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Forced Exposure New Releases for 7/6/2015

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New music is due from Strategy, DAT Politics, and The Fear Ratio (Mark Broom and James Ruskin), while old music is due from Qluster, Nico Fidenco, and Surgeon.


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PARKS & ANTON NEWCOMBE, TESS: I Declare Nothing LP (AUK 120LP) 20.00
LP version. Pressed on amber 180-gram vinyl and housed in a gatefold sleeve. Born in Berlin in early 2014 and nurtured over the following summer, I Declare Nothing is the spine-tingling collaboration between Tess Parks and Anton Newcombe (The Brian Jonestown Massacre), co-written and co-played by the duo and released to coincide with their 2015 European tour, following their Record Store Day 2015 Cocaine Cat single (AUK 118EP). A native of Toronto, Tess Parks moved to London, England, at the age of 17, where she briefly studied photography before deciding to focus on music. Parks made an impression on industry legend Alan McGee, founder of Creation Records, though the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Parks was due to move back to Toronto. After moving back to her hometown in 2012, Parks formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his label 359 Music. Parks became one of his first signings and released her debut record, Blood Hot, in November 2013 to excellent reviews. One reviewer described her as "Patti Smith on Quaaludes." Others have mentioned her "gauzy psychedelic sound" and "smouldering voice." Alan McGee himself said, "She's only 24 and is already an amazing songwriter... she just doesn't quite know she is yet -- her most beautiful quality is her lack of ego. Tess is an amazing lady." Anton Newcombe is the leader of The Brian Jonestown Massacre, who returned in May 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), to critical acclaim, and released Musique de film imaginé (AUK 032CD/LP) in 2015. The band's first album to be fully recorded and produced at Newcombe's recording studio in Berlin, it was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock 'n' roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Through two dozen band members and numerous "ups and downs" (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe.



TOMIIE, SATOSHI: New Day 2LP (AALP 001LP) 23.00
Gatefold double LP version; includes download code. Decades after his 1989 debut single and dancefloor anthem "Tears," Satoshi Tomiie presents his second album. "Tears," the legendary collaboration with Frankie Knuckles, is widely acknowledged as one of house music's most important moments, but it was only the beginning of an exciting career. Satoshi Tomiie has been at the forefront of the global house music movement ever since. He has released on a variety of labels ranging from Strictly Rhythm to Sony, toured with the Japanese composer Ryuichi Sakamoto of Yellow Magic Orchestra fame, worked with artists like Robert Owens, remixed many pop-inclined tracks, and been praised for his 2007 contribution to Renaissance's Masters Series. All of this while creating artistic challenges for himself, to avoid falling into a pattern and repeating himself, and keeping up a constant global DJ schedule. Satoshi Tomiie, a lifelong student of jazz and classical piano, has always succeeded in adding an extra dimension into his music, and his sophomore album is no exception. While listening to New Day, it is immediately clear that the accomplished musician has reinvented himself once again. The overall sound of the album is crisp, fresh, and ingenious without losing its allure. While some tracks are reminiscent of his early work, others surprise in their richness and complexity. The CD starts off with "Last Night," a generous intro; on "Landscape," the producer makes use of a more undulating timbre. The title-track features John Schmersal, a touring member of Caribou, and is the prelude to the deeper part of this narrative-oriented album. On "Cucina Rossa," he once again shows his rich background as a trained musician. With New Day, Satoshi Tomiie has redefined the creative process that surrounds the production of a full-length album. He wanted to stray away from the norm of albums made up entirely of singles, and delivers a full-length culmination of the styles that have influenced him throughout his illustrious career; a seamless story.



UNIFORM: Perfect World LP (ALT 021LP) 25.50
Uniform formed in New York City in late 2013 when old friends Ben Greenberg (Hubble, The Men, Pygmy Shrews) and Michael Berdan (York Factory Complaint, Drunkdriver, Believer/Law) realized they lived on the same street. Their impulsive collaboration quickly yielded the 2014 Our Blood/Of Sound Mind and Body single. The six tracks that make up the equally abrasive but more refined Perfect World have been coming together between tours and work ever since. The music that Greenberg and Berdan conjure up under the Uniform moniker is immediate, aggressive, and even primal in form, but it plumbs untold depths. Berdan's venomous voice mines deeply personal themes of resentment, regret, reflection, and addiction over the hum of Greenberg's almost impossibly disciplined guitar, bass synth, and drum machine lines. Greenberg uses the word "templatized" to describe their approach to writing songs for Uniform. "There's this set bunch of gear to create sounds, and it only creates sound through a certain process, or within its own limitations," Greenberg says. "The goal of songwriting is to see how many different kinds of sounds you can get from the same basic process and machine." On Perfect World, that machine is firing on all cylinders. The guitar is run through a cheap '80s preamp marketed to metal kids. The drum machine is equally no-frills, an Akai XR20 that Greenberg says "most people wouldn't want to keep around." These humble components are combined with noisy synth and Berdan's profound howling to form something much greater. Post-punk, synthpunk, and industrial traditions are borrowed from as needed, but the constraints placed on the process mean the result is unique to Uniform. Berdan describes his lyrics as the consequence of feeling "so full of pain, confusion, deep selfishness, and general animosity that you make some horrible mistakes and have to learn how to forgive yourself for them." Perfect World feels like the sum of all that pain and confusion, but it also feels like the catharsis.



THEMIS: Obedience Pt. 1 12" (AUX 008EP) 12.00
Aux-Rec continues its survey of musical history, looking for those inspiring pieces of music (famous or forgotten) that carry a very distinctive groove and identity, and that offer the potential to be revisited in an ingenious contemporary way. Neil Tolliday aka Nail released the Themis records on his own Velocet imprint between '96 and '98. These three extremely rare 12"s constitute a great and important part of Tolliday's work. This is the first of two re-releases of these works, re-shuffled, re-packaged, and remastered by Matt Colton.



"10 tracks of potent, crackling dub abstraction and sound system meditations. This album is a special SKRS dedication to the all powerful divine feminine force, the international Gyal dem! Housed in an incredible gold, black, & white printed sleeve designed by SKRS in-house visual wing, MYSTERYFORMS. Limited to 550 copies."


BB 206LP

QLUSTER: Tasten LP+CD (BB 206LP) 25.50
LP version. Includes CD. The artists: Hans-Joachim Roedelius (piano), Onnen Bock (piano), Armin Metz (piano). The music: minimalist, spherical sounds by three grand pianos. Introverted, minimalist "classical" music has reached full bloom as devotees of the neo-classical movement flock to see the likes of Nils Frahm, Ólafur Arnalds, and Chilly Gonzales. One pioneer of the resurgence in minimal piano music is Hans-Joachim Roedelius, best known as a member of the avant-garde electronic combo Cluster. He released an album of solo piano (Wie das Wispern des Windes...Like the Whispering of the Wind) in 1986 (BB 066CD/LP), and has since issued numerous albums on which the piano plays a dominant role, either as a solo instrument or as a component in electronic collaborations, as with Stefan Schneider (To Rococo Rot), for example. Qluster was undoubtedly the most important collaborative project he was involved in. This spelling signified the group's third incarnation, having been founded under the name of Kluster in 1969 by Roedelius, Dieter Moebius, and Conrad Schnitzler. Schnitzler quit Kluster in 1972, leaving Roedelius and Moebius to carry on as Cluster. When the duo disbanded in 2010, Roedelius continued to fly the K/Cluster flag, this time as Qluster, joined by the keyboarder and electronic musician Onnen Bock. The duo again became a trio in 2013, when Armin Metz, an adventurous virtuoso on the bass, joined Qluster's ranks. Tasten can conceivably be described as the successor to the 2012 album Antworten (BB 077CD/LP), on which grand pianos played a similarly significant role. While Antworten featured singing bowls, Tasten is exclusively a piano work, one which sees the instrument used at times in unconventional, percussive ways, its strings plucked or stroked. Qluster explore the musical depths of three Steinway concert grands to their fullest potential. Spherical sounds of three overlapping instruments, complete with gentle tones and little melodies, sporadically culminating in impulsive sonic storms. A wonderful piece of neo-classical music by three masters of their art.



