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Forced Exposure New Releases for 6/29/2015

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New music is due from S S S S, Slum Village, and The Senior Allstars, while old music is due from Anrew Liles, Karin Krog, and Lord Flea & His Calypsonians.


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ABAYOMI: You Sleep, They Live! 12" (ABAYOMI 001EP) 14.00
"Techno is a sound of resistance. Resistance is a struggle to survive. Survival is an essential component of living. We are here, alive, living, breathing, and thinking. 'Disagree' is a statement of nonconformity. 'Stars' is a statement to put our lives into the context of the universal. Create, contribute, and celebrate our music."



TOURE, AMARA: 1973-1980 CD (AACD 078CD) 17.50
"Latin music, is it really foreign to us Africans? I don't think so. Listen to the drums, to the rhythm. It all seems very close to us -- it feels like it's our own culture" --Amara Toure?. In late-'50s Dakar, Senegal, producer Ibra Kasse? and his Miami nightclub spearheaded a movement blending the Cuban styles of son montuno and patchanga with local folk traditions. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound, brought a breath of fresh air into Dakar's nightlife, and attracted numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toure?, from Guinea-Conakry. In 1958, Kasse? invited Toure? to join Le Star Band de Dakar, led by Mady Konate?, a group that was immensely important for the development of Senegalese modern music. Toure?'s talent on percussion was undeniable, but it was his raw, powerful voice and his interpretations of Cuban music that captivated the producer. In 1968, after ten years with the Star Band, Toure? headed to Cameroon and formed the Black and White ensemble, with which he performed live through the late '60s and early '70s and released three singles between 1973 and 1976. These singles, included as the first six songs on this compilation, fully epitomize and distill the essence of what Toure? had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered -- the perfect foundation for his Cuban interpretations. In 1980 Toure? went to Libreville, Gabon, to team up with the powerful Orchestre Massako, with which he recorded Accompagné Par L'Orchestre Massako. This LP has since gained a reputation as one of the very best African albums, and its complete contents are included here as the compilation's last four tracks. These ten treasures, representing Toure?'s complete discography, have been carefully remastered from original session tapes and vinyl records, and are reissued here for the first time. After the release of his LP in 1980, Toure? seems to have disappeared. Apparently he was last seen in Cameroon but his whereabouts are unknown at the time of this release. His music, however, is undeniably alive.


TOURE, AMARA: 1973-1980 2LP (AALP 078LP) 27.50
Deluxe gatefold double LP version. 140-gram vinyl; four-color screenprinted cover; includes screenprinted poster and download code. Limited to 1500 copies.


AU 5056CD

LEMON PIPERS, THE: Jungle Marmalade CD (AU 5056CD) 17.00
Distancing themselves from the bubblegum with which they're most associated, on their second and final album -- originally issued in the summer of 1968 -- this chart-topping Ohio quintet incorporated elements of psychedelia, garage rock, and sunshine pop to create a rich, satisfying brew. It makes its long-awaited CD debut here, complete with digitally remastered sound, detailed background notes, and rare images.

AU 5057CD

H.Y. SLEDGE: Bootleg Music CD (AU 5057CD) 17.00
This Tampa, Florida-based band formed at the dawn of the 1970s. Featuring Richard "Dickie" Porter (formerly of the superb Wilkinson Tri-Cycle), and Billy Jones and Monte Yoho (later to play with Southern rock legends Outlaws), their sole album spans hard rock, psychedelic pop, and gentle ballads. Originally issued in the summer of 1971, this is its first-ever reissue. Digitally remastered sound; includes detailed liner notes and images.



WEN: Swingin/Facta Remix 12" (BMBL 001EP) 14.00
Badimup inaugurates its series of limited Black Label releases with a special edition reissue of Wen's "Swingin," in response to ever-increasing demand. Accompanied by a stone cold remix from Facta on the flip and pressed on translucent violet vinyl.



TIJN, J.: MOR 12" (BDN 005EP) 17.00
"This release captures kicks, rhythms, and snares -- only to drag them kicking and screaming into a metallic underworld. In J. Tijn's echo-sphere, there are only allusions to the status quo of sound and beats, and never a full-fledged embrace of the conventional. On Side A's 'Kanon V.I.P.' a grizzly digital war is left to play out between both kick and snare, with grainy battle lines drawn around upbeat and downbeat. Survivors of the conflict are rewarded with a groove reminiscent of grime, if only the genre had been reborn in a dystopian future. Side B opens with a roughneck beat on 'MOR' before turning its hand into a fist and effectively destroying its own image. The groove lives through this barrage of sound, but as a heavy and dark undercurrent just strong enough to remind you where J. Tijn's roots are. 'Shy' lures you in with a rounded electro kick, before glutting the rhythm and ushering in a wall of sound. A snowstorm of screaming drum samples proceed to surround you: you may have been here before, but you are somewhere rhythmically unseen. Embedded in all of these tracks are perhaps a sign of the times: the things that used to be seen as normal have now changed and mutated."



BIOSPHERE: Microgravity 3LP (BIO 003LP) 38.50
Triple LP version. A remastered version of Biosphere's debut album Microgravity with a bonus album of previously unreleased tracks. From Wikipedia: "Geir Jenssen began releasing his music as Biosphere on obscure Norwegian compilation albums. His first Biosphere releases were the 12-inch single The Fairy Tale and the album Microgravity, both of which were rejected by SSR as unmarketable. Microgravity was released in 1991 on the Norwegian label Origo Sound, and saw wider release via the R&S Records subsidiary Apollo in 1992, to much critical acclaim." All tracks written and produced by Geir Jenssen. All tracks on sides E-F are previously unreleased. Recorded in Skippergata 42, Tromsø, Norway, between 1990 and 1991. Mastered by Stefan Betke. Artwork by Philip Marshall.



LENZ/SANDMAN, ADRIAN: Jab Jab Remixes 12" (BLNK 007EP) 17.00
"The inaugural Blank Mind -- a jab jab carnival banger from Grenada -- revisited by Shake Shakir, Harmonious Thelonious, and Alan Johnson."



In keeping with the freer releases in their catalog (Sky Needle, La Ligne Claire, Minitel), Bruit Direct Disques presents 25/12/2013, a live album by Japanese group ???Ulithi Empress Yonaguni San, often referred to by their nickname, Mamitori. Savagely DIY and autonomous, Mamitori have released only a handful of copies of a privately pressed record, while lead guitarist Aritomo has put out an abundance of self-produced acid-folk records, hand-assembling sleeves for every copy. David Keenan compared the band's 2012 album ??? Fairy Tail Chimidoro Phenomenon Satan Inferno Dress Ha Cattlemurarete Yggdrasill ?Wa Sasaru to "Isn't Anything being creepy-crawled by Idiot O'Clock or the early Rough Trade singles as curated by Jutok Kaneko and Reiko Kudo." The six tracks offered here (drawn from that 2012 album) were recorded in public and are reproduced accurately, with silences and tuning included at the express request of the band. Guitars are skinned alive, twisted in counterpoint, or played with a cheesegrater; the frail vocal is as exhausted as it is sweet; the trumpet plays its dying breath; the bouncy rhythm section offers a skeleton of rigor; psych-rock is reduced here to fluff, with only a scraggy trunk of the spinal column remaining. Mamitori follows the traces of the ancestral giants of '70s avant-rock (Hendrix, Velvets, Captain Beefheart, Henry Cow, Can, The Red Krayola), except it's an odd post-punk mess that spits from their amps. Accident is king with Mamitori, and their psychotic free rock, loaded with open-tuned guitars, sometimes feels like shreds of sound; limping and out of phase, played obliquely, their music is at once absolutely diaphanous and indecipherable. Nothing is ever in place and everything cracks up and frays; it's an atonal construction that threatens to become melodious at any minute. Ultimately, Mamitori hides a form of twee pop unwittingly battered by no wave, every chord of which could be a blank bullet. One might mistake the sound for My Bloody Valentine violently colliding with The Shaggs, The Pastels attacked by Mars, or Pere Ubu holding paws with Swell Maps. Is a "No Tokyo" emerging decades after No New York? This live set, in front of a ghost-like public, serves as a hint of this Japanese band's profound peculiarity, joyfully perplexing everyone even further by citing alternative j-rock supertars L'Arc-en-Ciel as an influence. Mamitori will have you humming songs you hadn't noticed were there.


