devastating hard-psych sounds of Taiconderoga (featuring a young, pre-Damned Brian James!), Small Faces mod-influenced sounds by Revolver, Moog psych/proto-glam by The Damned and much more. Features remastered sound and includes an insert with informative liner notes and pictures/memorabilia from the Miki Dallon archives. Other artists include: Shakane, Uzi & The Styles, Boots, Information, Derek Paul, Rubber Band, Jelly,


FANTASTIC DEE-JAYS, THE: The Fantastic Dee-Jays CD (GUESS 054CD) 17.00
From raw basement garage-pop to jangly teen-beat and moody ballads, The Fantastic Dee-Jays' sole album from 1966 is without doubt the kingpin of all the local private garage albums from the U.S. A lost-in-time '66 capsule full of pure, innocent vocals, 12-string Rickenbacker guitars and crashing drums. File next to Rising Storm, The Bachs, etc. First-ever straight CD reissue of the original album, with master tape sound, a booklet with notes by their mentor Terry Lee and lots of cool photos.



MARGEIR: Blue Lagoon Soundtrack 3 2CD (HFN 034CD) 21.00
This third installment of DJ Margeir Ingólfsson's acclaimed Blue Lagoon Soundtrack continues the tradition of capturing the relaxing and otherworldly atmosphere of the Blue Lagoon in a flawless mix of eclectic electronic gems. Known both at home and abroad as Iceland's premier DJ, Margeir strikes a unique tone with tracks ranging from 1960s Icelandic classics through to brand-new and exclusive unreleased material. Disc 1 is mixed by Margeir and disc 2 by his alter-ego outfit with GusGus' President Bongo, Gluteus Maximus. Soulful, fluid, vital, and powered by an electronic heartbeat, this collection mimics the Blue Lagoon's unique combination of the restorative power of nature and the manmade technology that harnesses it. Now on two CDs, the third volume continues and even exceeds the fine tradition of the Blue Lagoon Soundtrack series. The cooperation between DJ Margeir and Blue Lagoon started about 12 years ago when Margeir first played for Blue Lagoon guests at the Blue Lagoon Chill party -- an annual event of the Iceland Airwaves music festival. Soon the idea of a CD with music appropriate for the Blue Lagoon's natural environment was conceived. The collection is selected to capture the natural mystique of Blue Lagoon that can be described as a unique harmony between nature and science. Only released locally, the first volume went gold in Iceland while the new third volume is now set for an international release for the first time. CD1 includes the perfect, relaxing, soulful and sophisticated mix by DJ Margeir. It melts some of Iceland's finest talents like Ásgeir, Sísý Ey or renowned GusGus with new, quality music from around the world, alongside surprisingly well-fitting classics like Tuxedomoon's "In a Manner of Speaking," from the mid-80's or Hljómar's heart-wrenching Icelandic traditional from the late 60's. Highlights also include Brooklyn underground based Bob Moses' "Far from the Tree" or Kasper Bjørke's cover-version of The Rolling Stones' classic "Heaven," which appears here in an exclusive, unreleased "beatless" version. CD2 has been mixed by Iceland's Gluteus Maximus, who chip in their yet biggest hit "Everlasting" in an exclusive, unreleased edit. Their mix weaves some of the finest electronica from Luomo to Matthew Herbert to DJ Koze and presents an eclectic, timeless and inspiring piece of music. The double-album is released in a digipack, including a poster booklet, both designed by Icelandic artists Ingibjörg and Lilja Birgisdóttir who have been working for Sigur Rós, amongst many others. Other artists include: Holger Zilske, Mikael Simpson, Recondite, Tonik, Essáy, New Look, Ry & Frank Wiedemann, Ada, Mayburg, When Saints Go Machine, Koreless, Tin Man, Donato Dozzy, Exos, Thor, Baikal, Högni Egilsson, Ten Walls, Lake People, Johannes Brecht, Raz Ohara, Kiasmos, and Mooryc.



A single 19-minute track captured live in Oslo, 2010, during the same period of the astonishing Cold Burn LP (Feeding Tube Records, 2012) recorded by the duo together with Anla Courtis and C. Spencer Yeh. Another stringed drone ritual here -- but less choral than the quartet session -- where the cello and the harmonium (or the accordion organ) endlessly chase each other, aiming for the perfect synergy around the same tune, resulting in a deep and intense meditation practice. Exquisitely mixed and mastered by Jon Wesseltoft in Oslo, 2013. Single-sided release.


RATTI, NICOLA: Ossario Vol. 1 12" (HOL 068EP) 19.50
Through the use of sound generated from modular synthesizer, tapes and samples, Nicola Ratti's Ossario is a collection of 10 separate and independent songs -- in two volumes, available separately -- introducing a new and radical composing method. The aim is to build some kind of musical skeletons designed not to be covered in flesh and tissue, but trying to reduce everything to the bone. Simple sounds generated with magnetic tape saturation or electric pulses match with elements belonging to the language of techno music, shifting the focus away from its usual (and predictable) axis to a new (and eccentric) point of view.


RATTI, NICOLA: Ossario Vol. 2 12" (HOL 069EP) 19.50
Second volume. Through the use of sound generated from modular synthesizer, tapes and samples, Nicola Ratti's Ossario is a collection of 10 separate and independent songs -- in two volumes, available separately -- introducing a new and radical composing method. The aim is to build some kind of musical skeletons designed not to be covered in flesh and tissue, but trying to reduce everything to the bone. Simple sounds generated with magnetic tape saturation or electric pulses match with elements belonging to the language of techno music, shifting the focus away from its usual (and predictable) axis to a new (and eccentric) point of view.


OAXACA: Salvatora LP (HOL 070LP) 26.50
Salvatora is the second incredible album from this sextet from Cuneo, Italy, actively researching in the realm of unstructured free-jazz. Since 2008, the group grew more and more by adding new elements and enriching the sound with echoes inspired by the likes of John Coltrane, James Brown and Miles Davis. This last session in particular -- mixed and mastered in 2012 at Blue Record Studio by Mano Moccia -- sees a more active participation of the electronic instruments, rejecting traditional jazz rhythms in favor of a Bitches Brew-esque, rock-influenced improvisational style. And who doesn't love the sound of an electric piano?



AKKORD: HTH020 12" (HTH 020EP) 14.00
Sacred geometry, complex polyrhythms and clean sound design all collide in the work of Manchester outfit, Akkord. HTH020 consists of four tracks of much darker, moodier sounds, blending their sonic bass lines with razor-sharp production. The whole EP is centered around clammy, ominous atmospheres, underpinned by stomping beats, breaks and descending bass lines, placing greater emphasis on the space in-between, and textured over with a doomsday ambience.



PETWO EVANS: Time 10" (HUNTLEYS 011EP) 15.50
Huntleys + Palmers present a unique piece of work by another new project, this time by some industry veterans. Petwo Evans features live drumming accompanying some dinky electronic magic. Each track differs in pace and style, sharing similar idiosyncratic qualities as Swim-era Caribou, Shackleton, and maybe a hint of Border Community in there too. Great, in other words.



HEARTTHROB: Someone Called Again 12" (ISNISNT 002EP) 14.00
ISNISNT offers its second release of forward-leaning electronics with a diverse group of modern techno from label-head Jesse Siminski under his Heartthrob guise. "Someone Called Again" is a tough but funky bass-driven tune that marries detailed production with his signature ominous melodies to great effect. In an even funkier tangent the two mixes of "Cougar Juice" draw together an irresistible bass line with pushing breakbeats and precise synth stabs. The "Driving Past the Jail Mix" incorporates hypnotic synth stabs within the melodic structure, while the "Reduced Dub Mix" dials things back and focuses on the bass line, drums and dubbed-out flourishes.



JOKER: Headtop EP 12" (KAP 011EP) 14.00
Joker returns to his own imprint, Kapsize, with Headtop, an effervescent 4-tracker laced with passive aggression. "Deserted Island" grabs most of the column inches for the trademark musicality Joker brings to bass music, but it's the title-track that is arguably the statement piece of the release, stripping back any fancy top-lines to enter the "heads" arena and dismantle it with a sub beater which shows which has a firm favorite with notoriously hard-to-please Tempa bossman, Youngsta. He enters the scene, drops "Headtop," and then leaves before doing the same with "Mario Ting" and "Mr. Miyagi."