MUCKY SAILOR: Albatross Silly Albatross 10" (CARE 007EP) 14.50
The complex compositions of Mucky Sailor (Steve Nuttall, drums; composer Gus Bousfield, keyboards and vocals) are informed by progressive rock, the intensity of punk, and the hooks and melody of pop. In live performance, they achieve something of a Gesamtkunstwerk, as naval attire, frenetic performance style, and bespoke ship's wheel oscillator synth evoke a stormy sea. Here, the full brass-and-woodwind section of "Albatross, Silly Albatross" augments the avant-power-funk before a dialogue for woodwind mouthpiece echoes the existential breakdown in Sonny Rollins's East Broadway Run Down (1966). "Beefy Bells" opens with gentle Hammond before joyfully languishing in its doom-laden world.



BAR: Compost Black Label 126 12" (COMP 468EP) 12.00
Two remixes of "White Noise" from Düsseldorf duo BAR's 2014 debut album, Welcome to BAR, by Shahrokh Dini and Michael Marshelli. Stabil Elite musician Lucas Croon and Christina Irrgang's music is a hybrid of new wave, balearic, shoegaze, dream pop, and noir songwriting. Croon sings as if he had studied with Nick Cave, Bryan Ferry, and Chris Isaak. Irrgang is no less elegant; her timbre seems completely absorbed in the music, and yet it somehow floats above it, bold and cool. The effect is reminiscent of Claudia Brücken from the Düsseldorf synthpop band Propaganda.



FIDENCO, NICO: Black Emanuelle: Orient Reportage LP (RED 205LP) 23.00
2014 release. Nico Fidenco's score for the 1976 Italian sexploitation film Black Emanuelle: Orient Reportage aka Black Emanuelle Goes East aka Emanuelle in Bangkok is a seminal soundtrack that will set you on an Italian groove odyssey. The film is probably the most depraved of all the volumes of the Emanuelle series. Maestro Fidenco relies heavily on layered strings, horns, flutes, violins, and an array of exotic instruments and aims for eclecticism in playing with versions of the main theme. No one is ever the same after... Black Emanuelle! Plays at 45 RPM. Released alongside Fidenco's score for the first film in the series, Black Emanuelle (RED 204LP).


MORRICONE, ENNIO: The Link (Extrasensorial) LP (RED 206LP) 23.00
2014 release. Ultra-rare Ennio Morricone soundtrack for the 1982 horror/thriller The Link (aka Extrasensorial aka Blood Link), directed by Alberto de Martino. The maestro Morricone delivers a stunning score that is by turns romantic and suspenseful, producing several layered foreground/background compositions and disturbing distortion effects, in accordance with the sophisticated mise-en-scène curated by cinematographer Romano Albani (Inferno (1980), Phenomena (1985)). Plays at 45 RPM.


ORTOLANI, RIZ: Il Consigliori LP (RED 207LP) 23.00
2014 release. Riz Ortolani's soundtrack for Il Consigliori (1973) is a varied mix of elements, approaches, and methods, and it will satisfy collectors searching for depth and emotion in their soundtracks. Ortolani bravely experiments with a certain pop sound, moving through devastating moments of love and explosions of brass to represent the violence and the action. Light-hearted at some moments and brooding at others, Il Consigliori serves up prime Riz for cult Italian soundtrack fans, while also serving as a great reminder of Ortolani's seldom-matched musical greatness on the silver screen. Deluxe reissue on LP, remastered with audiophile quality.


MORRICONE, ENNIO: Il Prefetto di Ferro LP (RED 208LP) 23.00
2014 release. The maestro Morricone's Mediterranean sounds for the cult 1977 movie Il Prefetto di Ferro -- directed by Pasquale Squitieri and starring the Italian cinema legend Giuliano Gemma -- are sometimes warm, sometimes hard and sharp. With this score we can easily understand how much the Italian composer know about Sicilian folk music; the wonderful ballad "La Ballata del Prefetto Mori," with its sad lyrics written by Ignazio Buttitta, is magisterially interpreted by one of the most important voices of Sicilian folk music: the legendary Rosa Balistreri. Deluxe reissue on LP, remastered with audiophile quality.


CIPRIANI, STELVIO: Gli Orrori del Castello di Norimberga (Baron Blood) (Bloody Red Spatter Version) 2LP (RED 210B-LP) 34.50
2014 release. Bloody red speckled vinyl version. Limited numbered edition of 500 copies.


CIPRIANI, STELVIO: Gli Orrori del Castello di Norimberga (Baron Blood) 2LP (RED 210LP) 31.00
2014 release. Stelvio Cipriani's legendary "Italian version" (it was cut from the US release) soundtrack for the 1972 Mario Bava film Gli Orrori Del Castello Di Norimberga (Baron Blood) contains jazzy elements and classic sounds combined with great audio effects obtained by "torturing" guitars, drums, and the wind. Dagored presents the first release of the complete original score, exclusively remastered. Double LP available on black vinyl (limited to 500 numbered copies).



BLOOD MUSIC: Chicks/Badgering 12" (DIAG 022EP) 16.50
On this long-gestated follow-up to 2013's eponymous EP, Simon Pomery's Blood Music project continues to rage, syncing Taiko-inspired drumming patterns with vicious metal guitar dissonance and contact mic haptics. "Chicks" runs at a febrile EBM heartrate, pelting modular palpitations made alongside Russell Haswell against walls of guitar feedback-as-melody like a thuggish Keiji Haino. "Badgering" reengages the 'floor with improvised, squabbling electronics around rowdy drums and bugged-out vocal glitch, recalling Endless-era Pan Sonic and strobing Bunker acid parties. Luke Younger aka Helm's remix of "Chicks" uses electroacoustic phasing to reimagine the original's techno cravings and bring forward the original Taiko inspiration.



VA: All Part 1 12" (DIAL 070EP) 14.50
Dial Records celebrates its 2015 15th anniversary with a magnificent compilation. All (DIAL 032CD) offers a collection of exclusive works by long-related label artists and friends. Part 1 of the 12" edition features contributions by Stefan Tcherepnin, DJ Richard, Christian Naujoks, Pantha Du Prince, and Queens.