BB 184-1LP

RICHARD FEARLESS: Kollektion 04A: Bureau B Compiled by Richard Fearless LP (BB 184-1LP) 25.00
Part 1 of 3 LP versions. Tracks by: Phantom Band, Günter Schickert, Faust, Ougenweide, Riechmann, Asmus Tietchens, 39 Clocks, Der Plan, You, Sølyst, and Moebius Plank Neumeier. Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music, ranging from pop to avant-garde. The label has amassed an impressive catalog of reissues and new productions, including electronic music classics from the 1970s and early 1980s popularly classified as krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, and Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created the Kollektion series. Kollektion 04 is curated by Richard Fearless, who listened his way through the label's entire (!) archive and now presents his own very personal selection from the catalog. Richard Fearless is best known as the leader and founder of British band Death in Vegas. German electronic music can be heard as an influence on many of his albums; indeed, even in his song titles, like "Sons of Rother." Richard Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher, and Hope Sandoval and has developed into a successful producer and remixer. "To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland,' whether in the future with bands like You and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn't draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust's 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools.

BB 184-2LP

RICHARD FEARLESS: Kollektion 04B: Bureau B Compiled by Richard Fearless LP (BB 184-2LP) 25.00
Part 2 of 3 LP versions. Tracks by: Moebius & Beerbohm, Thomas Dinger, Moebius, Gregor Schnitzler, and Kreidler.

BB 184-3LP

RICHARD FEARLESS: Kollektion 04C: Bureau B Compiled by Richard Fearless LP (BB 184-3LP) 25.00
Part 3 of 3 LP versions. Tracks by Cluster, Roedelius, Qluster, Phantom Band, Pyrolator, Automat, Roedelius, Moebius & Renziehausen, and Faust.



DEETRON: The Believer EP 12" (CHARACTER 003EP) 12.50
Deetron presents the third installment on his Character label, melding the aesthetics of rave, the drive of techno, and the swing of house. "The Believer" is a direct homage to the classic sound of Detroit and Chicago, a tuff jam full of swing, clout, and hard groove. Fluctuating melodic noise sits between staunch, punchy beats before hollowed-out bass timbres pulse in polyrhythmic directions. Deetron teams up with Sebastian Kramer on "Dexterity," pitching up the tempo and stepping back from the bounce and major tonal chord hooks of the title-track for a Berghain-suited minimal romp with unnerving basslines and synth arpeggios.



REBEKAH: Distant 12" (CLR 088EP) 14.00
Rebekah follows her CLR debut, the 2013 Cycles EP (CLR 067EP), with Distant, veering toward the deeper side of her repertoire, with analog synths and sequencers. On "Distant," she opts for a more broken beat and uses a vast palette to create a forward-moving soundscape that opens up with darker pads. "Distant Memory" shapes sounds from "Distant" into a down-tempo, slightly experimental piece that's also warm and inviting. "Synchronicity" is a full-on techno groove workout, featuring Rebekah's signature kicks with an elegance that complements the "Distant" pieces. Sterac's remix of "Distant" is a groovy exploration; modern techno at its best.



MZ.412: Hekatomb CD (CSR 172CD) 16.50
Hekatomb is the manifestation of MZ. 412's monumental performance at Cold Spring's 21st Anniversary at The Garage, London, March 2011. The fortuitous congregation on that curs'd evening bore witness to the band's first ever complete live line-up: Nordvargr, Drakh, and Ulvtharm. Powerful, pounding industrial; desolate drones; dense electronics; grim, nefarious rituals; reigned over by the malevolent intonations of Nordvargr. This satanic, blackened ritual from the creators of black industrial will evolve from memory, to history, and into legend. Hekatomb features different versions and interpretations of MZ. 412 material spanning 23 years. Presented in a six-panel digipak featuring images from the ceremony.


SOL: Where Suns Come to Die CD (CSR 186CD) 16.50
Where Suns Come to Die is an exploration of growing older; the disappointment that follows and the omnipresent dissociation from the world and life as such. In a mixture of sampled classical songs from the beginning of the 20th century and recorded instruments such as reed organ, horns, and strings, the music reflects on nostalgia and a feeling of disconnection from the modern world. Holding on to what last shreds of beauty still linger, Where Suns Come to Die is a reminder that we all must offer ourselves to the soil. Features Thomas Bøjden of Die Weisse Rose on vocals.


IRON FIST OF THE SUN: We Can Yield Our Own Footsteps LP (CSR 204LP) 22.00
LP version. In a scene dominated by outsiders, Iron Fist of the Sun still seems to stand alone. We Can Yield Our Own Footsteps sees IFOTS maintain his exemplary, melancholic, cold industrial, with sinister frequencies and tumultuous, mutilated vocals. The album utilizes new recording methods and extraordinary, intoxicating song arcs that will leave the listener still hearing and absorbing the album long after it has been filed away. "Follow no-one... yield your own footsteps." For fans of Sutcliffe Jügend, Prurient, Consumer Electronics.


TUNNELS OF AH: Thus Avici CD (CSR 206CD) 16.50
"Firstly, the punishment is meted out day and night, kalpa after kalpa, without a moment's interruption or relief. Thus Avici." Thus Avici is the second album from Tunnels of ?h, led by Stephen ?h Burroughs (Head of David). The title references "the sutra of bodhisattva Ksitigarbha's fundamental vows," a section that Burroughs reads daily in homage to Ksitigarbha, to whom Burroughs pledged "entreaty and supplication" under solemn tantric oath in 1995. Tantric Buddhism, Christian mysticism, and personal magick make up the subject matter for Thus Avici. While traces of 2013's Lost Corridors (CSR 184CD) can be heard, Thus Avici is a harder, more focused offering. Shards of distorted noise, ritual drums, caustic drones, and haunted vocals make Thus Avici a dark, hallucinatory swoon into the hinterland of the Tunnels of ?h. The dull blue light of brute-world calls.



VA: Brand New Wayo 2LP (CRZR 1001LP) 21.00
2015 repress. Subtitled: Funk, Fast Times and Nigerian Boogie Badness 1979-1983. "With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria's oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country's prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afro beat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as 'disco,' but has since been recognized as its own unique genre retrospectively dubbed 'Nigerian boogie.' A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music." Gatefold sleeve.



MORRICONE, ENNIO: Cosa avete fatto a Solange? LP (RED 215LP) 25.50
One of Ennio Morricone's greatest giallo scores was composed for Massimo Dallamano's 1972 film Cosa avete fatto a Solange? (What Have You Done to Solange?). This complex soundtrack features moody instrumentals, unusual rhythms, and sharp horns, and it includes some surprisingly playful pieces of music as well. This score is one of Morricone's most experimental and it's also one of his darkest, which makes it nicely complementary to Dallamano's deeply disturbing film. This is the first reissue of the complete version, including alternate versions of the tracks. Pressed on clear red vinyl. Limited to 1000 copies.