KH 9015CD

BAND, THE: Carter Barron Amphitheater Washington DC, July 17th 1976 CD (KH 9015CD) 17.00
After more than 15 years together, by the summer of 1976 The Band was approaching its end. This superb concert, performed at a 4,000-seat arena on a warm Saturday night, captures them in terrific form as they play a cross-section of their remarkable back catalog shortly before their final appearance at the legendary "Last Waltz" on Thanksgiving weekend the same year.

KH 9016CD

COPPERHEAD: Live at Winterland, September 1st 1973 CD (KH 9016CD) 17.00
Formed by psychedelic guitar hero John Cipollina after leaving Quicksilver Messenger Service in 1970, this sadly short-lived quartet released one fine album in May 1973. That September they played this superb set at San Francisco's legendary Winterland Ballroom, taking in most of their album and showcasing their unrivalled jamming talents, with Cipollina's searing guitar leads at the fore throughout. Background notes included.



ZUKIE, TAPPER: Peace in the Ghetto CD (KSCD 052CD) 14.00
Tapper Zukie's 1978 Peace in the Ghetto album would be the first release as part of his new deal with Virgin Records. This came about through a trip organized by the label to Jamaica in 1978 to sign up the cream of the crop of reggae artists for the new Virgin Front Line label. Personnel on this trip included John Lydon (Rotten) of the Sex Pistols, whose band had just split up. The Peace in the Ghetto album deals with the political situation in Jamaica at the time, and the peace initiative between the gangs and political parties. The album also pays tribute to some of the gang leaders, Claudie Massop, Buckie Thompson and Tony Welsh, who helped make this process happen. But whatever the subject matter Tapper Zukie chose to hang his songs on, you know he always did it in fine style.


ZUKIE, TAPPER: Peace in the Ghetto LP (KSLP 052LP) 14.00
LP version.



PARTIAL ARTS: Taifa 12" (KOM 305EP) 14.00
Returning to the Kompakt fold, Ewan Pearson and Al Usher aka Partial Arts continue their adventure in the borderlands of Kraut disco and romantic house: with "Taifa," the two producers present another undulating, pop-bred jam backed up by a vibrant floor rework from the master of analog head games Andrew Meecham aka Emperor Machine. "Taifa" starts off with a somewhat oceanic feeling, glistening to the backdrop of whale-like drones. Soon, a friendly beat triggers all kinds of melodic synth flourishings. The "Emperor Machine Extended Mix" makes use of hypnotic sequencing and charged drumming to rough up the original's laid-back vibe.


GUSGUS: Mexico CD (KOMP 116CD) 15.50
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!



HECKER, TIM: Harmony In Ultraviolet 2LP (KRANK 102LP) 19.00
2014 repress. "This is the first proper vinyl release for Tim Hecker's breakthrough 2006 album. At the time of original issue, there was a small run of a few hundred vinyl copies done by a small German label, but this was pressed on an inferior sounding single LP which was much too short for the length of the album, not to mention the wide dynamic range of the recording. This new version is mastered at 45rpm over four sides for maximum sound quality." Full color gatefold sleeve.



EMERSON, DONNIE & JOE: Still Dreamin' Wild: The Lost Recordings 1979-81 LP (LITA 115LP) 21.00
LP version, housed in a deluxe Stoughton tip-on gatefold jacket. Includes liner notes by Jack D. Fleischer interviewing Donnie and Joe, plus a download card. All tracks newly re-mastered from original tapes. "Released for the first time ever. All tracks newly re-mastered from original tapes. Includes liner notes by Jack D. Fleischer interviewing Donnie and Joe, plus a download card. As teenagers in Fruitland, Washington in the late '70s, the farming Emerson brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but they aimed at nothing short of perfection in their home studio, on the farm. They titled their 1979 debut Dreamin' Wild, and, as multi-instrumentalist Donnie later admitted, 'Joe and I basically lived the dream of the title of the album.' But Dreamin' Wild does not tell the full story. In a relatively short span of time -- just two and half years -- the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin' Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded ('Everybody Knows It') -- to tracks documenting his temporary move to L.A. in 1981."



SAN LAURENTINO: Phantom 12" (PLAYRJC 030EP) 14.50
Since Ramona recently expanded her library of guilty pleasures with San Laurentino's "Forbidden Fruit" back in 2012, the Hungarian fantasy-dreamboy hasn't been hiding in the shadows -- he created one of his own. Apart from the temples of techno, pulsating flesh and 48 hours of party, San Laurentino found a beautiful muse and brought Ramona four tracks full of luscious bass-caramel, beach-warm synths and chords and melodies as sweet as no honey could possibly taste.



VA: Role: New Sounds of Brazil (Novos Sons do Brasil) 2CD (MAIS 026CD) 21.00
Having established itself as the go-to label for discovering the real sounds of contemporary Brazil with the acclaimed compilations Oi! A Nova Musica Brasileira (MAIS 001CD) and Daora: Underground Sounds of Urban Brazil (MAIS 016CD/LP), Mais Um Discos returns with a new compilation of the freshest tunes from the bars, clubs, venues and streets of the nation the world's eyes are all on. "Rolê" translates as "let's roll" in Brazilian Portuguese and Mais Um Discos' label-head Lewis Robinson (aka Mais Um Gringo -- "one more gringo") rolled around 10 Brazilian states including Rio de Janeiro, Bahia, Amazonas, Rio Grande do Sul, São Paulo, Minas Gerais, Brasília, Pernambuco, Pará and Santa Catarina to pull together these 43 tracks. CD1: Disc Um shows 22 very different artists defining their own styles and defying any stereotypes of Brazilian music -- from the dub-tronics of the innovative Lucas Santtana to the angry indie-rock of Apanhador Só, Madame Rrose Selavy's "bossa-punk," Graveola's "carnival-cannibalism" and the funky-frevo of Juliana Perdigão. CD2: Disc Dois heads into the club, showcasing the new wave of post Baile-funk Brazilian dance music -- the cutting-edge axé bass beats of Som Peba, techno-lamabda of Strobo and electro-treme of Gang Do Eletro. A nod to the old school comes from Lia Sophia, who offers up a slinky slice of nova-brega, Zulumbi with their rousing hip-hop funk, Dona Onete, who introduces us to the sound of carimbo-chamegado, Meta Meta, joined by Tony Allen for some Afro-punk-beat, and Bixiga 70, who drop a heavyweight slice of guitarrada-Latin-funk. All the artists featured mix Brazilian and "international" styles to create progressive new Brazilian music that shatters stereotypes and shows that the Brazilian music scene is as diverse and exciting as that of the UK or U.S.


MF 1104CS

MF DOOM: Operation: Doomsday 2xCASSETTE BOX (MF 1104CS) 31.00
"Though currently considered one of the most legendary releases in hip hop's storied history the project was independently produced and released in 1999 and issued on Bobbito's Fondle 'Em imprint. Stripped down hip-hop in all its glory, the release cemented the MC's return to the scene after his early years in the group KMD. As the story goes, Doom had been chewed up and spit out of the major label system, lost his brother and musical partner Subroc, and then disappeared only to return to the stage rocking a mask and an obscured identity. In under two years, Operation: Doomsday was already reissued on another label with an altered track list. During the time Doom started working with Madlib on the Madvillain record, Doomsday went out of print, got bootlegged, and somewhere along the way emerged as a hip-hop classic. Now we are proud to present Metalface's cassette edition of Operation: Doomsday. Housed in a metal box, the set contains two cassettes. Tape one features the original album and original cover by Lord Scotch 79 (Blake 'KEO' Lethem). Tape two collects the instrumentals, B-sides and alternate versions, along with the 2011 album cover by Jason Jagel."