BRAME & HAMO: Lamaj's Secret EP 12" (DIRT 089EP) 14.00
Since debuting with Street Urchin (DIRT 078EP) on Dirt Crew in 2014, Brame & Hamo have been busy with a massive release on Detroit Swindle's Heist label (HEIST 009EP) and the launch of their own Splendor & Squalor label, which kicked off with an EP featuring a remix from Session Victim. Here, opener "Lamaj" drips with melodic samples, jazz-tainted drums, and bass-driven funk. Andy Hart's remix deepens its vibe with some bass toms. "Four Lights" slows things down a little with nostalgia-touched soul- and groove-samples. "Garlic Fist Pump" moves to the dancefloor with dynamic live drums and subtle vocal snips.



LUMIEUX: En Kribe Ob EP 12" (DISS 027EP) 12.50
Talented Romanian producer Lumieux, from the vibrant, thriving Bucharest scene, transcends his youth to deliver a highly developed style. On "En Kribe Ob," a richly detailed epic with a rising energy, organic layers of rhythmic texture create an immersive sound and delicate keys ring out with unbridled emotion while percussive tones sit in natural harmony with the beautiful melodies and the dynamic groove. With "Mirror," Lumieux demonstrates his ability as the drums step forward and the pressure rises for a thrilling dash through engaging minimal techno. The dub-infused synths add the perfect psychedelic twist throughout the track.



DEUTSCHMANN, OLIVER: Resist 12" (ETB 022EP) 14.00
Berlin-based DJ Oliver Deutschmann returns to Etruria Beat following his remix of Dast's "Architect" (ETB 018EP, 2014). Get ready to blow up some dance floors with these hard-hitting monsters. Etruria cofounder Luca Agnelli's muscular, stomping remix of "Resist" precedes the original, a funky, driving techno stomper with house chords and a hypnotic voice saying "resist" at 132 BPM. "Hope" delivers a melody in the best Detroit tradition and powerful 808 drums. French techno stalwart Electric Rescue morphs "Hope" into a powerful loopy journey; synth hellfire at its best. All four tracks are Berghain-approved and have rocked countless other floors.



Do you ever listen to a record and worry about its creator's sanity? Granted, it rarely happens, but in the case of Innercity -- Antwerp producer Hans Dens -- it's a legitimate concern. Thankfully, Dens's apparent madness manifests itself in music so uncompromising and off the charts of classification that it convinces you that any kind of sonic innovation at this late date demands a bit of mental instability. By way of explanation, Dens says, "People forget that there is only magic in this world, mostly black, nothing more." In other news: You will never confuse this Innercity with Kevin Saunderson's Inner City. ABABABABABABAS (Blue Lion Child) makes Dens's rather strange first album on Further, 2012's A Lion Baptism, seem like radio-friendly fodder by comparison. The producer admits, "This release is surely one of my harsher, bleak ones... I tried to keep it pure, and again bleak. Also put the keyboards in the shelf for this one; it's all guitar and violin through an array of effects..." "Baal's (Kitten Trumpeteer Choir)" fades in with what sounds like waves of harsh, scalding feedback -- let's call it "the black metal of ambient." Dens conjures pitiless, post-apocalyptic atmospheres, but imbues them with a residual glow of dignity. The tidal "Masks and Mold Matter" could be a noir soundtrack that's too weird and nightmarish even for David Lynch. Its main sound source sounds like the irradiated molecules of a psych-rock guitar riff by Chrome's Helios Creed. What passes for a respite in Innercity's harsh sonic universe comes from "Raragrams," with ill oscillations that seem to have escaped from Gil Mellé's groundbreaking Andromeda Strain soundtrack (1971). On "In Abra and Umbra," Dens creates a desolate Plutonian ambience that'll give your ears frostbite, unleashing clouds of unidentified frying sonics. With perverse whimsy, Dens lets some unfeasibly heavy beats intrude in the last minute. "A-Baba-Al-One" defines a new form of chilling horror-film soundtrack; its synths actually shiver and moan. The album closes with "And Dead As All Black Acts," which sounds like a yeti trying to pound its way out of a casket. Anguished tones of unclassifiable extremity and distress send us out on a note of ecstatic bafflement. You realize you've reached the end of this record alive, and you're much stronger because of it. Featuring Bart De Paepe from Sloow Tapes. Artwork by Chloe Harris and poetry by Hans Dens. Cut by CGB @ Dubplates & Mastering.


STRATEGY: Noise Tape Self LP (FUR 096LP) 21.00
Working with a quiet intensity since 2003, Strategy has proven himself to be an incredibly resourceful and rewarding musician in both group settings and as a solo artist. In the latter guise, this Portland, Oregon producer/multi-instrumentalist (aka Paul Dickow) has released a prolific amount of excellent work for quality indie labels such as Kranky, Idle Hands, 100% Silk, Endless Flight, and Entr'acte, putting a cerebral yet sensual spin on dub, ambient, post rock, and house music. For his Further Records debut, Noise Tape Self, Strategy delves ever deeper into his more ambient inclinations and experiments with tape loops. Dickow says he became obsessed with making tape music in 2008, after tiring of using the computer as his main instrument. Fellow Portland producer/ingenious gear-tinkerer David Chandler (Solenoid) taught Dickow "how to make a tape loop that could be put inside a cassette tape. I got really into this, and got a 4 track, knowing this would allow me to have four synchronized loops per tape. I would then run each channel through a series of effects and 'perform' live mixes using the loops. I alternated between using source material of my own devising and using whatever source material happened to be on the cassettes I was hacking." Noise Tape Self kicks off with "Awesome Piano," in which a fragment of a beautiful piano motif gets overwhelmed by a glorious vortex of static and distortion. "Cassette Loop" is a gorgeous ambient piece with a lulling, aquatic quality that recalls such masters of uneasy listening as Rapoon, O Yuki Conjugate, and Aube. "Ominous Lovely Piano" is a ghostly, microcosmic form of dub, an ultimate kind of headphone music of deep psychedelic interiority that's reminiscent of Paul Schütze's 1996 masterpiece, Apart. The hypnotic/amniotic ambience of "Lovely Loop" whispers of a peaceful eternity; this track could be an important step toward a new, improved strain of new age. The album closes with "Rhen's Loop"; here's where the album really soars into the stratosphere and grows surreal wings. A five-dimensional headfuck of what sounds like analog-synth growls and whirs and desolate drones, "Rhen's Loop" is Doppler effected and disorienting, like a more somber take on Conrad Schnitzler's Ballet Statique (MINIMAL 004CD/LP). With Noise Tape Self, Strategy has found a way to build works of compelling, intimate grandeur with some of the humblest of sonic atoms. It's an alchemical wonder. Mastered by Pete Swanson and cut by CGB @ Dubplates & Mastering.



GRATEFUL DEAD: Two from the Vault 4LP (FDR 608LP) 87.00
"Following on the heels of Light in the Attic's vinyl LP release of One from the Vault comes the next in the trilogy of From the Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick's Picks series in that Dick's Picks are 'direct from the soundboard' recordings, while the From the Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the six piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, and Hart, freshly remastered in 2014 by Joe Gastwirt for maximum mind expansion. Nine dynamic songs on eight sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! Five songs weigh in around the 15-minute mark, while three others touch down close to 10 minutes -- this is the Dead at their most improvisational while still retaining the blues-rock roots of the 'Pigpen' years."