MOGGI AKA PIERO UMILIANI: Omaggio ad Einstein (Deluxe) LP (RED 303C-LP) 25.50
Deluxe LP edition pressed on yellow vinyl and presented in custom "big hole" jacket; limited to 500 copies.


MOGGI AKA PIERO UMILIANI: Omaggio ad Einstein LP (RED 303LP) 23.00
Omaggio ad Einstein has a special place among the many albums of electronic music composed by Piero Umiliani. In this homage to the German physicist, Umiliani subverts the rules of space and time in music and creates an album with 23 compositions, all of them less than two minutes long, instead of following the traditional 7-10 tracks usually present in an LP. This is an original and experimental album, with a peculiar and epic catchiness, tied to Piero Umiliani's masterful use of synthesizers and great experience in the field of soundtracks. The themes of Omaggio ad Einstein take us to sidereal spaces, wandering across the universe with their clear sounds and wonderfully creative titles ("The Celestial Vault," "Nuclear Valkyries," "Galactic Abyss"...). This is the first reissue of this album, which was originally released in 1976 by Umiliani's Omicron label.


ZEITC 018-19CD

Epic in scale, static, timbre, and stillness, Null is a vast and profound musical project that Luigi Archetti has been pursuing over a long period. His musical research is not about "null" (the German word for "zero") as a mathematical object, as a real number. Instead, the term "null" is used here as a metaphor to describe a state of pausing and anticipatory waiting. The music of Null is characterized by static sounds, drones, and their overlapping and layering. The sound surfaces turn into acoustic "sluggish material" which flows slowly through time and gradually transforms itself. It is a constant gliding, a constant mutation of sound structures. Attempts to discover clearly defined melodies, rhythmically ordered structures, or even beats are to no avail. A universe of sound particles diffuses in the foreground of the musical atmosphere, whereby the sounds do not provide any reference whatsoever to a possible location. All the sounds in Null are sourced from e-guitars, which are in part extensively defamiliarized through digitalization and thereby redefined. The e-guitars (frequently in scordatura tuning) are used to this end as suppliers of sound. The acoustic sedimentation of the diverse sounds and sound structures results in a dense and filigreed sound fabric which develops a pull-effect on the listeners. It is an invitation to travel in uncharted regions, a hypnotically captivating journey through timeless and minimal acoustic events. Null IV-VII, presented as two double-CD sets in an outer box, and follows Null (ZEITC 003CD, 2010) and Null II/Null III (ZEITC 009CD, 2012). All seven CDs are available in a special CD slipcase box as Null I-VII (ZEITC 3-9-18-19).


DB 159LP

PYRAMIDS, THE: Otherworldly 2LP (DB 159LP) 21.00
2015 repress. Gatefold double LP version on 180 gram vinyl. Founded 40 years ago in 1972, The Pyramids release their first album in over 35 years. They released three albums before splitting up in 1977 -- albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early '70s. There was a highly energetic reunion in 2007, boosting their trademark sound of massive Afro-centric drums and percussion meeting ecstatic group improvisations. The Pyramids' extensive European tours in 2010/2011 turned out to be a great triumph: mesmerizing audiences at various clubs and festivals all over Europe with a new sound and a new band configuration featuring founding members Idris Ackamoor and Kimathi Asante, original member Bradie Speller, and special guest artists Kenneth Nash and Kash Killion. The collective received rave reviews and standing ovations in every city they played in. They also blew Gilles Peterson's mind at Worldwide Festival and the Worldwide Awards, where The Pyramids' spiritual and musical leader, Idris Ackamoor was honored with a Lifetime Achievement Award. In summer 2011, The Pyramids were recording tracks for a new double album (the first since 1976) at the studio of Krautrock legends Faust in South Germany. The new album contains 14 never-before-released tracks. The Pyramids' signature sound is still percussion-driven -- no surprise with Nash and Speller being two of the most masterful percussionists on the planet. Another signature style of The Pyramids is the "two bass" concept, combining Kash Killion's acoustic bass with electric bass by Thomas "Kimathi Asante" Williams. Idris Ackamoor plays his alto sax in an absolutely astonishing way, sometimes simultaneously performing tap dance to create percussive rhythms, suggesting a "post-be-bop Prince" as The New York Times called him. The Pyramids trip out into unexplored territory of spontaneous improvisation, sometimes trancing like off to an outer/inner-space journey. The Pyramids were world music even before the term was coined back in the early '70s. They use a battery of ethnic instruments such as mbira, calypso boxes, Russian zither, West African bolong, Egyptian sensemia harp, pygmy whistle, etc., using them in a manner quite otherworldly.

DB 165LP

PYRAMIDS, THE: Birth/Speed/Merging LP (DB 165LP) 21.00
2015 repress. On 180 gram vinyl. Birth/Speed/Merging, originally released in 1976, represents the San Francisco Bay Area era of the band. Relocating from Yellow Springs, Ohio in 1974, The Pyramids quickly met other musicians in the thriving San Francisco Bay Area music scene. "The Pyramids, a criminally under-recognised spiritual jazz collective, were birthed at the dawn of the 1970s in Ohio, and included saxophonist Idris Ackamoor, flautist Margo Simmons, bassist Kimathi Asante and drummer Donald Robinson. Delving deep into a world of pan-African rhythms and melodies, they combined them in novel ways with the psychedelic modal jazz simmering in America at the time. The group released three private-press records in the US throughout the 70s, highly regarded by collectors, which consistently fetched incredibly large sums of money." --


EB 107LP

SENIOR ALLSTARS, THE: Dub from Jamdown - Darker Than Blue Conducted By The Senior Allstars LP+CD (EB 107LP) 22.00
LP version; includes CD. Limited to 500 copies. "We were inspired by that brilliant release Darker Than Blue: Soul From Jamdown (2001) (on Blood & Fire from Manchester in cooperation with PK in London) and felt compelled to perform this beautiful gem in a dub version..." In spring 2014, when The Senior Allstars were asked by the Hamburg-based dub label Echo Beach to record their interpretation of an existing release, everyone involved assumed that the results would be good. What absolutely no one expected was that the album would be so incredibly bursting with fresh ideas. Dub from Jamdown is based on the compilation Darker Than Blue: Soul from Jamdown, a collection of reggaefied versions of classic soul tracks, featuring the Jamaican vernacular and pop style, that was enthusiastically lauded by both the press and reggae fans. There was no question -- it was a product of the zeitgeist; old soul hymns treated to a reggae makeover that instilled a new veracity in the originals. Unfortunately, the series was never continued. More than ten years later, in 2014, the mind behind the Echo Beach label, Nicolai Beverungen, had a vision of taking the next -- the third -- step along this path. "From the beginning it was clear to me that I wanted an instrumental band to do the job, and the venerable Senior Allstars, the leading lights in their class, were my top pick," says Beverungen. The band moved into the studio in summer 2014 for a few days. The results are more than breathtaking; the songs drip from the speaker membranes like honey, bringing in the sun, warmth, and happiness, very much in keeping with the original songs -- although the lyrics may have been written with other things in mind. The dub remake presented by The Senior Allstars breaks all previous dimensions and conventions set by the history and spirit of this legendary album. The quartet creates an original, collective, improvised, and organic live dub that is in the tradition of the original songs and with new versions that fully deserve to be mentioned in the same breath as the originals.