SHIVERS: Shivers CD (MIA 028CD) 15.50
Shivers is the trio of Rutger Zuydervelt (Machinefabriek), Gareth Davis and Leo Fabriek, who join forces to conjure up a surreal album of parasitic intimacy and intensity. Though the three have played and recorded together in various combinations, this Miasmah release marks their first output as Shivers and manages to pull out quite a few surprises. Named after David Cronenberg's first film, Shivers the album readily adopts this concept of body horror, the fear of bodily transformation and infection -- a theory and technique that Cronenberg brilliantly captures with his first film and many thereafter. An aural invader immediately travels through your ears into your body, to infiltrate your soul with gory supernatural sci-fi. Crawling through the thick sludge of "Ash" and into the chaotic "Otomo," you're treated with what sounds like a beyond-the-grave collaboration of Albert Ayler with Alva Noto producing the soundtrack to Transformers. From entering "Rabid," a chorus of intense destructive voices leads you blindfolded to an abandoned spot amidst a buzz of florescent lights. Here you're abducted into a new life hundreds of years into the future, moving you through stumbling jazz, John Carpenter-styled themes, repeating organ-beats, and Moroccan doom. The psychological and physical combine to make Shivers a collective understanding of the grotesque, fascinating, and personal. You might not be the same.


MR 345CD

VAUGHN, BEN: Texas Road Trip CD (MR 345CD) 17.50
"Texas music has always been a big mess, and that is probably the biggest single thing that has made it stand tall. There are so many wild strains running through it -- from blues to country to jazz to soul to rock to, yes, even hip-hop -- that it's impossible to keep track of what's what. But confusion is good, because as long as a listener can't quite pin down what makes their monkey nerve twitch they'll keep coming back for more. Ben Vaughn got bit early by the heat in the Texas beat. More specifically, as a young kid in New Jersey, Vaughn tuned into San Antonio's Sir Douglas Quintet. There was a wildness in the Quintet's hit "She's About a Mover," some wiggliness that just would not stop. Sir Douglas Sahm and his cohorts had the magic in them. There was no other way to put it. It was like there was a fire burning in the Quintet's collective soul that could not be put out. Vaughn also has that fire, and in a dream-come-true, he's gone to the source in Texas to record an album with several Sir Douglas veterans, including main keyboard man Augie Meyers. That alone is like having the Crown Prince on hand. Then there's Alvin Crow, Speedy Sparks, John X Reed and Mike Buck. With a musical bunch like that, there is no way to miss the bull's eye. Ben Vaughn has delivered an album full of original songs, ones that capture the wild wind of the Sir Douglas Quintet while adding some modern velocity to the sonics, that will light up the skies and surely make even Sir Doug himself smile as he floats through the cosmos making sure the groove never stops. Far-out, for sure." --Bill Bentley


NA 4110LP

HEITKOTTER, STEPHEN DAVID: Black Orckid 2LP (NA 4110LP) 32.00
Gatefold double LP version; includes a 16-page booklet and download code. "Deluxe reissue of the legendary '70s California bedroom psychedelic album restored/remastered transfer and never-before-heard demos. '...banging garage downer LP from the twilight zone ...raw & wasted." - Paul Major. Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publisher's reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade -- to find out more about this Heitkotter, his music, his story. In the process, we've visited the house where this confounding album was recorded, found Heitkotter's musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. It's safe to say the world has never heard something like Heitkotter -- it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter -- recorded in around 1971 and pressed in a run of less than twenty five copies - was the culmination of one Stephen David Heitkotter's artistic career. Ross Dwelle, Stephen's childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio 'trying to play five songs written by a man losing his mind...probably stoned the whole time.' Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it - is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as 'outsider' art. It's a rare and vital look at 60s and 70s American rock through the sad story -- and incredible music -- of an untethered soul. And as we hope to show in enlightening more of Stephen's backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephen's music is as close to the sublime as American rock has ever ventured."

NA 5114CD

HECTOR & THE MALCOUNS, KARL: Unstraight Head CD (NA 5114CD) 18.00
"Afrodelic Krautrock excursions featuring members of Poets of Rhythm and the Whitefield Brothers It's been some years since the first Karl Hector release, and it's known now that Mr. Hector is indeed the German producer and guitarist JJ Whitefield, aka Jan Weissenfeldt. Whitefield is the visionary behind the Poets of Rhythm and the Whitefield Brothers, the ensembles whose rough analog sound and return to the funk archetypes of the late '60s to early '70s paved the way for labels like Daptone, Truth & Soul, and Timmion. Unstraight Ahead finds the band exploring territories even outside of the expansive scope of Sahara Swing. On this album, the West African sounds of Ghana and Mali meet the East African sounds of Mulatu Astatke's Ethiopian jazz and are tied together with the groove heavy experimental-ism of The Malcouns' '70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss, and Tomorrow's Gift. 'We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,' Whitefield says. 'We're trying to combine the global experimental-ism of krautrock with the backbeat of funk.' This explains how songs in uneven meters -- 5/4, 7/8 -- always sound so accessible and natural on Unstraight Ahead. It's mainly an instrumental affair, but guest artists appear throughout, from across the African diaspora to those from the worldly krautrock forebears of their German fatherland: it's Marja, daughter of Embryo founder Christian Burchard, whose vocals open the album. It's an album out of time, one that couldn't have been made in the era its aural aesthetics reference, as its scope is so broad. But it's an album focused by funk -- and an ambition to expand funk's reaches. The Malcouns -- including Poets of Rhythm songwriter and vocalist Bo Baral -- created their own instruments to fashion an album that stands alongside the great albums of its progenitors but charges Unstraight Ahead into a curious musical future."


OP 007EP

HARRINGTON, DAVE: Before This There Was One Heart But a Thousand Thoughts EP 12" (OP 007EP) 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.



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, Bflat clarinet, Taragato); Jason Adasiewicz (vibraphone), John Edwards (double bass); Steve Noble (drums).


OH 025CD

OCTOPIZZO: Chocolate City CD (OH 025CD) 15.50
Out Here Records presents the debut album by Kenya's superstar rapper Octopizzo. There is a bit of nostalgia in Octopizzo's smile when he talks about his old neighborhood Kibera. Growing up in one of the biggest slums in Africa, he has made it, and is among the top rap artists in Kenya. Politicians consult him when they want to know what the people think. Instead of having cognac with the president Uhuru Kenyatta, he invites him to come to his house to show him what life is about nowadays in Kibera. Octopizzo loves his home. The "Chocolate" in Chocolate City refers to the mud and the rusty iron sheets, where his inspiration lies. Unlike most others who become rich and deny they are from the ghetto, Octopizzo speaks to his fans every day on Twitter and Facebook, many of whom are still from the slums. Octopizzo started rapping in 2009, producing mixtapes, recording Swahili rhymes on top of well-known beats by international stars such as NAS, Dr. Dre or 50 Cent. When Octopizzo talks about "Swag," he doesn't mean expensive stuff, but things people in Kibera consider as fly: a handful of groundnuts, having a fried bread snack called Mandazi, or walking down the alley wearing a pair of clean slippers. Octopizzo also praises the beauty of the now-Oscar winner Lupita Nyong'o in the title song of the album. With his song "Voices of Kibera (V.O.K.)," Octopizzo takes us to Kibera. Octopizzo has taken his name from his favorite animal, the octopus, one of the strongest inhabitants of the ocean. He added the ending "pizzo" to make it sound more cool. The number 8 or "namba nane" in Swahili, became his trademark and symbol. The 8th letter of the alphabet is "H," which stands for both hip-hop and his given name, Henry. It also refers to the Matatu minibus line taking you from town to Kibera. With "eight" being the number of districts in Nairobi as well as the number of provinces in Kenya, Octopizzo stands for all three: Kibera, Nairobi and Kenya. "Toboa" is Swahili for "reveal" and features Afro soul artist Anto Neosoul. Octopizzo's breakthrough year was 2012. His song "Ivo Ivo" became a rap anthem in Nairobi. "Ivo Ivo" is a short form of "Hivyo Hivyo," which simply means "it's like that, it's like that." Others interpreted it as "evil evil," and rumors spread in Kenya that Octopizzo was a member of the German secret Illuminati society. The media attention in Kenya even boosted the success of the song. The album also presents two powerful ladies from Kenya. On his hip-hop joint "Vile Inafaa" he worked with Muthoni the Drummer Queen, referred to as "Kenya's Missy Elliot." He also worked with one of the most promising singers, Sage, on "So Alive" and "Memories." Octopizzo is about to kickstart his own TV show entitled: The Black Star Movement, and the song "Black Star" is the show's theme song and features the debut of his daughter Tracy, who sings the chorus. Today, Octopizzo is the father of two, and he lives not only off of the income from his shows but also through his very own clothing line, watches, wrist bands and handmade "Kibera-Bling." He even started his own brand of condoms called "Let's Do It," with a special glow-in-the-dark edition to ensure safe sex for bedrooms without electricity.