GRATEFUL DEAD: Three from the Vault 4LP (FDR 609LP) 87.00
"First time ever on vinyl. Newly remastered by Joe Gastwirt. Lacquers cut by Kevin Gray. Four LPs housed in a gatefold Stoughton 'tip-on' jacket. Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the five-piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on eight sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman's Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night -- all of which went on to become Dead 'standards' including 'Playing in the Band,' 'Greatest Story Ever Told,' and two absolute classics: 'Bird Song' and 'Deal.' Essential Dead."



MELANIE O'DUBHSHLAINE: Deformed Vowels LP (ROWF 062LP) 28.50
Melanie O'Dubhshlaine is a Leeds-based synthetic noise merchant (formerly performing under the Ocelocelot moniker). An obtuse musical fantasist, M O'D is a purveyor of heavy space-chord amalgamations, drum pad improv, and the human voice synthesized into abstraction and stripped of communicative utilitarianism. Always great live, this supporting pillar of the Ashtray Navigations empire stands independent, peaceful like a heron, as the brown river unremittingly carries pillagers' debris downstream to some godforsaken industrial necropolis, long ago taken hostage by Japanese knotweed.



PARKS, CALE: Lagoon Fool 12" (HAKT 013EP) 14.00
150-gram vinyl. As the drummer for Yeasayer and a prolific collaborator both in studio and live, Cale Parks's creativity knows no genre. "Appalachia" features delayed, dreamlike chords syncopating over slow-breathing pads in a dynamic mix; "Big Hills" delivers muscular bass in opposition to a driving melody; "Jade" demonstrates Cale's rhythmic intelligence with an unorthodox yet tranquil drum part that carries a starry chord progression; and "Lagoon Fool" bumps at a languid, triumphant pace with guitar chords, warbling synths, and elastic bass. Australian producer Bell Towers (Public Possession) adds some sparkle and funk to "Lagoon Fool" while gently upping the tempo.



MCPHEE, DEAN: Fatima's Hand LP (HDFR 006LP) 25.00
LP version on 180 gram vinyl; edition of 500 copies. Fatima's Hand is West Yorkshire based solo electric guitarist Dean McPhee's second full-length album and the follow up to 2011's critically acclaimed Son of the Black Peace (PTYT 047). Fatima's Hand is a meditative and quietly intense album combining influences from British folk, dub, Moroccan trance and ambient/drone. McPhee's sparse, melodic and echo-laden guitar playing on Fatima's Hand has been compared to Vini Reilly, Fripp & Eno and Loren Connors but his singular approach to the instrument is very much his own. Steve Barker of BBC Radio Lancashire's On the Wire program described Dean as "definitely one of the leading contemporary guitar stylists in the UK, and in the world". Fatima's Hand features cover art by Federico Cortese which is beautifully presented on a matte laminate sleeve.



RADIGUE, ELIANE: Vice Versa, Etc... 2CD (IMPREC 259CD) 16.50
2015 restock. "Includes liner notes & archival photographs. 1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage. In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, amongst others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc..., which appears to be her very last feedback loop composition. Vice-Versa, etc... was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace. In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2'42", weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13'41", it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on Vice-Versa, etc... are surprisingly similar to those she would go on to produce with her synthesizer. Vice-Versa, etc... is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period. Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released -- needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple playthrough provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations."



POST SCRIPTUM: Post Scriptum 01 2LP (INF 020LP) 22.00
Double LP version. The vinyl version is structured with DJs in mind, and features eight club-leaning tracks over four sides. Post Scriptum 01 is the debut full-length album from anonymous producer Post Scriptum. This stunning full-length thoroughly outlines the sonic intentions of the project. Post Scriptum stands for rich, highly detailed modern techno electronics. References to Mills-School bleep and unearthly, sci-fi tones are clear to hear. The album features original photographs by Swiss mixed-media artist Julian Charrière, taken on-site at a former Soviet nuclear testing ground. The negatives were first exposed through the camera, and then laid on the radioactive earth where interference occurred, resulting in the highly textured end images. Parallels to the process can be drawn throughout Post Scriptum 01, where classic techno sound sources are clear to hear, alongside complex processing and a very original approach to arrangement that flavors and colors each track. With titles like "Interstellar Medium," "Decelerate At the Destination," or "The Extreme Distance," clear space-time themes emerge, evoking imagery of the ongoing human quest for survival, on this world, and eventually others.



HEARTTHROB: Haus Arrest 12" (ISNISNT 003EP) 14.00
ISNISNT founder Jesse Siminski aka Heartthrob has been producing since the early 2000's, staying busy with a touring schedule that takes him across the globe and a party series named after the label. "Never Wanted One" builds upon thick arp bass, dusky synth melodies, and sharp TR-909 drum work. "Hours Lost" fuses Detroit techno with spinning Latin-tinged drums. "A Fete Worse Than Death" moves through swinging drums, pulsing synths, and growling bass to a crescendo of warped cosmic techno. On the straight and steady, drum-led "Does Your Car Know" the pitch mutates, shifting through acid bass and more Detroit-reminiscent pads.


JR 7025EP

CAMPBELL, CORNELL: Natty Dread in a Greenwich Farm/Version 7" (JR 7025EP) 8.00
Cornell calls all the dreads to the dance in Greenwich Farm... all will be there. Backed up with its "Version" B-side.

JR 7026EP

SMART, LEROY: Mr Rich Man/Version 7" (JR 7026EP) 8.00
Leroy Smart's "Mr Rich Man"... truth and rights. "Mr Rich Man, you're living too rich..." Alongside its dubbed B-side "Version."

JR 7027EP

CLARKE, JOHNNY: Poor Marcus/Version 7" (JR 7027EP) 8.00
Johnny Clarke tells it like it is -- the story of Marcus Garvey. "Dem never loved Poor Marcus..." Backed up on the B-side in fine dub style.



LHF: For the Thrown 2LP (LDN 054LP) 23.00
Elusive London collective LHF follow their cherished 2012 debut album Keepers of the Light (LDN 029CD) and their 2015 collaboration with The Ragga Twins (LDN 053EP) with their second album, the compact ten-track long-player For the Thrown. "This music is cult music," explains the clan, "and we're not sure we'll ever quite fit in anywhere but the album is exactly that -- an album for the misfits, those that frustrate due to not being easy to define, those that are discarded and thrown away." Consisting of core and satellite sounds, LHF have built an alternate sonic platform upon which they can operate freely; familiar in essence but essentially an unknown quantity. Their works harbors both ghostly memories and echoes of past underground movements since faded, as well as glimpses of what might be. Members of LHF include Amen Ra, Double Helix, No Fixed Abode, Low Density Matter, Octaviour, Escobar Seasons, Solar Man, and Lumin Project. For the Thrown includes tracks by Amen Ra, Amen Ra and Octaviour, and Amen Ra featuring No Fixed Abode. Members are as at home in London, Mumbai, LA, Rio, and New York, as they are when reaching out into the near reaches of the cosmos or the past.