AND: AnD RMX 01 12" (EDLX 043EP) 14.50
With 2014's Cosmic Microwave Background (EDLX 038CD/LP), AnD delivered a record that fidgeted restlessly between a bleeding dancefloor and more airy machinist musings. This is the first part of a two-part remix EP (preceding EDLX 044EP) featuring a carefully curated cast from techno's outer rim. Speedy J and Lucy as Zeitgeber turn in a polar rework of the album's eerie, soothing closer, "The Surface of Last Scattering." Sleeparchive and O/H (the union of David Foster of Huren and Teste and Orphx's Richard Oddie) both plump for "Power Spectrum," one of AnD's typical sledgehammer works.



D-KNOX: Out There (Dan Curtin Remix) 12" (EPM 011EP) 12.50
EPM Music follows Shaker/Ritual by Robert Hood/Floorplan (EPM 010EP, 2015), with an EP featuring two other legendary figures of electronic music. Sonic Mind's D-Knox delivers two tracks with Metamorphic's Dan Curtin on remix duties. "Out There," with its rotational, stippled groove, and "Speak So They Listen," with its funked-up stomp, are pure electronic delights, bearing all the hallmarks of D-Knox's musical journey and sonic expertise. Dan Curtin's remix of "Out There" is a perfect complement to Knox's original; Curtin's signature style shines through with a tough drum line and sweeping touches.



BURKETT, JOSHUA: Gold Cosmos LP (FTR 196LP) 16.50
"This is the third album recorded by Joshua Burkett. The first, Owl Leaves Rustling, was returned to life by Spirit of Orr. Its CDR follow-up, Life Less Lost, was recently retrieved by Golden Lab. Now it is time for Gold Cosmos to once again bask in the sun. Initially released in 2001, Gold Cosmos (a title I always thought sounded like a Robbie Basho bootleg) featured performances by people like Dredd Foole, Matt Valentine, Ben Chasny, Teri Morris, PG Six, Chris Corsano, and Noah Wall, which was the world's first real evidence that Burkett was not operating entirely in a vacuum. Prior to this Joshua's work seemed quite hermetic, although those few who knew of his recorded legacy would tell you otherwise. The album still sounds amazing and revelatory today. The music proudly wears the fingerprints of a vast array of outsider artists from around the globe who created their own weird universes in the guise of 'folk music' -- from Dave Bixby to Dana Westover, Perry Leopold, Ed Askew (with whom he collaborated), and various other freaks. These impulses were run through deep knowledge of UK 'acid folk' (ISB, COB, and onward) and you end up with a brilliant and unique alloy. This is the kind of deep knowledge you only acquire by haunting record stores for a long time, but Burkett never falls prey to checklist-thinking or doing the obvious. His creations are fully his own and they wail in the softest way imaginable. Prepare for a real trip" --Byron Coley, 2015. Limited edition of 500.


GET 51308LP

BOOGIE DOWN PRODUCTIONS: Sex and Violence 2LP (GET 51308LP) 26.00
"Boogie Down Productions was one of the most important hip-hop crews of the 1980s and '90s, and are rightfully revered by both fans and scholars. First exploding out of the South Bronx in 1986, the group created an amazing mix of raw power and hyper-intelligence, and gave the world multiple classics throughout the late '80s, under the BPD moniker, even after losing DJ and chief producer Scott LaRock to gun violence in 1987. For reasons unknown, the group's early 1990s output -- which also includes Live Hardcore Worldwide and Edutainment -- lost some luster in the eyes and ears of fans. But this wasn't KRS-One's fault. The legendary MC never faltered in bringing true intelligence and a forward-thinking stance to the rap world, even as derivative gangsta rap took over the music scene on the whole, in the wake of N.W.A.. 1992's Sex & Violence, the last album made under the Boogie Down Productions name, is a perfect example of an underrated classic, and fans will appreciate it getting new shine here, to correct its lukewarm reception upon its initial release. Produced by KRS-One and Pal Joey, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. Back on vinyl and ready for another (or, for some, first) listen, fans of old-school-done-right classics have no excuse this time around."

GET 56029

CLIPSE: Lord Willin' 7x7" Box (GET 56029) 52.00
"This limited edition issue of Lord Willin' features seven 'big hole' 7"s on white vinyl covering all 13 tracks in the original album sequence, plus a bonus remix of 'Grindin'.' The vinyl is housed in a plastic case featuring the original album art and each 7" is housed in a mini Star Trak die-cut jacket -- replicas of the label's original 12" sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world -- 'we are not the same' (as rapped by Malice on his opening verse on 'Cot' Dam'). Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album."


GR 107EP

KLINKENBERG, ROLAND: Construct 12" (GR 107EP) 14.50
Exclusive four-track sampler EP released in advance of Roland Klinkenberg's Construct album, which is included via a download code with this release. Taking influence from music, art, and culture from across the globe, Klinkenberg has amassed a production catalog that translates to more than 100 releases on leading labels like Global Underground, Perfecto, and Fresh Food. Construct eloquently marries techno with a deeper dub sound; this sampler includes the previously released and heavily supported "Construct" and "Yani" alongside a stunning pair of album cuts: the dusky "Nuages" and the sun-drenched "NeverSleeps."


HG 1502LP

S S S S: Autopoiesis LP (HG 1502LP) 28.50
Following the successful 2014 tape debut, Administration of Fear, Samuel Savenberg presents the first vinyl release from his highly acclaimed industrial/electronic project S S S S. It immediately becomes clear to the listener that this is no light fare; a distorted beat mercilessly shatters layered vocal samples at tenacious intervals. The term Autopoiesis is not to be understood in the vein of Luhmann's systems theory, but refers instead to its biological meaning -- the sheer self-preservation of life. Found-footage vocal samples of despaired souls and manically impelling beats bear witness to several forms of the struggle to preserve life. Passages of claustrophobic ambience are too urgent and erratic to give the listener any respite, though the epilogue, "Identität III," seems almost conciliatory in its far-reaching expanse. S S S S performs his unique form of industrial music in clubs from Milan to Berlin and Moscow. Fans of Throbbing Gristle, SPK, or Haus Arafna can put their minds at ease; another generation of uncompromising artist is here. Recorded December 2014 and January 2015. Pressed on 180-gram vinyl.

HG 1503LP

LILES, ANDREW: Mother Goose's Melody: Or Sonnets for the Cradle 2LP (HG 1503LP) 36.50
10th anniversary double LP edition of the 2005 album, previously available only on CD. Includes the previously unreleased 23-minute track "Sensory," taken from the same recording sessions as Mother Goose's Melody. All compositions written, played, recorded, engineered, produced, and mixed by Andrew Liles. Features guest musician Siôn Orgon from Thighpaulsandra's group. Narration by Alexander Thynn, 7th Marquess of Bath.



NACHTBRAKER: Le Troubadour EP 12" (HEIST 011EP) 14.00
180-gram vinyl. Nachtbraker returns to Heist following his 2014 Gute Laune EP (HEIST 004EP) with another set of his dreamy, laid-back sound filled with lovely textures, rolling synths, and always interesting and evolving arrangements. Whether it's "Dark Roast" (bonus points for the vocal, hi-hats, and that bassline), the haunting electronics that meet sugar-sweets pads on "Gurl," the marching-band-triplet hi-hats on "Le Troubadour," or the insane collection of elements working together on "You're Out of Your Element," it's all equally deep, energetic, and extremely well-crafted.