M.E.S.H.: Scythians EP 12" (PAN 052EP) 18.00
M.E.S.H. presents his debut Pan EP, Scythians. M.E.S.H is a frequent collaborator with contemporary artist Aleksandra Domanovic, and has exchanged remixes with Arca and Fatima Al Qadiri. "Scythians" introduces the textural depth of Foley blades and draining sewers to his distinctive combination of synthetic sheen and abstract breaks. "Interdictor" combines staggered sub kicks and crunching metallic textures with wavering chords over a staggered rhythm. On "Captivated," 808 kicks and an ominous voice punctuate hypnotic washes of noise and hi-hats. "Imperial Sewers" frames synthetic voices and growling pads within a majestic up-tempo hip-hop track. In the beatless "Glassel Finisher," metallic, resonant scratches cut through the air.



CLOCKWORK: B.O.A.T.S. Remixes 12" (PAR 001EP) 14.50
Two key artists remix tracks off of Clockwork's B.O.A.T.S. (LAD 009CD) album. The package kicks off with the man behind the acclaimed Answer Code Request moniker, Patrick Graser, reinterpreting "First Floor." An engaging alternative to its mellower original version, in this remix Answer Code Request provides us with a glorious broken beat-down dreamscape that methodically thrives to develop in all its distinction. On the other side you'll find a pleasant surrogate to the previous stripped-down variant, on rework duties this time Scott Monteith aka Deadbeat. Throughout his signature fast-paced groove, Deadbeat takes "Second Floor" to a higher level.



CHESWORTH, DAVID: The Unattended Serge 1978/Five Evolutionary Things 1979 LP (PLANAM 028LP) 25.00
The 20 years-old young David Chesworth experiments with the gigantic Serge synth that occupies half the room of the Latrobe University electronic studio. On the traces of pioneers such as Tristram Cary or Warren Burt, a new avant-garde is blooming in Sidney and Melbourne with bands like Severed Heads, The Makers, The Loop Orchestra, and the like. David Chesworth will soon play a major role by coordinating the Clifton Hill Community Music Centre in Melbourne, by co-founding the cult label Innocent Records and by playing in acts such as Essendon Airport, The Dave And Phil Duo, ? ? ?, as well as conducting a solo career. He would later become one of the leading figures in contemporary sculpture and sound installation in Australia and abroad and a recognized and awarded composer with his The David Chesworth Ensemble. His first solo LP titled 50 Synthesizer Greats! was released in 1979 and recorded in the same period as the LP presented here. While his first LP is a compilation of very short and eclectic tracks, "Five Evolutionary Things 79" and "The Unattended Serge 78" are structured as suites. Drawing skeletons for pop tunes to come, these minimal electronic pieces are at times very experimental but never brutal, reminding of the best moments of Udder Milk Decay's Take a Teat or sharing the apparent naïve melancholia of Harmonia's Musik Von Harmonia. Hints of elegant musique concrète à la François Bayle can be heard, but also out of space blip-beats, as if Pietro Grossi or Erkki Kurenniemi went groovy. This beautiful, unknown gem of ozzy underground is now available for your ears in an edition limited to 300 copies.


COLE & OREN AMBARCHI, CRYS: Sonja Henies vei 31 LP (PLANAM 031LP) 25.00
"Recorded during a week-long sojourn in Norway, Sonja Henies vei 31 is a profoundly moving document of the personal and artistic union between Crys Cole and Oren Ambarchi. Abandoning their usual instrumental artillery, both performers make themselves vulnerable to the listener, undertaking a committed exploration of pure physical gesture. Surrounding an explicitly intimate duo performance is a hazy collage of field recordings, tape hiss, metallic clinks and wandering voices. This forces the listener to hover in a disorienting psychological space between a confronting real world, and a swirling dream-world. While the latter's abstraction cannot penetrate the former's emotional directness, both environments function to obscure one another's meaning. What is most affecting for the listener is how he/she inadvertently becomes part of the record's scenery: a dreamer, narrator and voyeur in equal parts. Sonja Henies vei 31 is a brave personal statement, a celebration of the idyllic, and a tragic theater of emotional longing." --James Rushford, Melbourne, 2014; Due to the very intimate nature of these recordings, the first pressing has been limited to 150 copies only.


PAPIRO: Teopatia LP (PLANAM 033LP) 25.00
The subtitle of this album describes it as "Messa in scena arcaica per strumenti elettronici e voci ingannevoli" -- a play on words which could be translated as "Mass in an archaic scene (or archaic enactment) for electronic instruments and deceptive voices." The Italian graphic designer and musician Marco Papiro deliberately plays with different forms of religious music, and loosely oscillates between the spiritual and the illusory world, starting with the cover, where we can see a self-portrait of his father disguised as a saint with a steering wheel in place of the halo. As for the voices, they are deceptive in a double sense -- not only because they seem to promise eternal bliss, but also because they are completely artificial, and have been masterfully created -- like everything here -- from scratch, with an array of aged modular synthesizers. It's the thin line between the human warmth and the eeriness of its simulation that makes up the fascination of the music on Teopatia, which, by the way, is the term used to describe an indirect divine contact. Though this record might be too odd to become a religious classic, it might very well help future generations understand the turmoil of an early 21st-century youth converting to synthesizers after growing up with Catholicism.


FUSINATO, MARCO: Spectral Arrows: Sydney LP (PLANAM 034LP) 25.00
Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Marco Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the working day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato's resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations traveling through air. Spectral Arrows: Sydney was recorded at Artspace Sydney in 2012 during "The Color of the Sky Has Melted," a survey exhibition of Fusinato's recent projects. Fusinato performed facing a large, purpose-built wall that bisected the exhibition space and displayed his "Double Infinitives" series. Fusinato's sculpture "Aetheric Plexus," which unleashes 13,000 watts of white light and a 105db blast of white noise when triggered by the audience was active in the space during the performance and provides an aleatoric counterpoint throughout the recording. The crushing volume and harshness of the performance is intensified throughout by the reverberant gallery space, which creates a swirling, almost psychedelic effect as Fusinato's sounds bounce from wall to wall. Spectral Arrows: Sydney, issued in an edition of 200 copies, condenses a six-hour performance into under 40 minutes. Compared to the rapid-fire cut-ups of Spectral Arrows: Rotterdam (issued by De Player in 2013), the pacing here is more measured. Disorientating explorations of asynchronous stereo fields fade into periods of minimal drone, broken by the distant eruption of "Aetheric Plexus"; bottom-heavy oscillations give way to pointillist chatter; continuous streams of hum and crackle grow steadily until they form monumental aural sculptures.



WANKELMUT: Wankelmoods Vol. 2 CD (POESIE 014CD) 15.50
Since the fall of 2012, Wankelmut has become a sort of household name. Attracting the attention of young and old alike, it's his emphasis on groove and his pop-sensibilities that have helped keep him relevant since his breakthrough phenomenon "One Day/Reckoning Song." But it was his follow-up, "My Head Is a Jungle," and now his brand-new single "Wasted So Much Time" that truly prove he's more than just a one-trick-pony. Besides that, playing almost 100 DJ shows annually all over the world and countless remixes put him on the map permanently in recent months. Now Wankelmut returns from the studio with another magnum opus, the second installment of the aptly-named Wankelmoods series. The first volume featured some of the best names in deep and tech-house while topping iTunes charts, among others, as one of the best compilations of 2013, selling 10,000+ copies. Wankelmoods Vol. 2 with 19 tracks in the mix is ready to provide the soundtrack for the summer of '14 -- again, melting big club-tracks with relatively unknown underground gems to form one big 80-minute mix with a very captivating flow. He guides us through a great musical journey, going from the great melodic deep house intro-track by Ricoshei through classic house music like the Santé remix for Zoo Brazil, to contemporary tech-house tracks done by Adriatique or Kollektiv Turmstrasse. Other artists include: Ian Pooley, Stimming, Talisco, Booka Shade, Chopstick & Johnjon, Chasing Kurt, Konstantin Sibold, The Glitz, Sidney Charles, Nice7, Sable Sheep, Dilby, Markus Homm, Marvin Hey & Ferdinand Dreyssig, Lake People, Climbers, Siopis, Laika & Strelka, Schlepp Geist, and Maceo Plex & Maars.