VA: Rocksteady Taking Over Orange Street 1966-1968 CD (KSCD 057CD) 14.00
Rocksteady took over Orange Street, Kingston, Jamaica around 1966, the same time that an extreme heat wave hit the Jamaican Island. Some say the previous jerky ska rhythms proved too strenuous of an activity to partake in during the all night sound systems, so it proved a winning formula to slow the beat down to a more leisurely pace. Whatever the reasons were, this two-year period that ran until 1968 would see some of the power escape from the big three producers -- Clement "Coxsone" Dodd, Prince Buster, and Duke Reid -- who up to that period ruled the airwaves. It was time to make room for a new wave of up-and-coming producers who also had something to offer the people. So sit back and enjoy some rocksteady straight from the dances of Jamaica. Includes tracks by Roy Shirley, Glen Adams, Lester Sterling, Uniques, Errol Dunkley, George Dekker, Don T. Lee, Webber Sisters, Alva Lewis. CD includes two bonus tracks: "Wall Flower" by Ken Rose and "I Remember" by Glen Adams.


VA: Rocksteady Taking Over Orange Street 1966-1968 LP (KSLP 057LP) 15.50
LP version.



TAMBIEN: Ondulé 12" (KITJEN 002EP) 15.50
Munich-based Tambien deliver "Ondulé," an irresistable groove stretched over eight minutes and supported by twirling percussions and flickering synth sounds; a piano chord drops every now and then to keep you grounded, until the end's elf-like scats take you away for good. Kornél Kovács works his remix magic with a stripped-down version of the original that builds slowly to develop an epic drive with dark, melancholic chords and a thriving bassline, guaranteed to get some hands in the air at clubs and festivals around the globe. Produced winter 2014/'15.



BIBERKOPF, J.G.: Ecologies LP (KNV 001LP) 18.00
Kuedo and Joe Shakespeare's hugely promising Knives label debuts with the hyper-lucid constructs of J.G. Biberkopf's Ecologies, housed in suitably striking artwork by Joe Hamilton. Hailing from Lithuania, Jacques Gaspard Biberkopf has hatched a dramatic and immersive aesthetic, drawing upon cutting-edge instrumental grime, net phenomenology, and cyber-ambient sound design to patch collaged spheres working across club, theater, and digital radio contexts. As with the output of contemporary artists like T C F or Elysia Crampton, thru to his networked peers such as v1984 and Sentinl, J.G.B.'s music describes imagined topographies, scenarios, and environments in hyperreal detail -- emulating and accelerating the natural world in complex, crystalline bursts of code; a field trip into the representations of nature that emerge from the digital-social media scape. In six succinct pieces, he traverses a sci-fi soundtrack's worth of ideas and atmospheres between the perilous entrance of "Air. Coltan. Carbon. Lithium" and the deliquescent, hyaline geometries of closing peak "Weakness," with its poignant mantra, "every day, every night." Between those coordinates, he renders a world of sheer 3D gradients and dynamics, scaling the weightless, Ballardian grime chicanery of "Spirit" and impeccably timed lacunae of "Waters" before the narrative plunges vertically into the corrupted sim-stim proprioception of "Black Soil" and follows the gyroscopic slowfast tekno rollcage vectors of "Age of Aquarius." Accompanied by the hyper-natural sleeve art of Australia's Joe Hamilton, Ecologies is a very necessary look for anyone in pursuit of vivid, synthetic, and cinematic sensation from modern music. Mastered and cut by Matt Colton; limited pressing.



KINK VS. ELEKTRO GUZZI: Atlas/Vodolaz Versions 12" (MACROM 042EP) 12.00
Macro follows albums by two of techno's greatest live acts, KiNK (Under Destruction (MACROM 038CD, 2014)) and Elektro Guzzi (Circling Above (MACROM 041CD, 2015)), with an exchange of remixes by each artist. KiNK remixes "Atlas" into a tranced-out, peak-time world-domination slammer of pure euphoria. Elektro Guzzi let the snares smack and the pads build into nirvana "Vodolaz." Dream-team double-pack.



LAKSA: Draw for The 12" (MISTY 004EP) 16.50
Dreader UK pressure from Bristol via London on PAN affiliate Beneath's Mistry label. The label's fourth drop -- Laksa's first -- opens with "Draw for The," all sloshing subs and roiling drums in cold, brittle echo-chamber style. "Baded" drops the tempo a bit but simultaneously brings up the temperature, finding a woozy sub-tropical swagger in its hard surfaces and synthetic bird calls, while "Touchdown" forges a killer bleep-techno mutation hinging on roving subs synched with sub-aquatic cowbells and body-scanning pads to counter the EP's icier aspects. Early support from Ben UFO, Pearson Sound, Bill Kouligas, Lee Gamble, and Zenker Brothers.



NELSON, WILLIE: Teatro 2LP (MCR 910LP) 26.00
2014 release. "Location is everything. When Willie Nelson and album producer Daniel Lanois set out to create a cinematic-sounding album, Teatro, they took over a disused movie theatre in Oxnard, California, and pictured its dusty glory on the LP sleeve. Recorded as-live in situ amid the red velvet seats, Teatro sees Nelson working extensively with his frequent collaborator Emmylou Harris, who joins him for duets and on backing vocals on 11 of the 14 tracks. The other major player is U2 and Paul McCartney collaborator Daniel Lanois (producer of Bob Dylan's Time Out of Mind, Emmylou Harris' Wrecking Ball), who produces the album, plays guitar and bass, took the cover photo and wrote one of the album's songs, 'The Maker,' a stunning performance with glacier-thick vibe. Reinvention is key on Teatro, with Nelson revisiting a number of songs he first wrote in the 1960s, including 1968's 'I Just Can't Let You Say Goodbye' and 1962's 'I've Just Destroyed the World' and 'Three Days.' Though the songs are familiar, the sounds aren't: Teatro found Nelson experimenting with rhythms and flavors as never before, from the Spanish-influenced 'Darkness on the Face of the Earth' to the double-drum-kit percussive groove of 'My Own Peculiar Way.' Accompanied by a nine-piece band that included Nelson's sister, Bobbie Nelson, on piano, the group conjure up an atmosphere informed by the howling harmonicas and distant mariachi bands of spaghetti western soundtracks, the end result being a Willie Nelson album quite unlike any other in his career, and one that reveals it widescreen vision through arresting sonic imagery. Originally released by Island Record in 1998, Teatro is issued here as it's never been seen before -- on vinyl. Pressed on gold vinyl with a deluxe, gatefold, 'tip-on' uncoated jacket, this is a chance to own this unique album in its most beautifully presented form."



SCANONE: I'll Be Your Eyes 12" (YMMM 002EP) 14.50
Modified Magic returns for its second installment of old school and jungle. ScanOne delivers a solid three-track EP of quality ruffage breaks and bass. "I'll Be Your Eyes" is a dark, sci-fi, '93-style roller; on the flip, "We Copy" and "Ssik 92" take on an earlier bleeps, bass, and breaks vibe.



FUNKSTÖRUNG: Laid Out Remixes 12" (MONKEY 058EP) 12.00
Remixes of "Laid Out," the first single from Funkstörung's 2015 self-titled album (MONKEY 059CD/LP), featuring Anothr on vocals. Anstam's genius remix stacks various rhythms on top of each other; its bubbling bass drone at the center and fractured synth arpeggios create a hyper-futuristic dance track. Mouse on Mars continue fleshing out bass music until it funks; their remix is somewhere between UFO trap and synth footwork, and it's the heaviest banger here. Both Funkstörung themselves and Alex Banks turn the original into a smooth, euphoric track fit for the dancefloor but not too focused on the primetime.