HH 001LP

DAVIS, MILES: Fillmore West 15-10-70 2LP (HH 001LP) 31.00
1970 was a turning point for Miles Davis, and it proved to be the most consistently intriguing year of his decades-long career. Davis had previously performed exclusively in jazz clubs and festivals, and Dave Holland, when he arrived from England in 1968, noted that he was "shocked at how few people were coming to Miles's concerts." But by the beginning of 1970, in conjunction with the April release of Bitches Brew, Davis began appearing at rock venues, sharing the bill with established rockers like Steve Miller, Grateful Dead, and Neil Young and often playing to audiences of thousands. His appearance at Bill Graham's Fillmore West on October 15, 1970, highlights the transitional phase in Davis's career, with his septet following a relatively consistent set list in order to provide a cross-section of his repertoire to a young and relatively unfamiliar audience. In hindsight, this was an important move, and an acknowledgement of the reality that this was the demographic Davis would need to capture if he were to remain both fresh and relevant. This performance was rapturously applauded by a fresh audience, fully endorsing Davis's profound ability. Hi Hat presents the complete KPFA-FM radio broadcast of this performance, a tribute to the iconic jazz musician that portrays the depth and diversity at work at such a vitally important point in his career. Played by Miles Davis: trumpet; Gary Bartz: soprano and alto saxophones; Keith Jarrett: electric piano and organ; Michael Henderson: bass; Jack DeJohnette: drums; Airto Moreira: percussion; and Juma Santos: percussion. Pressed on 180-gram vinyl. Includes insert with analytical liner notes and photos. Remastered sound.



HNS-X: Towel-Dance-Department 12" (HNS X2-EP) 14.00
The notorious HNS-X strikes back with two bangers. If you like good, plain club food without added fancy go for it. If you like it basic, juicy, and straight-to-ze-point go for it. You like basslines with a ravey touch? Go for it. You know what: go for it anyway. Unlimited vinyl only. What's your name darlin?



VA: Shangaan Electro: New Wave Dance Music From South Africa 2LP (HJR 052LP) 20.00
2015 repress; 2LP version, housed in a radiant full-color gatefold sleeve. An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto (an urban area of the city of Johannesburg in Gauteng, South Africa), recorded between 2006 and 2009. From his small home studio in Soweto, Nozinja (aka Dog) sells more than 50,000 records a year (DVD, cassettes, CDs) -- without iTunes, without digital distribution. This is hyper?local music, all of it still considered traditional, all of it marketed through Shangaan radio and newspapers to a relatively small set of people who live between Johannesburg, Limpopo and Mozambique. Besides Dog himself -- or rather Zinja, Dog's performance name -- his label roster includes BBC, Tiyiselani Vomaseve, and Dog's famed mask?wearing, clown?dancing group, Tshetsha Boys. Dog often goes to the dances to scout for new talent. That's where he found Tiyiselani Vomaseve, two sisters who perform together as one of the most popular Shangaan traditional groups in South Africa...the real test comes every Sunday in Soweto. Groups like Tiyiselani Vomaseve and BBC compete regularly for the crowd's favor. "You must be prepared to see the fastest dance ever," Dog declares. The dances are wild, with films of them attracting more than half a million hits on YouTube. Shangaan disco ran at 110 BPM. Dog's music is around 180 and it's getting faster. Yet the lyrics seem to run counter to this rapidity. They read like African soap operas, tied up with domestic matters and a yearning for the slower life. This is country music. There's something distinctive in this Shangaan perspective: they are one of the more rural and traditional groups in the wealthiest African nation, yet "tradition" to them can also be living, electronic and nuanced. Just as Dog samples American phrases in his songs, his videos cut in shots of white joggers on a spring day, a foggy lakeshore reminiscent of Wisconsin, even a corporate office space -- mundane yet exotic images which become intriguing takes on the modern South African dream. Instead of African music becoming Americanized and re?framed for the global market, Dog's productions do the opposite. American phrases and foreign images become samples in his collage, in his traditional context. This album is the first release of its kind outside South Africa. Here is Dog's music as?is.


HS 1012CD

JENNINGS, WAYLON: Grand Ole Opry Nashville TN CD (HS 1012CD) 17.00
In the late 1970s, Waylon Jennings had ridden the crest of the outlaw movement to become a country music superstar. On this WSM Nashville broadcast of an October 12, 1978, performance at the Grand Ole Opry, he sang many of his biggest hits of the decade, including the one that had just topped the country charts, "I've Always Been Crazy." Other highlights include his solo version of his #1 duet hit with Willie Nelson, "Mammas Don't Let Your Babies Grow Up to Be Cowboys," and his cover of Neil Young's "Are You Ready for the Country." The broadcast is presented here in its entirety, with digitally remastered sound and background liners.



WATSON, VINCE: Archives Volume 1: Fragments of Machine Soul 12" (AERA 012EP) 14.50
Vince Watson presents a collection of tracks from his peerless archives. All were produced in the late '90s and early '00s. "Fragment III" was released under his V-Phorms alias on the Native label in 2003, but the other three tracks are never-before-heard gems. Watson, of course, has been releasing tough house, acid, and techno under many different names since the '90s, on Planet E, Poker Flat, Cocoon, Ovum, Yoruba, Delsin, and Tresor. He has constantly evolved his sound so that he has tried, and succeeded, at making just about everything. Here he serves up some classic hi-tek soul.



FOAT GROUP, THE GREG: The Dancers at the Edge of Time CD (JMAN 083CD) 14.50
This major release from The Greg Foat Group sees the celebrated jazz quintet making the most of the acoustics of an ancient church, accompanied by a full ensemble of supporting musicians. The fourth album from the celebrated jazz combo will further delight Foat fans who have been consistently enthralled by the taste and finesse with which they execute their beguiling arrangements and instrumentation. During England's long, hot summer of 2014, a couple of tons of vintage studio gear were bundled into an ancient church on the charming and picturesque village of Ventnor on the Isle of Wight. There the centuries-old church organ was the centerpiece and the Group was accompanied by a string quartet and woodwinds to create a musical style like no other. The resulting hauntingly sublime sounds need not only fill vaulted chapel ceilings, but our hearts and ears as well. Recorded across three of the hottest days in that summer, direct to one-inch tape, with all the rich, live analog sound and the hallowed magnificence that church acoustics can bring, The Dancers at the Edge of Time features the classic Foat Group with guesting local musicians and friends, and celebrates the summertime and beach ambience of living on the island. CD includes four-page color booklet and bonus track.


JBJ 1062EP

SAUNDERS/JUMPIN' JOE WILLIAMS, RED: Voodoo Blues/Gas Happy Mama 7" (JBJ 1062EP) 11.00
Top quality R&B on 45 RPM for the first time: two originally unissued cuts from the Okeh vaults finally see a DJ-friendly vinyl pressing. And two great sides they are too, with Jumpin' Joe Williams's super-cool vocal track "Voodoo Blues" featuring superior accompaniment from Red Saunders and co, and arranged by the one and the only Sun Ra! On the flip, the Royals' "Gas Happy Mama" is a raucous, up-tempo group vocal romper!


KH 9025LP

REED, LOU: Banging On My Drums 3LP (KH 9025LP) 36.50
This superb live triple LP set contains rare recordings made by the legendary Lou Reed in America, Canada, Australia, and Holland between 1975 and 1977. Taking in Velvet Underground classics, gems from his incredible solo albums from the period, and a smattering of unreleased tracks, it finds him at what is arguably the peak of his powers, and comes complete with rare photos and an illuminating background interview. Previously released on CD in 2014 (KH 9025CD). Pressed on 180-gram vinyl. Remastered sound.