BUG, STEVE: Pelican Glide 12" (PFR 150EP) 14.00
Celebrating the 150th vinyl EP release, and as a prelude to 15 years of Poker Flat Recordings, Steve Bug returns to his own label to drop a sizzling three-track EP of powerful, seductive house music. "Pelican Glide" exhibits his trademark driving grooves and highly effective off-kilter synths. Fellow Berliners youANDme yield a remix of "Pelican Glide" which transforms the track into something spacey and cinematic, before subtly reintroducing Steve Bug's killer synth line. Also gracing this release is "Till It's Gone," built around a tough-as-nails house groove, and coupled with a breathy, alluring vocal from Delhia De France.



VOICES FROM THE LAKE (FEAT. DONATO DOZZY AND NEEL): Voices from the Lake 3x12" (PRG 003LP) 31.00
2014 repress. Pitchfork said: "It's a triumph," Resident Advisor rated it their highest review score of 5.0/5.0, Little White Earbuds says it is "one of the albums of 2012," Playground Mag says it is one of the "most magnetic electronic music albums of 2012" and it is STILL on Discogs on their list of best albums ever. Prologue is happy and more than proud to present the vinyl version from Voices From The Lake, which includes two fresh tracks with "In Giova Alternative Mix" and "01.12. N.." Thanks to Donato Dozzy and Neel for this amazing piece of music.



BLACKSMIF: My Own Blood 12" (RAMP 062EP) 12.50
Known to his mother as Yemi, Blacksmif grew up in South London and was surrounded by jazz, R&B and gospel from a young age. Moving onto garage, drum & bass and dubstep through his adolescence, he manages to shoehorn all of these influences into his music. "My Own Blood" sees the young producer make his vocal debut over a minimal house beat, with percussion reaching a crescendo, then falling away -- underpinning his stark vocal about his relationship with his brother.



XXXY: Never Enough 12" (RINSE 037EP) 12.50
London-based producer and Rinse FM associate Rupert Taylor aka XXXY presents his second release for the Rinse label, featuring a pair of characteristically melody-soaked, floor-ready house tracks. Once again, what marks out XXXY's style is his deft way with synthesized melody: alongside sampled voices, everything is drenched in shimmering, spiraling lead lines that bubble with energy. "Never Enough" builds from a minimalist, dubbed-out opening into a streamlined, acid-flecked house rhythm. "No More" coasts upwards upon a deliriously catchy three-note organ motif, crescendoing with a huge, reverberant breakdown before a shower of melodic fragments rain down like shards of shattered glass.


MUMDANCE: Take Time EP 12" (RINSE 043EP) 12.50
This EP's title-track draws upon Mumdance's long-standing love of grime, crafting a tightly-coiled, ten-ton heavy club riddim, all frostbitten drums and shockingly stripped-back mid-range, powerful enough to carve a rift deep into the mix. It features the quick-witted vocal play of rising London MC Novelist, whose bars dart swift and sharp through the track's acres of frozen space. "The Sprawl" is pure futurist brutalism, all rattling bass pulses, eski clicks and broken propulsion. "Don't Get Lemon," produced in collaboration with much-loved grime veteran Spyro, completes the EP. Beginning life as an abstract, darkly cheeky devil mix, it switches mode midway into a freakily lonely, rain-soaked urban lullaby.



RIPATTI: Ripatti05 12" (RIPATTI 005EP) 14.50
The fifth installment in Sasu Ripatti's eponymous series unearths another pair of loose-limbed productions, further developing a mongrel sound fusing robust techno signatures with a fluid footwork template. It's a distinctly European take on a sound that's hard to fathom -- but the results make for some of the most uncompromising and hard-hitting material in Ripatti's long career to date.



AWANTO 3: Opel Mantra CD (RHM 007CD) 17.00
Under his Awanto 3 guise, Steven van Hulle has long been considered a producer with immense potential. Now he's finally delivered on that promise with Opel Mantra, his stunning debut album. Opel Mantra twists house music into intoxicating new shapes, fusing a myriad of global influences into one thrilling, surprising whole. This is clandestine, atmospheric deep house as you've never heard it before. And boy, does it sound good. Anyone with a keen interest in the Amsterdam electronic music scene will be familiar with van Hulle's work. He's already released a number of acclaimed solo singles on Rush Hour (his loose-limbed, decidedly cosmic debut, For Five, appeared in 2010), alongside highly-regarded collaborations with fellow Dutch producers Tom Trago (under the Alfabet alias), Young Marco and San Proper. To date, though, his output has been limited to a handful of inspired productions. Having had a glimpse of his talent, Opel Mantra proves his credentials once and for all. This CD offers more than enough proof. Bristling with humid atmospheres, voodoo rhythms and tropical grooves, it fuses heavy African and South American influences with contemporary deep house sounds and grooves.



MUNGO'S HI-FI: Serious Time CD (SCOB 004CD) 16.50
It's time to test your bass-bins with the biggest and bestest new smashers from soundsystem champions Mungo's Hi-Fi. Their third double LP arrives hot on the heels of their massive collaborations with Major Lazer and Prince Fatty and showcases all aspects of soundsystem bizness, from Studio One-style live brass to digital bass-bangers all beautifully threaded together. As well as the fat, clean productions you would expect, the album hosts vocal talent by the ton. With reggae heavyweights Cornel Campbell and Peter Metro rubbing shoulders with Mungo's regulars Mr. Williamz, Soom T, Charlie P, YT, Marina P, Solo Banton and Parly B. As if that was not enough, there are spectacular guest appearances from Blackout JA, Speng Bond, Pupajim and Warrior Queen. Elen G's cover artwork shows the soundsystem ship tossed on heavy seas with tentacles threatening to take it under -- serious times indeed. Open it to catch a glimpse of the session inside the ship, riding out the storm.



SKODVIN, ERIK K: Flame CD (SONIC 020CD) 18.00
Erik K. Skodvin (Deaf Center, Svarte Greiner) finalizes his nocturnal Americana-inspired pair of albums with Flame, the follow-up to 2010's Flare. The embers of Flare smolder patiently, searching to ignite the live branch that will grow into Flame. Within minutes, everything in your surroundings changes, everything you thought it would be, it is not. Building on Skodvin's past palette of sound with a quiet intensity, the album moves you further along film-noir backyards and oceanside pathways. On occasion, reverberating synths and rolling percussive moments open up the melancholic drift of the otherwise fairly dusty-sounding record. Whereas Flare transformed Skodvin's earlier projects, its 2014 companion sustains the newfound life into quietly psychedelic forms. Erik K. Skodvin is a master of enveloping the listener into a world that is both monumental and suspenseful. Flame does so by subtly patching together musical influences from all over the map, centered around a heap of instrumentation. He is also aided by Anne Müller and Mika Posen on strings and Gareth Davis on clarinet. While his Svarte Greiner albums might dwell on minimal atmospheric darkness, Flame is awash in its own destructive concept of light.


SR 355LP

MACLISE, ANGUS: New York Electronic, 1965 LP (SR 355LP) 15.50
Sub Rosa presents another release as a part of their early electronic series. Drone-based experiments from Angus MacLise (notably with Tony Conrad extremely present on the album, and John Cale), and purely electronic compositions -- a path (almost) nobody knew MacLise had explored. Miraculously salvaged by Gerard Malanga, these archives provided a new perspective on the artist's whole body of work and considerably expanded his artistic palette. And so Sub Rosa is able to present a whole record's worth of MacLise's early electronic music. Angus MacLise, born March 4, 1938 in Bridgeport, Connecticut, was a percussionist, composer, poet, and calligrapher. He was a member of La Monte Young's Theater Of Eternal Music with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper V Tre, edited by George Brecht and George Maciunas, and was also an early member of The Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street in Manhattan. MacLise played bongos and hand-drums during 1965 with the first incarnation of The Velvet Underground. Although the band regularly extemporized soundtracks to underground films during this era (The Invasion of Thunderbolt Pagoda by Ira Cohen, Chumlum by Ron Rice), MacLise never officially recorded with them. Later in the 1960s, Angus and his wife Hetty traveled around between Vancouver, Paris, Greece and India, finally settling in Nepal. They also had a son, Ossian Kennard MacLise, who was recognized by Rangjung Rigpe Dorje, the 16th Karmapa, as a reincarnation of a Tibetan saint, or tulku, and at age four became a Buddhist monk. MacLise died of hypoglycemia and pulmonary tuberculosis in Kathmandu in 1979, aged 41. He recorded a vast amount of music that went largely unreleased until 1999. These recordings, produced between the mid-'60s and the late-'70s, consist of tribal trance workouts, spoken-word, poetry, drones and electronics, as well as many collaborations with his wife Hetty. In 2008, Hetty MacLise bequeathed a collection of her husband's tapes to the Yale Collection of American Literature.