FUNKSTÖRUNG: Funkstörung (Deluxe) 2LP+CD (MONKEY 059X-LP) 37.50
Deluxe triple gatefold double LP version with 900 x 300 mm fold-out poster and download codes for the album plus three bonus tracks. German duo Funkstörung return from a ten-year break following their 2005 album The Return to the Acid Planet with their fourth album, arriving like a twisted Janus-head on a perfectly toned body. It's everything you've expected from glitch-hop's inventors and everything you have not. For those eagerly waiting for Funkstörung to deliver a new electronic innovation, like they did with their first record: this time they did not. Instead they do what they do best and take up the path they started to carve with Disconnected in 2004: luscious pop songs with heavy backbones and illustrious guests adding heartfelt vocals to a bed of fizzing basslines. It is a very vocal album, with guest singers on nearly every song, but they don't dominate the sound; they simply contribute to a fresh Funkstörung that has ripened a bit and been seasoned with a hell of a lot of flavor. Some of the voices on Funkstörung have been part of the family for a while; some of them, like Jamie Lidell, are new collaborators. But whether with old friends or newfound partners, each track on the album gets to the heart of electronic pop. As a whole, Funkstörung seems so well-balanced it's ready to be an instant classic. Its sunny vibes would go as well with a fine wine in front of a fireplace as with a plastic cup of beer and rubber boots at a muddy festival. Instead of concentrating on glitches and breaks, the two producers have put their effort into nurturing every sound to perfection; one can feel that nothing has been rushed, and each detail is in the right place. As Funkstörung put it, the album is about "evolution not revolution." Highlights include "Laid Out," featuring Anothr with a hook so big even your granny you won't get it out of her head for a week; and "So Simple," the collaborative effort with Lidell, whose smooth soul-crooning fits the chrome-glistening hip-hop beat like a velvet glove. The album also features contributions from Audego, Taprikk Sweezee, ADI, and Jay-Jay Johanson. Funkstörung comes in a beautiful sleeve designed by lauded graphic artists Zeitguised and Sebastian Onufszak.



FAKI, LEN: Basement Trax Vol. 02 12" (OSTGUT 089EP) 14.00
While the first part of Len Faki's Basement Trax series (OSTGUT 064EP, 2013) was characterized by vocals, spheric sounds, and melodies, the Berghain resident almost completely passes on these elements with Vol. 02. With "B-PAX" and "For Real," he sets the tone before adding melodic elements, bleeps, and hints of ambient sounds. Faki connects "Hainish Cycle" to "those moments of trance, of zero gravity without a sense of time at Berghain. Which is why the rhythmic hi-hat kicks in only more than halfway through. Everything's in flux and harmony already, you almost don't need it."



CRAFT, ADAM: Ion 12" (PHORMA 009EP) 14.00
Phorma presents "Ion," a nine-minute dub techno piece by Adam Craft, reminiscent of rainy nights on Stockholm's Sveavägen. On the flipside, Dimi Angélis and Jeroen Search transform this vibe into a stripped-down yet powerful tool to work the early hours.



LANDSKY, MARTIN: Da Geh Bo 12" (PFR 163EP) 14.00
Martin Landsky -- elder statesmen and bona fide legend of Berlin's club scene -- serves up another superb EP. "Da Geh Bo" hits the sweet spot with its booming bass, precision percussion, and spacious production values. Big, bold, imaginative tech house, with cut-up vocalizations that zip and echo in the mix. "Under the Bridge" is equally ballsy, its repetitive stabs demonstrating Landsky's innate understanding of what moves people in both body and mind. The "House Mix" of the title-track marries a hard-hitting kick to a nebula of reverberating synth, a foundation for a swinging, swaying and utterly smooth groove.



DARK0: Solace 12" (RINSE 062EP) 12.50
Dark0 debuts for Rinse following acclaim for his 2013 self-released Zero mixtape and his sparkling 2014 debut for Visionist's Lost Codes imprint. His approach to sampling, melody, texture, and composition set him apart from his instrumental grime contemporaries. Solace moves through the dreamy, thugged-out heartache of "Abrasion"; the thinly-veiled bounce and playful melodies of "Fuchsia"; the gritty kicks and razor-sharp claps of "Spiral"; and the stunning, buoyant calm of "The Past." US rap producer Suicideyear turns a dark, sorcerous hand to "Abrasion," reversing the melodies and flipping the bassline to prove just how fluid and multi-contextual Dark0's sound really is.


SS 028LP

MOCTAR, MDOU: Akounak Tedalat Taha Tazoughai OST LP (SS 028LP) 17.00
"Rocking soundtrack recording from Rain the Color Blue with a Little Red In It, a revolutionary story of guitars, motorcycles, cellphones -- and the music of a new generation. Original compositions from Mdou Moctar from the film about his rise to fame in the city of Agadez. From the raucous heavy psychedelic to the beautiful pentatonic sublime. Includes original compositions and reverb heavy intermission film score."



LP version. Includes download code. "We're big fans of French synthpop like Jacno, Deux, Ruth, and Serge Blenner. This kind of playful synthetic sound mixed with weird and sometimes depressing poetry had a big influence on us as kids and as musicians," reveal the French duo DAT Politics. Since 1999, Claude Pailliot and Gaetan Collet have been working on music shaped by those influences, without referring to them directly, on various albums and EPs for labels such as FatCat Records, A-Musik, Chicks on Speed Records, and Sub Rosa. Drone, noise, and musique concrète are other points of reference that clearly come through in their electronic songs, though they're also closely related to pop music. This time around, their songs once again took shape under such extra-musical influences as astronomy, philosophy, and programming language, as well as surrealism, fantasy films, and their own dreams. The nine tracks on No Void, which the duo describes as a "hallucinating ride in a space roller coaster: scary and funny!", were created in winter 2014 in a small cabin in northern France. The whimsical tour de force was recorded using computers, old beat-up synthesizers, worn-out keyboards, samplers, voice boxes, and children's toy instruments. Pailliot and Collet whisper into the microphone in French and English, their voices naked or distorted by a vocoder, at times using both languages in the same song, as the track "Reptiloid" demonstrates with poignant levity. The work occupies an eclectic territory that includes catchy melodies, versatile singing with pop appeal, and playfully rocking chiptune, synthwave, and electro. Pailliot and Collet's appreciation for Depeche Mode, Yazoo, OMD, Jean Michel Jarre, and Kraftwerk is as apparent as their love of Tangerine Dream and Klaus Schulze and the soundtrack worlds of Ennio Morricone, Giorgio Moroder, and John Carpenter. Yet rather than simply repackaging their personal preferences, the duo transforms art into something totally autonomous using a creative "cut-up" method as practiced by William S. Burroughs and Brion Gysin. DAT Politics' songs are a combination of surreal stories, hidden meanings, and a search for clues within one's own subconscious. And as DAT Politics seeks mainly to electrify in a live setting, every track begins with bass and rhythms. Despite the atmospherically dense interplay between melancholy and joy, this approach is what makes No Void above all an album intent on rocking it in high style.