KROG, KARIN: Don't Just Sing - An Anthology: 1963-1999 CD (LITA 129CD) 15.00
"Newly remastered audio. Includes rare archive photos and liner notes Q&A with Krog. The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she's practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog's albums weren't available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999 -- curated with Krog's own input -- we hope to set the record straight. To listen to opening track 'As a Wife Has a Cow' is to jump into the deep end. It's 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too -- and that's Krog's USP. Don't Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer. Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964's By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. 'There is such a thing as too much manipulation,' says Krog today. Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968's Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell's 'All I Want' and Bobby Gentry's 'Ode to Billy Joe,' both of which show how Krog brought jazz aesthetics to pop songs of the day. 'I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,' says Krog in the new liner notes."


KROG, KARIN: Don't Just Sing - An Anthology: 1963-1999 2LP (LITA 129LP) 26.00
Double LP version. House in deluxe gatefold Stoughton tip-on jacket.



FORD PROCO/COIL: Expansión Naranja/Ecuación de las Estrellas 12" (MNQ 064EP) 14.50
Previously unreleased collaboration between Mexican industrial godfathers Ford Proco, formed in 1986, and UK electronic pioneers Peter Christopherson and John Balance aka Coil, recorded in autumn 1999. Apparently Ford Proco members Robert Proco and Wito Lavolt met Christopherson in LA on the occasion of a performance by The Orb, and Christopherson later invited them to be extras for Ice-T videos. These tracks feature Christopherson on sax, drums, and effects, and John Balance providing his magnificent voice. Directly transferred from original DCC (Digital Compact Cassette); remastered by Rude 66. Cover art by Alessandro Adriani; label sacred geometry logos by Maximiliano Lizárraga.



PFIRTER: Procyon 12" (MINDTRIP 010EP) 12.50
Three strong, synth-orientated dancefloor tracks from label boss Pfirter and a remix by Tensal. The frenetic, dark, atmospheric, and intense "Procyon," with its driving percussive flow, is guaranteed to send whoever hears it into a feverish delirium. "Rige" is more subtle and deep, working a relentless groove alongside colorful, metallic textures. Tensal (Exium) remixes "Procyon" superbly and demonstrates his innate ability to craft interesting and fresh-sounding techno. "Closer to the Truth" is a hypnotic, trippy outing in which tension and energy build relentlessly amid a backdrop of organic analog hubbub, providing a perfect showcase for Pfirter's trademark sound.



KAZNACHEEV, DENIS: Snowball Warming EP 12" (MINI 037EP) 14.00
Denis Kaznacheev, half of the Russian duo Easy Changes and cofounder of Nervmusic Records, advocates a very organic and powerful minimal techno and makes use of his modular system in his own unique way. Kaznacheev cooks up a mix of emotions for your ears and the floor. While waiting for his visa application between Siberia and Moscow, he's been making some music, and extends an invitation to join him on his journey, with brilliant textures and an all-around superb EP.



VANO, PATRICK: Tape Jam EP 12" (MFP 077EP) 12.50
The Tape Jam EP is Patrick Vano's fourth release on Berlin-based label Mo's Ferry. The A-side, "Rhythm Disease," crackles and rumbles in the typical sound for which Mo's Ferry is known. "Drone Shadows," on the flip, is much quieter, and Vano plays the techno bow in wide and flowing moves -- most suitable for the later party hours.



PSYK: Human EP 12" (MOTE 043EP) 12.50
Spanish producer Manuel Anós aka Psyk aka Maan follows his 2014 Time Foundation album (MOTE 002CD/LP) and the Arcade (MOTE 035EP, 2013) and Distane (MOTE 031EP, 2012) with the Human EP. While records like Distane rolled over dancefloors with a metallic, cardiac thump, the Human EP spins its cocoon of sound in a less aggressive, but still enjoyably intense manner. "Human" features a crystalline mesh of bass kick, jittering hats, and persistent eighth-note percolations; "Powder" adds driving ride cymbal and a cleverly subtle filtering to the mix; and "Aumento" features gorgeous interplay between a whistling oscillator and its lower-pitched counterpart.



SYNTHEK & AUDIOLOUIS: Unwise Remix Series #2 12" (NTCLP 001-2EP) 12.50
The Unwise Remix Series features artists who represent Synthek & Audiolouis's main points of reference and inspiration, artists who acknowledged the potential of Unwise (2014). Kwartz's devastating rework of "Counterbalance" is a broken-beat weapon designed to make speakers sweat. Fabrizio Lapiana remixes "Over the Edge," loading the atmosphere with drones, swirling bleeps, and strong, hypnotic drum-layers. Antigone's remix of "Something Else" leaves behind the Detroit style of the original cut to approach a fairy world of bright and melancholic sounds. Varg delivers a noisy rework of "Overcast," bringing it down with heavily distorted drums, reverbed drones, and terrific atmospheres.


NMG 5759LP

SLUM VILLAGE: Yes! LP (NMG 5759LP) 21.00
LP version. "Yes!, the highly anticipated album from Slum Village is ready to hit your ears. The new album features beats produced by Jay Dee aka J Dilla along with production from Young RJ who together produced one of Slum Village's finest moments ever in the form of Fantastic Vol. 2. Yes! features performances by original Slum Village members T3 and Baatin in addition to the aforementioned J Dilla. There are also features from Bilal, Jon Connor, BJ The Chicago Kid, Phife Dawg, J Ivy, De La Soul and Illa J."



TERJE, TODD: It's It's Remix Time Time 12" (OLS 011EP) 14.50
Boasting a star-studded cast from all over the globe, this Olsen blockbuster is sure to leave you excited and delighted after a breathless half hour of fun. Pepe Bradock delivers disorienting mixes of "Inspector Norse" and "Swing Star"; both interpretations bump, bleep, and come on stronger than a tripped-out cheese dream. Joakim embraces his inner diva with a jacking ballroom house rework of "Strandbar," complete with bright vamps and deep bass impact. Eric Duncan delivers the grand finale, hitting the special-FX budget harder than late-career Michael Bay, while the "Strandbar" piano and bassline loop into infinity and beyond.


OP 022EP

JAAR, NICOLAS: Nymphs II 12" (OP 022EP) 14.00
Repressed. "The Three Sides of Audrey and Why She's All Alone Now"/"No One Is Looking At U." Recorded in New York City between 2011 and 2015.



DJ KOZE: XTC 12" (PAMPA 024EP) 14.00
DJ Koze's 2013 opus Amygdala (PAMPA 007CD/LP) has continued to bewitch all who encounter it since its release, with classic songwriting at its core, house in its heart, and veins coursing with psychedelic color. "XTC" begins in the same spirit as album standout "La Duquesa," before sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. "Knee on Belly" recalls Koze at his most tongue-in-cheek and overt; bright and bold, it features cut-up horns of all shapes and sizes, and a swollen, thrumming bassline that brings this floor-filler to life.


PNY 4508LP

LORD FLEA & HIS CALYPSONIANS: Swingin' Calypsos LP+CD (PNY 4508LP) 23.00
Pressed on 140-gram vinyl; includes CD. One of the absolute legends of calypso and mento music, Lord Flea released only this lone LP in 1957 before succumbing to Hodgkin's disease in 1959. Though he didn't even make it to the age of 30, the Jamaican native was an international superstar during the late '50s calypso craze, with residencies at nightclubs from Las Vegas to Manhattan to Miami. His image graced the pages of Life magazine and he appeared on The Perry Como Show and in several feature films. Harry Belafonte even had a major hit with his interpretation of "Shake Shake Sonora," included here. Swingin' Calypsos is an all-time Caribbean classic, and is sure to make you "jump in the line and rock your body in time."