SR 386CD

DE JAER, BAUDOUIN: Crocus CD (SR 386CD) 15.50
Performed by pianist Fabian Fiorini."Five 'Crocuses' have been selected for this CD. From 2004 to 2007, I reduced the music I wrote between 1979 and 1994 to monophonic strands, sonic DNA, although some of the chords survived. Some of these strands went into sonates curieuses for muted violin, while others turned into 10 crocuses with sustained notes. 'Crocus' is notated in a classical fashion with bars; it is visual music, each musical element a picture. Interpretation is cold, neutral, geometrical, staccato; no crescendo, decrescendo, accelerando or ralentendo." Composer/violinist Baudouin de Jaer studied composition with Philippe Boesmans, Henri Pousseur, and Frederic Rzewski and with Bruce Mather at McGill University (Montréal). He composes for the Korean instruments daegeum, haegeum, gayageum and geomungo, and for orchestras of Korean traditional instruments. In 2010 he resolved the enigmatic music system of Swiss artist Adolf Wölfli and released a CD called The Heavenly Ladder on Sub Rosa. In 2010, Baudouin de Jaer was awarded a prize from the National Gugak Center for his gayageum compositions.

SR 387LP

OISEAUX-TEMPETE: Re-Works LP (SR 387LP) 15.50
Oiseaux-Tempête (Frédéric D. Oberland, Stéphane Pigneul and Ben McConnell) have brought together a brilliant list of friends to remix tracks off of their magnificent self-titled debut album (SR 381CD/LP): Justin Small (Do Make Say Think), Scanner, Saåad, Dag Rosenqvist (Jasper TX), Leopard Of Honour, May Roosevelt, Colin Johnco, Witxes, and Aun. Includes a download voucher with bonus tracks from Machinefabriek, and Richard Knox & Cyril Secq (Astrïd). Transparent sleeve with transparent sticker. Limited color vinyl (crystal-clear blue or red).


TO 094CD

JACASZEK & KWARTLUDIUM: Catalogue des Arbres CD (TO 094CD) 14.50
For the past decade or so, Polish musician Micha? Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. A push-and-pull tension runs deep and constant throughout. Ambient music is rarely so sonically challenging. Jacaszek has recorded for Ghostly International, Miasmah, Gusstaff Records and Experimedia, as well as other labels. This is his first release for Touch. Jacaszek writes: "When poets and writers declare their enchantment for the forms of nature, they often use musical terms as metaphors. Visual artists' creations often resemble graphic partitas when recapturing the rhythms of landscapes. Confirming, in a way, these musical intuitions, composers write great music deeply inspired by birdsong, wind rustling, wave repetitions, etc. Making Catalogue des Arbres, my ambition was to join this broad artistic movement devoted to natural phenomena and find my own way to describe trees: their forms, atmosphere and mystery. I have started with 'open air' recordings, capturing mainly leaves' rustlings -- from different distances, in different locations and weather conditions. This collection of nature recordings was transformed into a kind of 'organic drone' and becomes a main background for instrumental and voice improvisations. My initial inspiration here was Olivier Messiaen's bird song transcriptions for piano -- the composer's work entitled 'Catalogue d'Oiseaux' I have paraphrased on my album. A piano, clarinets, violin and percussion parts, performed by the Kwartludium ensemble, were electronically processed, and afterwards all this electro-acoustic material was turned into a collection of eight soundscapes -- forgotten songs performed secretly by my beloved trees." Composed, recorded and produced by Micha? Jacaszek. Additional composition and all instrumental parts performed by Kwartludium. Voice parts (tracks 1, 8) performed by 441 Hz Chamber Choir. Additional clarinet parts (tracks 2, 3) performed by Andrzej Wojciechowski. Grand piano recorded by Cezary Joczyn at Gdan?sk Academy of Music). Kwartludium are: Dagna Sadkowska (violin); Micha? Górczy?ski (clarinet, bass clarinet), Pawe? Nowicki (percussion); Piotr Nowicki (grand piano). Mastered by Denis Blackham at Skye Mastering. Artwork & photography by Jon Wozencroft.


TEG 74003CD

HOWLIN' WOLF: Change My Way CD (TEG 74003CD) 15.00
"When one talks about the career of Chicago blues legend Chester 'Howlin' Wolf' Burnett, a few distinct time periods come to mind. The traditional acoustic flair of his early formative years, his peak years from the late 1950s to the mid 1960s, his brief and controversial foray into psychedelic music in 1969, and his electric blues return-to-form from the 1970s onward. Precious little acclaim has thus far been paid towards Howlin' Wolf's middle-period material. A year before the famed bluesman's death, in 1975, Chess Records released the album Change My Way as part of their 'Chess Blues Masters Series' of albums (which also featured albums by contemporaries like Little Walter and Muddy Waters). Change My Way offers an intriguing glimpse of Wolf's growth as a musician, and development and coming into his own as an artist, collecting oft-overlooked sides from 1959 to 1963, ending just before the time when Wolf achieved widespread international success. The lineups are constantly shifting from track to track, but feature frequent appearances from great names in blues session musicians as Buddy Guy, Willie Dixon, Jimmy Rogers, Johnny Jones, Sam Lay, and the one constant across all the tracks; Howlin' Wolf's longtime collaborator guitarist Hubert Sumlin. Wolf himself (and his trademark vocal rasp) is a powerful presence across the 15 songs that occupy Change My Way. A must-have for any blues enthusiast that stands proudly among the best of Howlin' Wolf's released material."

TEG 74005CD

KING, B.B.: Lucille CD (TEG 74005CD) 15.00
"Lucille represents early B.B. King at his finest. It's the last traditional blues album before 1969's Completely Well would establish a trademark brand of blues music mixed with lushly arranged string ensembles. By contrast, Lucille's arrangements are sparser, rawer, and simpler. King's own skills with an ES-355 Gibson are on full display, amidst a crew of famed blues session musicians like Irving Ashby on rhythm guitar, Lloyd Glenn on piano, Maxwell Davis on organ, and many more. Guitars squeal, bass and drums rumble, brass instruments blare, and King's powerful vocal howl complements Lucille's winding licks. It's an important piece of blues history that can't be overlooked."


TBG 002-3LP

Travel By Goods collect four acutely contrasting live presentations by Mark Fell, Miles Whittaker, Some Truths (Bass Clef), and Joane Skyler, recorded in Basel, Switzerland, September 28, 2013 for the closing party of Thomas Baldischwyler's "Hot Knobbing" installation at Oslo 10. The record presents 12+ minute tracks from each contributor's set yielding very different results from different approaches. Joane Skyler manipulates chrome cassettes with digital and analog means to make an emphatically scatty, funked-up sound prone to fold and veer off at angles in highly visual geometries, whereas Ralf Cumbers aka Some Truths indulges in pure analog electronics to realize a roiling tunnel of plonging bass and contoured bleeps informed by a trained musical sensibility. On the other hand, Miles (Demdike Stare) uses hands-on hardware and computers to traverse spectral, electro-acoustic techno dimensions, and finally, Mark Fell presents a cascade of razor-sharp electronic rhythms and strobing chords modeled in-the-box with MAX software. 2LP set with insert and printed inners. Edition of 400 copies.