FEAR RATIO, THE: Refuge of a Twisted Soul CD (SKALD 031CD) 16.50
The Fear Ratio (Mark Broom and James Ruskin) present Refuge of a Twisted Soul, an album of sheer quality, and deep and heavy music. A truly prolific artist, Mark Broom has worked with world-renowned labels and artists for decades, beginning in the summer of 1989, when Broom landed in Tenerife on vacation and stumbled across the delights of the emerging sounds of Chicago and acid house. Returning to the UK, he immediately went in search of this newfound music, and bought a pair of turntables. With them a musical career was born. James Ruskin has been working in music since the early '90s, and is considered one of the leading artists of British electronic techno music, as both producer and DJ. Ruskin comes from a background that first put him in touch with hip hop and electro in the '80s and later with the emerging Detroit techno scenes, which inspired him to become a DJ in 1991 and then venture into production in 1994. Ruskin remains a vital element in the British techno scene.


FEAR RATIO, THE: Refuge of a Twisted Soul 2LP (SKALD 031LP) 25.50
Double LP version. The Fear Ratio (Mark Broom and James Ruskin) present Refuge of a Twisted Soul, an album of sheer quality, and deep and heavy music. A truly prolific artist, Mark Broom has worked with world-renowned labels and artists for decades, beginning in the summer of 1989, when Broom landed in Tenerife on vacation and stumbled across the delights of the emerging sounds of Chicago and acid house. Returning to the UK, he immediately went in search of this newfound music, and bought a pair of turntables. With them a musical career was born. James Ruskin has been working in music since the early '90s, and is considered one of the leading artists of British electronic techno music, as both producer and DJ. Ruskin comes from a background that first put him in touch with hip hop and electro in the '80s and later with the emerging Detroit techno scenes, which inspired him to become a DJ in 1991 and then venture into production in 1994. Ruskin remains a vital element in the British techno scene.



STL: Simply Positive 12" (SMALL 043EP) 12.50
Smallville regular STL follows his 2014 album At Disconnected Moments (SMALL 008CD/LP) with Simply Positive. Within its two tracks, Stephan Laubner meanders along the crispy, raw ways, with the special groove that makes him stand out from everything you've heard. Only STL knows how to maintain this tension. Welcome to euphoria.



ROELENS, PUCCIO: Research of Sound LP (SME 009LP) 26.50
From start to finish, this album features the most insane jazz-funk tunes ever released on a library LP from Italy. Amleto Armando "Puccio" Roelens was a great and in-demand composer and arranger of his time, working for Rai and Vedette Records and as an orchestra leader and pianist. Along with his 1977 album Rock Satellite, Research of Sound, originally released by the Italian Edipan label in 1976, is a killer funk record all the way through, and the most similar record to Stefano Torossi's mythical Feelings (1974). Incredible b-boy drum breaks in this session with spacey Fender Rhodes, cosmic synth, mad fuzz and treated wah-wah, heavy basslines, and a huge horn section that sounds like it features Dino Piana's jazz trombone... This first-ever reissue is remastered from the original master tapes and pressed on high-quality 180-gram vinyl.


Originally released in the mid-'70s, this scarce Italian library LP composed by maestro Oscar Rocchi was released on the same Fonovideo label that put out Giancarlo Barigozzi's famous Woman's Colours (1974); Barigozzi most likely played in this session. This is one of the finest records of jazz-funk and breaks from the Italian library circle, with terrific drums breaks, stoned flute, fuzzy guitars, and Fender Rhodes solos. Many tracks here are perfect b-boy samples, and have chipped in to make this LP just legendary. This first-ever reissue is remastered from the original master tapes and pressed on high-quality 180-gram vinyl.


MICALIZZI, FRANCO: I Due Volti della Paura LP (SME 011LP) 26.50
Yet another jewel reissued for the first time by Sonor Music Editions, originally released as a promo-only edition on the cult Pegaso label. This score was written in 1972 for the giallo film directed by Tulio Demicheli and starring George Hilton, Luciana Paluzzi, and Anita Strindberg. A sleazy psychedelic lounge masterpiece featuring sinister and thrilling themes. Fine, intense atmospheres accompanied by magnificent vocals from the bewitching Edda dell'Orso, along with harpsichord, glistening e-piano vamps, phased flute, and amazing cinematic beats and breaks. Restored audio; pressed on high-quality 180-gram vinyl.


TOMMASO, GIOVANNI: Vivere a Tokio: Citta' del Paradiso LP (SME 012LP) 26.50
Original soundtrack composed by Perigeo bassist Giovanni Tommaso for the documentary Vivere a Tokio: Citta' del Paradiso. Tommaso was very active and prolific in writing library music during the '70s. This extraordinary score was composed to be the soundtrack for a documentary focused on Tokyo and its inhabitants; Tommaso added some typical elements of melodic/harmonic Japanese music and melded them with a kind of urban music along the lines of a jazz-rock style that he would later bring to Perigeo, along with outstanding Eastern-style prog rock tunes. Silvano Chimenti, Antonello Vannucchi, and Gegè Munari are the uncredited artists who played in this session. Originally released in 1972 on RCA Original Cast (SP 8039). This first-ever reissue features remastered sound and is pressed on high-quality 180-gram vinyl.



HARRY MWALE EXPERIENCE: Harry Mwale Experience LP (STRAW 018LP) 30.00
2014 release. "Another rare Zamrock album comes to light with the Harry Mwale Experience. The sole and lone album from the legendary figure is fully licensed, and is a blend of psychedelic rock, ethnic psychedelic (with fuzz guitar) and even some soul. Overall a very robust and strong effort with above average fidelity as compared to most Zamrock releases, and one of the more obscure and harder to find records from Zambia, as well as one of the more unique. Limited to 500 copies on LP, one time limited edition pressing. For fans of BLO, WITCH, Salty Dog, Amanaz, The Peace, Survival and other afro rock albums. Look out for our upcoming Zamrock selections as we have a lot to roll out, including some from the original master tapes!"



WALTON: Bulldoze EP 12" (TEC 085EP) 12.50
Manchester's Walton follows releases on the likes of Hyperdub with his Tectonic debut, drawing influence from grime, house, techno, dubstep, hip hop, and beyond. "Wrench" meticulously builds percussive layers before serving up warped bass and machinated drum patterns. The broken poly-rhythms of "Flute Riddim" precede devastating bass and a twisted flute sample. "Bulldoze" features distorted drums and snatches of rowdy pirate radio that build the mood before slamming into sweeping squarewave bass action guaranteed to get heads nodding furiously. "L.E.A.N." delivers fizzing percussive hits and mysterious vocal hits, with a melodic line that could easily have come from The Exorcist.



SCHLANGO MANGO: Shlumbo Mumbo 12" (POMMES 004EP) 14.00
Two things that set Terre des Pommes apart from other labels with all their cool DJ friends: no cool DJ friends; the CEO, Saap, listens to every demos he receives. To him running a label is all about fresh blood and unexpected talent. Schlango Mango hit the jackpot when they hid a minidisc in Saap's daily Italian food delivery. Still chewing on spuma di pizza-schnitzel, Saap called them up and made the deal. Schlango Mango met Gerd Janson and Shan at an LAN party in the Shire. They shared similar interests; the rest is histology... Includes remix by Shanson D'Amour.