PNY 4509LP

JORDAN, LOUIS: Somebody Up There Digs Me LP+CD (PNY 4509LP) 23.00
Pressed on 140-gram vinyl; includes CD. By the time Louis Jordan's first LP was released in 1957 he already had 25 years as a professional musician under his belt. This is not to say that he was over the hill; on the contrary, he was well seasoned and in his prime. Somebody Up There Digs Me is filled with stellar re-workings of many of his jump blues classics, from "Caldonia" through "Is You Is or Is You Ain't Ma Baby" and "Let the Good Times Roll" to "Ain't Nobody Her But Us Chickens." Recorded in NYC in 1956 with arrangements from a young Quincy Jones and guitar work from the legendary Mickey "Guitar" Baker, Somebody Up There Digs Me is a sophisticated and swinging set that's still sure to keep your feet moving.

PNY 4510LP

VA: Criminale Vol. 3 - Colpo Gobbo LP+CD (PNY 4510LP) 23.00
Pressed on 140-gram vinyl; includes CD. The decade from 1968 to 1978 had a pivotal importance in Italy's 20th-century history. It was a period of deep social and cultural transformation on the wings of the Berkeley youth protests and the May 1968 protests in France, which then developed in different directions due to the moral contradictions of one of the most conspiratorial countries of the western world. Years of high-tension events -- beginning with the tragic massacre of Piazza Fontana and ending with the infamous kidnapping and murder of Aldo Moro -- were reflected in every aspect of society and culture. A palpable tension could be felt both sonically and visually. The soundtrack of this whole world was written in real time by a bunch of enterprising composers, right in the middle of a session for some magical Italian soundtrack or even an appearance alongside the RAI Orchestra (owned by Italy's national broadcasting company), who made little money while recording some instant albums for the most sought-after publishers of libraries. Sonic pictures of the heyday of Italian society, truly distinct from the music made by French, English, or German composers in their respective countries. The sound coming from the Italian television was as sharp as a razor blade and tasted just like lead and tear gas, with howling fuzz guitar and heavy drums to set the tumultuous scene of a society on the verge of implosion. Daniela Casa, Remigio Ducros, Alessandro Alessandroni, Stelvio Cipriani, Enzo Scoppa, Amedeo Tommasi, Franco Tamponi, and the other composers acted as drastic audio reporters as well as incredible musicians. They were able to describe in just few minutes the climax that surrounded them, using their classical heritage and training with hints of the avant-garde, along with the boost of psych-rock, jazz, funk, and whatever other popular musical innovation came their way. Urged to be minimalistic and not so original -- the quintessence of the library dictum -- the Italian composers answered instead with an experimental vocation pushed by that same need for renewal, stimulating the entire nation in those crazy and marvelous years. Released alongside Criminale Vol. 4 - Violenza! (PNY 4511LP). Includes tracks by Gerardo Iacoucci, Mario Vinciguerra, Vittorio Impiglia, Mario Molino, Elvio Monti, Bruno Battisti D'Amario, Franco Tamponi, Amedeo Tommasi, Antonio Riccardo Luciani, Alessandro Alessandroni, Leopoldo Perez-Bonsignore, Mario Pagano, Giovanni Ferroni, Enzo Scoppa, Stelio Subelli, Fernando Marucci, Paolo Ferrara, and Massimo di Cicco.

PNY 4511LP

VA: Criminale Vol. 4 - Violenza! LP+CD (PNY 4511LP) 23.00
Pressed on 140-gram vinyl; includes CD. The decade from 1968 to 1978 had a pivotal importance in Italy's 20th-century history. It was a period of deep social and cultural transformation on the wings of the Berkeley youth protests and the May 1968 protests in France, which then developed in different directions due to the moral contradictions of one of the most conspiratorial countries of the western world. Years of high-tension events -- beginning with the tragic massacre of Piazza Fontana and ending with the infamous kidnapping and murder of Aldo Moro -- were reflected in every aspect of society and culture. A palpable tension could be felt both sonically and visually. The soundtrack of this whole world was written in real time by a bunch of enterprising composers, right in the middle of a session for some magical Italian soundtrack or even an appearance alongside the RAI Orchestra (owned by Italy's national broadcasting company), who made little money while recording some instant albums for the most sought-after publishers of libraries. Sonic pictures of the heyday of Italian society, truly distinct from the music made by French, English, or German composers in their respective countries. The sound coming from the Italian television was as sharp as a razor blade and tasted just like lead and tear gas, with howling fuzz guitar and heavy drums to set the tumultuous scene of a society on the verge of implosion. Daniela Casa, Remigio Ducros, Alessandro Alessandroni, Stelvio Cipriani, Enzo Scoppa, Amedeo Tommasi, Franco Tamponi, and the other composers acted as drastic audio reporters as well as incredible musicians. They were able to describe in just few minutes the climax that surrounded them, using their classical heritage and training with hints of the avant-garde, along with the boost of psych-rock, jazz, funk, and whatever other popular musical innovation came their way. Urged to be minimalistic and not so original -- the quintessence of the library dictum -- the Italian composers answered instead with an experimental vocation pushed by that same need for renewal, stimulating the entire nation in those crazy and marvelous years. Released alongside Criminale Vol. 3 - Colpo Gobbo (PNY 4510LP). Includes tracks by Daniela Casa, Remigio Ducros, Piero Montanari, Paolo Ferrara, Massimo di Cicco, Stelvio Cipriani, Franco Tamponi, Stefano Torossi, Sandro Brugnolini, Massimo Catalano, Gerardo Iacoucci, Stelio Subell, Joel V.D.B., Nino Rapicavoli, Enzo Scoppa, and Alessandro Alessandroni.



WILLIAMS/NICK TODD, BILLY: The Pied Piper/Too Much Rosita 7" (POPC 137EP) 8.00
Two male vocal sides, topped with Billy Williams's "Pied Piper," a pretty up-tempo sound by popcorn standards, but undeniably full of character and easy charm. Much the same could be said of "Too Much Rosita" from Nick Todd (interestingly enough the younger brother of Pat Boone), a swinging little number very much in the Belgian mold.


PT 8042CD

FANTASY: Beyond the Beyond Plus... CD (PT 8042CD) 17.00
Formed in Gravesend, Kent, in 1970, this quintet debuted in 1973 with Paint a Picture (AU 5001CD/LP), one of the most sought-after and prized relics of British prog rock. Beyond the Beyond is their follow-up, recorded in 1974 but sadly not released at the time. It makes its long-awaited return to CD here, together with background notes and images, and confirms what an imaginative and atmospheric outfit they were.

PT 8043CD

9.30: Fly CD (PT 8043CD) 17.00
The sole album by this quintet from Cheltenham, England, came and went in May 1972. Fronted by husband-and-wife duo Michael and Barbara Wainwright, they played a deft blend of prog, folk-rock, and singer-songwriter material, but failed to connect with an audience at the time. The original LP has sold for over $500, and makes its long-overdue return to CD here, complete with background notes and rare images.

PT 8044CD

SPIRIT OF GLENCOE, THE: The Spirit of Glencoe CD (PT 8044CD) 17.00
The second and final album from this funky British prog band originally appeared in August 1973, and features the talents of Stewart Francis (drums, vocals), Graham Maitland (keyboards, vocals), John Turnbull (guitar, vocals), and Norman Watt-Roy (bass, vocals). Between them they'd played in Skip Bifferty, The Greatest Show On Earth, Forever More, and several other well-regarded acts, and their pedigree shines through on this set, now making its long-overdue CD debut together with background notes and images.