VA: Funny Old Shit: A Trunk Records Sampler - Vol. 1 CD (JBH 052CD) 6.50
Jonny Trunk presents Funny Old Shit, an 18-track compilation of funny old shit from the Trunk archive. "From calypsos sung by Bernard Cribbins and Robert Mitchum to avant-garde French concrète, with stops at post-punk, killer vocal jazz, Radiophonics, early African fusion, Argentinean film music and even some twitchy classical from Glenn Gould, this groundbreaking compilation flies in the face of the current trend for issuing records that, to be honest, are actually quite average and really very expensive indeed for what they are. This is a total bargain, an education and a right laugh. Although some people will actually think it's shit. Bernard Cribbins is a British actor and a god, so Bernard was a great place to start, and can you name any other song apart from 'Gossip Calypso,' featured here, that manages to squeeze in the words 'Oxy Acetylene welder?' No, I can't either. This is followed by modern classical music played on strange sculptures by the prolific team of Jacques Lasry and Bernard Baschet. Their sound is reminiscent of film music by Cliff Martinez, and that's maybe because Cliff has a Cristal Baschet sculptural instrument, too. Next we travel to Argentina for some lovely film music (featuring a very young Gato Barbieri) and then to an early fusion of Africa and America with Guy Warren and Red Garland getting all hip and proto-rap. This is followed by a classic chunk of minimal modern music from 1981 by The Jellies. Next up is the B-side from the first-ever BBC Radiophonic Workshop record, which, incidentally, was produced by George Martin. After this we can absorb some high culture with Noel Coward reciting Ogden Nash's words written in 1949 to accompany the romantic classic masterpiece "The Carnival of the Animals," composed way back in 1886. We then move to a high-point in low culture, and to the world's best worst singer, Leoni Anderson. She starred with Laurel And Hardy in one of their many films, and her one and only album is a terrifying delight. As a lover of very fine vocal jazz, too, I had to throw in 'Naima,' a staggering version of Coltrane's classic. A small piece of educational electronics by Terry Dwyer makes quite a good little plugged-in interlude, which leads us nicely to the main theme for the Jacques Tati classic, 'Monsieur Hulot's Holiday.' Eccentric pianist Glenn Gould then appears with the beginning of his legendary 'Goldberg Variations' recording, and then I realized I seem to be nudging towards interesting classical recordings a bit, which I think is no bad thing. And before you know it, we're back enjoying some proper experimental concrète tape larks. Never one to resist a film star singing, I found it almost impossible to not stick in Robert Mitchum singing, and then I realized when I was writing these notes that that this was the second calypso-based record on this very small sampler, and then I thought that very fact might enhance the idea of the whole thing really being a bit 'shit.' After Bob, we can all enjoy a super-rare recording issued to accompany the 1962 kitchen sink drama A Taste Of Honey. We finish with Yusef Lateef's version of Alex North's sublime 'Love Theme' from the film Spartacus. It's a perfect musical spot where an incredible film melody has met one of the great experimental jazzmen of all time. The results are quite exceptional. So chums, that's Funny Old Shit. The idea is to put together more of these samplers with friends, guests and other groovy collectors, and to draw you in further to the funny old shit musical world that is Trunk Records." --Jonny Trunk


VA: Funny Old Shit: A Trunk Records Sampler - Vol. 1 LP (JBH 052LP) 14.50
LP version.


VA 056EP

QUANTUM ENTANGLEMENT: Acid Thunder/Need You 12" (VA 056EP) 14.00
Quantum Entanglement delves into the misty past. Their cover of Fast Eddie's "Acid Thunder" features Mentrix, who totally gets the kind of New York sluttiness of the original, and brings it right up to date, "Need You" is an entanglement of two very unlikely BFFs. John Lee Hooker and Joey Beltram, featuring Fink. This isn't really a cover, it's more like the offspring of many things, times, and moments. It's as if the grandchild of John Lee Hooker's track dated the nephew of Joey Beltram's track and lived in Neukölln.



BELMONTS, THE: A Go Go CD (CSM 047CD) 15.50
One of the best Mexican 1966 albums is A Go-Go by The Belmonts -- a group who were catchin' up with the Brit and U.S. jingle jangle invasion of the time. "Aprietalo," the opening track of the album (a Spanish version of "Hold Tight!" by Dave Dee, Dozy, Beaky, Mick & Tich) made the band very popular in Mexico, getting them on national TV almost every day. They learned tracks by The Beatles, Box Tops, Dave Clark 5 and even Bob Dylan in their own particular manner and language.


Toño Quirazco's second work of fuelled-up ska music made a massive impact in Mexico with its new rhythm, influenced by some of the biggest stars in the genre at the time such as Byron Lee, Desmond Dekker, and The Maytals, among others. Toño's style was not just a copy of the original sound, but he crossed over with some other tropical influences -- a little bit sped up compared to how it was played in Jamaica, achieving a very unique flavor with the addition of a Hawaiian guitar.


LOS ARAGON: Baile Con Los Aragon CD (CSM 261CD) 15.50
A terrific mambo rock album, the cover of Baile con los Aragon shows the group posing with Latino percussion instruments and electric guitars, which gives you a pretty good idea of what this record's about (we're still trying to figure out that deer in the background, though). The group blends Latin, R&B and classic 50s-style rock 'n' roll with skill and panache and the results are great. A really unique and fun album with an incessant tropical groove. Titles include "Macarena Mambo," "Sin tu amor," "Goofus," "En el mundo," "ABC Boogie," "Borracho," "Ven amor," "Tres veces mia."


MORAN, CHILO Y SU QUINTETO: Trompeta Psicodelica CD (CSM 262CD) 15.50
Though from the psychedelic era, this album's title, Trompeta Psicodelica, is a bit of a misnomer, as nothing on it sounds particularly psychedelic! What this album does offer in spades is incredibly groovy, spirited jazz and R&B tunes played by an incredibly tight quintet. It's infectious, upbeat fun that's sure to please at your next swingin' get together (just make sure you have both tequila and mezcal on hand)! Songs include "Guadalajara," "Mezcal," "Las Chiapanecas," "Alla en el Rancho Grande," "Rayando el sol," "Jarabe tapatio," "Tequila," "La borrachita," "Adiós Mariquita Linda," and "Adiós mi chaparrita."


LOS LOCOS DEL RITMO: Pan Con Mantequilla CD (CSM 263CD) 15.50
If you're reading this, there's a good change you like rock 'n' roll, maybe even love it or live for it. If any of those scenarios is true for you, you will like this album! One of Mexico's greatest rock groups from the mid-'60s, Los Locos Del Ritmo played straightforward, rock 'n' roll en español with youthful vigor and passion. Here on Pan con Mantequilla, they deliver an exciting and groovy set of no-frills, garage-y rock. Songs include hard-hitters like their fantastic cover of "Memphis" as well as "Si te tengo a ti," "El fantasma," "El manicero," "No me trates así," "Cansado de ti," "Me voy pa'l pueblo," and more. Just great.


GRUPO LA JUSTICIA: Grupo La Justicia CD (CSM 264CD) 15.50
Though salsa is not a style often associated with Mexico, you would never know that listening to this album from Grupo La Justicia! Released originally in 1979, the arrangements by José Luís Martínez boast bright horns, tight, prominent percussion and great piano. Fondly remembered as some of the finest purveyors of salsa and son in Mexico in their day, give this a listen and you'll see why. Titles include "Alma llanera," "Solo recuerdos," "El porro," "El cimarron," "Rico melao," "El pato a la olla," "Amigo," "Si sabes bailar mi son," and more.


ORQUESTA COATZACOALCOS: Orquesta Coatzacoalcos CD (CSM 269CD) 15.50
This rare album from 1965 features a fantastic big band mambo sound. The original record's notes describe the album perfectly: "This magnificent LP presents danceable music with the flavor of a provincial orchestra. Here we present the formidable Orquesta Coatzacoalcos, whose sound and stupendous rhythm will please you from the first second. In this volume we've selected the best of Orquesta Coatzacoalcos' danceable repertoire, with a focus on the most popular dance numbers that will ensure that your party or get-together will be a huge success." Enough said!


CALZADO, RUDY: Salsa! En Los Infiernos CD (CSM 270CD) 15.50
An incredibly dynamic performer, songwriter, and bandleader, Cuban singer Rudy Calzado was already a long-time salsa veteran when this album came out in the late '70s on Mexico's Orfeon label. Here on Salsa! En Los Infiernos he turns in a devilishly infectious set of classic, mostly self-penned salsa with spirited vocals, a superb, hot rhythm section, blaring brass, and piano. Truly wonderful stuff.