SURGEON: Balance 2LP (TRESOR 096LP) 26.50
Tresor is fortunate enough to be sitting on a catalog of past releases that no other label in electronic music would turn down. Three of the finest in this collection were contributed by Surgeon; Basictonalvocabulary (TRESOR 10073LP), Balance, and Force + Form all originally came out on the Berlin institution between 1997 and 1999. Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland found its fullest expression in this masterful trio of releases on Tresor. Tresor have decided that it's high time to give these seminal albums another airing, and now presents, as part of a series of staggered reissues, a double LP reissue of Balance (1998), following a special three-CD box collecting Basictonalvocabulary, Balance, and Force + Form (TRESOR 278CD). Balance was remastered in 2015 by Matt Colton at Alchemy Mastering, London.


SURGEON: Tresor 97-99 3CD BOX (TRESOR 278CD) 22.00
Tresor is fortunate enough to be sitting on a catalog of past releases that no other label in electronic music would turn down. Three of the finest in this collection were contributed by Surgeon; Basictonalvocabulary (TRESOR 10073LP), Balance (TRESOR 096LP), and Force + Form all originally came out on the Berlin institution between 1997 and 1999. Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland found its fullest expression in this masterful trio of releases on Tresor. Tresor have decided that it's high time to give these seminal albums another airing, and now presents a special three-CD box collecting Basictonalvocabulary, Balance, and Force + Form. The box set accompanies a series of staggered double LP reissues, and the original Remake 12"s that accompanied each album will also receive a similar treatment. These records include alternate versions by Surgeon, as well as contributions by Mick Harris. All material remastered in 2015 by Matt Colton at Alchemy Mastering, London.



TENSNAKE: Keep on Talking/The Walk 12" (TREP 007EP) 14.00
German DJ and producer Marco Niemerski aka Tensnake follows two 2014 shows for BBC Radio 1's Residency alongside Gerd Janson, and a 2014 tour schedule that took him from Panorama Bar to A Club Called Rhonda, with "Keep on Talking," a tingling, infectious cut defined by an exuberant bassline and lush, wandering synths. "The Walk" takes a darker, more minimalist tone with slinky, staggered house beats. Building to a crescendo of strings amid a flurry of synths full of compacted energy, this is a record that sees Niemerski return to the sound of his iconic Coma Cat (PERMVAC 049EP, 2010).


UY 094EP

OKAIN: Coma 12" (UY 094EP) 12.50
Samuel Thalmann aka Okain follows up his digital label debut, Some of My Tools (2014), and his praised collaboration with Onno (UY 085EP, 2014). "Coma" delivers swirling hi-NRG synth modulations and super-ecstatic vocal bits for those who like to get into the groove. Prime-time heaven. "Karma" is clearly focused on the deeper end of the spectrum, with spatial effects and mellow, slightly dubbed-out chords meeting muscular drums, balearic sample-work, and scenic string arrangements. "Silver Door" delivers Chitown-reminiscent phonk, stripped-down production, and an almighty acid line to hype the crowd right before floating synths up the intensity.



TUT VU VU: Tut Vu Vu LP (VAVA 010LP) 25.50
Tut Vu Vu are an instrument-based four-piece composed of Matthew Black, Jamie Bolland, Raydale Dower, and Iban Perez. They have variously and incorrectly been referred to as "musique concrète," "the best band in Glasgow," "the love child of David Lynch and Anaïs Nin," and "vaguely jazz-based rhythm with a wayward electronic disposition." Regardless of these descriptions they are proud to release their self-titled debut album. In their own words: "Our understanding of what it is to be human. With hydrogen sulfide at more than 700 parts per million and the re-entry devices at a pulsed-plasma critical stage, the need to constantly monitor such forces and handle their data flows is imperative if we are to go even deeper into space."


LADD, MIKE: Welcome to the Afterfuture 2LP (VAVA 011LP) 25.50
Timely reissue of Mike Ladd's crucial and seminal 1999 work Welcome to the Afterfuture. Summoning b-lines, electronic spatter, jazz wig-outs, hard hip hop, Indian ragas, and soundtrack ephemera, Mike Ladd chooses a different voice (and sometimes an absence of voice) for each tune. He runs hyper-literate, pun-stuffed rap against pitched-down crooning; pif-punk call-and-response against uninflected reportage; preacher's cadences against poetry. This deluxe double LP reissue is packaged with an 11" x 11" booklet containing exclusive pictures, lyrics, and literature from prominent writers and critics, as well as exclusive vinyl-only bonus tracks and a download code. "Bladerunners" features Company Flow.


4 46091EP

GOLDMANN, STEFAN: Remasters Vol. 3 12" (4 46091EP) 12.00
Shimmer was the record that put Stefan Goldmann on the techno map when it was originally released in 2004. The dark, throbbing tracks, reduced to the essentials, captivated many of the DJs who ruled the scene that year. Josh Wink threw in one of his most focused remixes for Goldmann's debut on Ovum -- which was also the first release by a German artist on the label. Now reissued, for the DJs who play this prototype sound today. Meticulously remastered by Rashad Becker at Dubplates & Mastering, with the title-track cut to a full 12" side, it's never sounded better.



VA: Pieces (Original Motion Picture Soundtrack) LP (WRWTFWW 005LP) 23.50
"You do not have to go to Texas for a chainsaw massacre!" The soundtrack for cult slasher movie Pieces (1982) is now available for the first time ever on vinyl. A plot filled with so many holes it's impossible to follow, chainsaws cutting heads left and right, downright terrible acting, hilariously absurd scenes, and a brilliant soundtrack -- Pieces is exactly what you think it is: one of the best movies ever made! Praised by the likes of Eli Roth (Hostel (2005), Inglourious Basterds (2009), Grindhouse (2007)...), this rare slasher has become a fan-favorite over the years and can be seen in horror movie festivals around the globe. Its original score is surprisingly elegant, full of eerie jazz, menacing synths, and soulful escapades -- a well-balanced mix finding its influences in giallo and blaxploitation soundtracks of the '70s and classic horror movie music of the '80s. This limited vinyl edition includes numerous songs by Italian composer Stelvio Cipriani, the man behind the superb soundtrack of poliziottesco movie La Polizia Sta a Guardare (1973) (the main theme of which was reborn in 2007 in Quentin Tarantino's Death Proof), multiple scores for Spaghetti Western movies starring Tony Anthony, and winner of a Nastro d'Argento award for best score for The Anonymous Venetian (1970). Also found on Pieces are compositions by Carlo Maria Cordio, who scored Joe D'Amato's gorefest Absurd (1981) (which some might know as Anthropophagus 2, Monster Hunter, Horrible, or The Grim Reaper 2), a movie so shockingly violent it became one of the "Video Nasties" of the UK and was successfully prosecuted under the Obscene Publications Acts in 1984. Lucio Fulci's frequent collaborator Fabio Frizzi (responsible for the music of classic horror movies Zombie aka Zombi 2 (1979), L'Aldilà aka The Beyond (1981), City of the Living Dead aka The Gates of Hell (1980), and the list goes on) also makes a special appearance with the sexy "Cocktail Molotov." Also included on the soundtrack are tracks by Stephen Ham & Alain Leroux and Enrico Pieranunzi & Silvano Chimenti, and, as a bonus, an audio recording of Pieces' original movie trailer!

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