SHIT AND SHINE: Jealous of Shit and Shine LP (REPOSE 046LP) 26.50
Long overdue vinyl release of Shit and Shine's second album, Jealous of Shit and Shine' originally released by Riot Season on CD only in 2006. Back when Shit and Shine were just a mere two-piece with a wicked sense of humor and a lawnmower, Jealous of Shit and Shine came out and knocked folks bandy. The original CD didn't last long and was never repressed, and since then Craig Clouse has been badgering Riot Season to give it a vinyl release. So here it is, in (almost) all of its original fucked-up glory. The audio has been tweaked a little to make it more vinyl-friendly by the man himself in his Texas bunker, but it's still a completely messed-up brain-fuck of an album. The kind only two men and a lawnmower can make. Split into two parts, side A is the live favorite "Practicing to Be a Doctor," almost 24 minutes of pounding tribal drums and a ridiculously addictive bassline that just rolls on and on... if you never saw them do this live with anything up to 30 drummers you missed out big-time. Maybe they'll bust it out again one day. Side B features the more wacky/noise/avant-garde side of Shit and Shine. Chaotic, distorted blasts; mesmeric chuntering; tortured guitars and drums disguised as seven tracks. Absolutely fucking delightful, and absolutely like nobody else out there. 100% Shit and Shine. It's no wonder folks were jealous. NME listed Jealous of Shit and Shine at #89 in their "100 Lost Albums You Need to Know" feature, for which Jeremy Pritchard of Everything Everything wrote, " I love Jealous of Shit and Shine the same way I love everything they do; the utter wretchedness coupled with humour; the surprising depth of what could seem initially like a one-dimensional sound; the cast iron but utterly uncontrived 'absolutely-don't-give-a-fuck-about-what-you-think-ness' that it exudes. Although it sounds really abrasive, some song titles and the artwork spell out their playful streak pretty clearly." Summed up well. Neon pink LP housed in PVC sleeve sealed with sticker. Includes download code. Limited edition of 300. One-off pressing; no repress.


RV 1005LP

BLONDIE: The Old Waldorf, SF CA 21 September 1977 - Early and Late Shows 2LP (RV 1005LP) 31.00
Less than a year after the release of their debut album, Blondie were reaching their peak as a pop-punk band. They played almost everything from that self-titled debut LP at these two shows at the Old Waldorf, San Francisco, in September 1977, as well as previewing most of their follow-up, 1978's Plastic Letters. The performance, originally broadcast on KSAN-FM, also includes surprise covers of songs by The Rolling Stones, The Yardbirds, The Runaways, The Doors, and Iggy Pop that did not make their studio releases. The complete broadcast is presented here in digitally remastered sound with background liners. On 180 gram vinyl.


RUM 2011097LP

MARVELETTES, THE: Playboy LP (RUM 2011097LP) 20.00
The third album from Motown girl group The Marvelettes, Playboy, was originally released in 1962, shortly following the success of the hit title-track and the immortal "Beechwood 4-5789." If these two floor-filling classics weren't enough, the album is rounded out by the gorgeous ballad "Forever," which would make the charts a year later, the ace B-side "Someday, Someway," and six more numbers written by folks with names like Smokey Robinson; Berry Gordy, Jr.; and the unparalleled team of Holland-Dozier-Holland. More Motor City perfection on Rumble.



GEORGIA SOUL TWISTERS, THE: Look Out (I'm Gonna Blow Your Mind)/Mother Duck 7" (SOUL7 044EP) 11.00
Hopelessly obscure and off the radar to even the most dedicated soul-and-funksters, here's a real gem of a funky soul double-sided dancer! The Georgia Soul Twisters started out in the early '60s, led by owner and manager Mose "Pop" Braziel. A 10-member touring band, they played all of the southern states, heading north when gigs presented themselves. The band recorded their third and final recording at a small central Florida recording studio some time in the very early '70s. Look Out (I'm Gonna Blow Your Mind)/Mother Duck was self-financed and self-released, and remains extremely elusive in its original form.



LAY-FAR: Affirmation EP 12" (SOSR 017EP) 19.50
Sound of Speed has truly become a household name for underground house music, and with artists like Aybee, Cottam, and Jimpster under its belt, it's safe to say that it's got one hell of a CV for a catalog! This time it's a four-track EP by Lay Far featuring Stan Smith & Dip and remixing Electric Conversation.



MONIC: Parsons Hill EP 12" (TRESOR 277EP) 12.50
Tresor welcomes Osiris Music UK founder and accomplished producer Mønic, whose style can be defined as raw yet exceptionally refined, with a certain industrial inspiration oozing from his outstanding sound design. "Parsons Hill" opens with tumultuous percussion that continues to escalate throughout the track as an eerie looming synth dances above the kicks. "Morse" reveals another side of the artist, with a more serene attitude; static passes through a magnetic field with a constant palpitating bass. "Hollow Victory" opens with thunderous clangs and a flurry of ominous chimes that echo through the darkness, swirling above a pulsating heartbeat.



VA: Truth & Soul 2015 Forecast 10" (TSEP 075EP) 16.00
Intended as a RSD 2015 release -- but delayed. "Truth & Soul is proud to present a sneak peek into our 2015 roster with this exclusive Record Store Day release. Unreleased tracks from six of our artists' upcoming full lengths pressed on a gold translucent colored vinyl in a picture sleeve. Brand new music from Truth & Soul heavy hitters Lee Fields & The Expressions, Lady Wray, and EL Michels Affair as well as new label signees Paul & The Tall Trees, Bacao Rhythm & Steel Band, and Jr Thomas & the Volcanos. Some of the mixes on this record will only be on this limited RSD vinyl release."


WG 025EP

TIEFSCHWARZ: Do Me (feat. Khan) 12" (WG 025EP) 14.00
First single from Tiefschwarz's 2015 album Left (WGA 002CD/LP). "Do Me (feat. Khan)" is rooted in Tiefschwarz's cryptic dancefloor approach, intricately balancing the serious and the absurd through the call and response of an over-vocoded voice and a smooth, slick talking murmur joined by a climbing bassline, lush percussive melodies, and infectious drums. Roman Flügel takes the original bassline and shortens the loop to 3/4 time, accompanied by the whip of a big hi-hat and wild 909 claps. Frank Wiedemann's "Orchestra Remix" is an enormous ensemble of rich strings and delicate melodies, building and swelling from start to finish.


WP 062

WAX POETICS: #62 MAG (WP 062) 11.99
"On the covers: front: Giorgio Moroder; back:Ratatat. Contents: Seven Davis Jr., Bixiga 70, Nick Hakim, Ibeyi, Jamaiel Shabaka, The Ladies of Chic, Unknown Mortal Orchestra, Steve Arrington, The Photography of Les McCann, Van Hunt, Divine Styler."


WM 006EP

LOUIS, MORGAN: Only 1 12" (WM 006EP) 17.00
"At last, after a long break... WM006. A four-track EP by Morgan Louis -- from the 004 showcase -- plus three locked grooves. Pedigree, locomotive, deep steppers."



DOKA: Ask EP 12" (WOLF 032EP) 12.50
Amsterdam-based Doka presents his third Wolfskuil release, a three-track EP including an original production, "Ask," and two stellar, complimentary remixes from NX1 and Aiken. Doka delivers a raw, melodic track, stripped down with pounding percussion, while unrefined static dances above the beat. Barcelona-based Rising Label owners NX1 manipulate the rhythm of the synth into an elegant hypnotic drive. Madrileño Aiken (Non Series, Semantica) gives the track a whole new flavor, as a throbbing bass sends vibrations through your body while agitated chords flutter throughout. All three tracks, intense and pulsating, are powerful tools for the climax of any set.

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