PECK-SMYTH & OFF: Love CD (CSM 271CD) 15.50
An intriguing mid-'70s rock album from Mexico, Love from the group Peck, Smyth & Off with songs from singer/keyboardist Serge Peck and guitarist/vocalist Jimmy Smyth. Sung entirely in English, this album, though cut in 1976 and featuring many of the stylistic conventions of the era, shows some late '60s/early '70s psych influences and also has a very clear progressive rock influence.


AL UNIVERSO: Viajero Del Espacio CD (CSM 272CD) 15.50
One look at that space-age cover art and you know already you're in for a treat! Mexico's Al Universo was formed by Jorge Reyes, who recorded this album of spacey, largely electronic prog rock in 1976. Viajero del Espacio (trans. "Space Traveler") is an extraterrestrial odyssey performed in Spanish that serves up a cosmic cocktail of textures in the form of guitars, flute, cello, synthesizers, and an assortment of atmospheric sound effects. It's certainly adventurous stuff, boldly going where no Mexican prog group had gone before, but it also shows a pronounced pop sensibility and melodicism.


LOS ROCKIN DEVIL'S: Grandes Hits De Los Rockin Devil's CD (CSM 274CD) 15.50
Los Rockin Devil's were, throughout the '60s, one of the most successful Mexican rock bands, and we have here a concise yet incredibly diverse greatest hits album culled from the material they recorded for the Orfeon label. Los Rockin Devil's achieved their continued popularity by churning out great Spanish-language covers of international (mostly British and American) hits. Here they try their hand at material from massive names like The Beatles' "Let It Be (Ven a mi)," Led Zeppelin's "Whole Lotta Love (Demasiado Amor)," The Kinks' "Victoria," and Creedence Clearwater Revival's "Up Around the Bend (El Café de Amor)." The set starts with their cover of The Beeds' obscure garagey folk-pop gem "Run to Her (Corre tras ella)," and also includes Shocking Blue's "Venus," bubblegum-y pop tracks like "Sugar, Sugar (Azúcar azúcar)," The Clique/Tommy James & The Shondells' "Sugar on Sunday (Dulce sería)," "Looky Looky" by Giorgio Moroder, and a cover of R.B. Greaves' soul classic "Take a Letter Maria (Lleva Esta Carta María)." Stylistically disparate to be sure, but the group pulls off these different styles with loads of energy, which makes this a really entertaining collection.


Dinamo Twist is an incessantly grooving and energetic album from drummer Álvaro López y Sus Grandes Del Twist from 1962. It's also loads of fun! From the back cover of the original record we learn that Álvaro was something of a musical prodigy, starting on the drums at a very early age and playing in jazz combos by the time he was 17. Not sure how old he is on this album, but he looks about 12 in the photo on the back! The album's notes also tell us that when he heard the twist he loved it so much that he decided to make his own group play in that style. Much of the set is instrumental with a handful of vocal numbers as well. It's all very upbeat, direct dance music -- the twist with a Latino touch -- with the driving drums of Álvaro up front in the mix and supported melodically by punchy horns. This is such seriously groovy stuff, it's a shame there aren't more recordings from this group! Includes a fantastic cover of Henry Mancini's "Peter Gun" plus "Dynamo," "El Gallo," "Ya me voy," "Lo mejor," "Siboney," which sounds remarkably like "One Step Beyond" by Prince Buster/Madness, "La Adelita," "Otro tequila," "Muchachos grandes," and more.


GRUPO STA. CECILIA: Baila El Bump CD (CSM 276CD) 15.50
Always wanted to learn to dance the bump? Here's your chance! No? Well, you can still enjoy this absolutely terrific mid-'70s album from Grupo Santa Cecilia. It's a bit of a departure from their earlier stuff, which had more of a pop rock sound. This album, first and foremost, is a dance album and its often downright funky; it is called Bump, after all, and two-thirds of the tracks have the word "bump" in their title! Though there's an obvious deep-funk feel to most of the tracks, the group's pop/rock origins are also evident, and you get some atypical instrumentation for funk songs like the awesome, tinny combo organ, for instance.


LOS LOCOS DEL RITMO: Las Mellizas CD (CSM 277CD) 15.50
Los Locos Del Ritmo were unquestionably one of Mexico's best groups of their era and this magnificent set of rock & roll and surf from 1964 performed in Spanish, proves they could play those genres as well as any Anglo or American combo. Several of the songs here are covers of British Invasion and surf classics like Billy J. Kramer's Merseybeat hit "I'll Keep You Satisfied (Te Amaré Más y Más)," Cliff Richard & The Shadows' rocker "We Say Yeah (Di Que Sí)," as well as Elvis Presley's "Kissin' Cousins (Mi Prima)." Particularly excellent is their cover of "I Saw Her Standing There," here called "Las Mellizas," which means "identical twins" in Spanish. It's every bit as driving as The Beatles' version, with a more interesting plot. The singer meets beautiful twins but doesn't know what to do because he can't make it with either of them since he can't tell them apart! Highly recommended!

VAM 2738205CD

TAMBA TRIO: Brasil Saluda A Mexico CD (VAM 2738205CD) 15.50
Brazil Saluda A Mexico (trans. Brazil Salutes Mexico) is a rare -- perhaps the most obscure -- album from the legendary Luiz Eca's Tamba Trio. Released in Mexico only in 1966 and unreleased anywhere else until much later. A very classy and classic set of fresh and groovy takes on some of the most familiar bossa numbers of the time -- and even though the songs are quite familiar, they come off heavenly-fresh. The CD includes "Corcovado," "Garota de Ipanema," "So Danco Samba," "Berimbau," "Consolacao," "Desafinado," and four more tracks.



BIO RITMO: Puerta Del Sur CD (VAMPI 159CD) 16.50
Blazing a trail by playing some of the hardest-hitting and far-reaching modern salsa for 23 years now, Bio Ritmo have grown into one of the most intriguing and influential Latin dance bands of the last two decades. They are true rebels who have defied being pigeonholed and have helped pioneer a new generation of musicians (aka Nueva Generación) that thrive on the spirit of experimentation that once defined the '70s Latin sound that became known as "salsa." From hipster rock clubs in Brooklyn to "salsa bars" in Cali, Colombia, Bio Ritmo keeps the bodies on the dancefloor with their nitty-gritty, vintage grooves while turning heads with their experimental synth tones, innovative harmonies and thought-provoking lyrics. They convert the skeptics who only know the overly commercialized, tacky veneer of Latin music and challenge the purist who hitherto believed the genre died during the '90s. They have a fierce, almost punk-rock DIY ethos that pervades their attitude and style, releasing their records either by themselves or on indie and hip-hop labels like Merge, Fat Beats and, Electric Cowbell. They cite Stereolab and Brazilian psychedelic music as influences in the same breath as name-dropping Ray Barretto, Roberto Roena and classic Fania records. It's no surprise that their new record, Puerta Del Sur, is presented on Vampisoul, a Spanish label whose mission is to resurrect "lost" Latin music. The title of the record, Puerta del Sur, which translates as "Door to the South," addresses Bio Ritmo's unique and seemingly incongruous placement in the locale of Richmond, Virginia. It's a cosmic coincidence that has nurtured the group for its entire career. "It's where we're from. We're a southern band," Puerto Rican-born lead singer and composer Rei Álvarez posits. Each track on Puerta Del Sur takes the listener on a different journey through Afro-Cuban and other rhythms, mixed with far-reaching harmonic movements blended with vintage keyboard sounds, analog synthesizer surprises and sophisticated, stylized horn arrangements. '"Codeína," the final track, stands out as the most unique and innovative song on the album. Written in the aesthetic of a Latin bolero-meets-1960s Egyptian-classical, it features a string section, Farfisa organs and various Arabic percussion instruments. It is a collaboration between Bio Ritmo's main writers Giustino Riccio, Álvarez and pianist and composer Marlysse Simmons, who cite inspiration from their obsession with '60s and '70s Arabic, Greek and Turkish music. Bio Ritmo are true Latin music visionaries. The group's innovative and unique approach to the genre puts them at the forefront of the "new generation of salsa music."

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