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Forced Exposure New Releases for 7/27/2015

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New music is due from Omar Souleyman, Hunee, and M.E.S.H., while old music is due from Nurse With Wound, The Telescopes, Treacherous Three, and Nervous Eaters.


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BRIAN JONESTOWN MASSACRE, THE: Musique de film imaginé LP (AUK 032LP) 20.00
Repressed; LP version. Pressed on 180-gram vinyl. Musique de film imaginé (music for film imagined) is a soundtrack that pays homage to the great European film directors of the late '50s and '60s, such as François Truffaut and Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of The Brian Jonestown Massacre for an imaginary French film. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of western rock and roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members and numerous ups and downs later (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. The Brian Jonestown Massacre returned to wide acclaim in May of 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), the first of the band's albums to be fully recorded and produced at Newcombe's recording studio in Berlin. Also recorded in Berlin, Musique de film imaginé features vocals from French chanteuse and multi-instrumentalist SoKo and Italian actress, singer, and director Asia Argento. SoKo is signed to Because Music and her track "We Might Be Dead by Tomorrow" was featured in the viral video "First Kiss," which has garnered over 63 million views; the track debuted at number 9 in the Billboard Hot 100 in 2014. Argento, who has starred in music videos for Marilyn Manson, Placebo, and Tim Burgess, wrote the storyline for A$AP Rocky's 2013 cinematic music video "Phoenix," which has had over 5.5 million hits. Both vocal performances are in French. Newcombe recorded this daring symphonic experience in August 2014 after a successful European tour with The Brian Jonestown Massacre. Newcombe describes the work as "a soundtrack, my own creation, a tribute to great directors and filmmakers [and] to an era that now seems to be behind us. Leaving the smart person to care to imagine that this art could now be in the shadow of its former glory. The interesting thing about this project is that the film does not exist either. Even so, I imagined and I realized its soundtrack... Now it's your turn, you are the listener to imagine the film."



YILMAZ, SARP: Since You've Been Gone Away LP (APL 009LP) 23.00
"I like to do stuff like make records and spin them. Some people take interest in what I do. This is what this is all about." That's all Turkish producer Sarp Yilmaz has to say about himself -- but others are more emphatic; Osunlade named him "my favourite new artist" in The Guardian. Maya Jane Coles dropped his tunes on Pete Tong's Essential Selection, he's been charted by many top DJs and artists (Stacey Pullen, Osunlade, Bill Patrick, Dapayk, Marco Resmann, Niederflur...) across the globe, his tracks have been chosen as Beatport's Track of the Day, his stuff has topped the Whatpeopleplay charts, and his tracks pop up on every important podcast, be it from Cadenza or Compost Black Label Sessions. Yilmaz has been widely praised for his unique take on house music, perfect for everyone who likes their house with some open-minded, odd flavor. Since You've Been Gone Away features cover art by Rebecca Covaciu. Mastered for vinyl by Lopazz. Project curated by Giuseppe D'Alessandro.


F 1028LP

THORNTON, BIG MAMA: In Europe LP (F 1028LP) 21.00
"In Europe was recorded on October 20th, 1965 while Big Mama Thornton was part of the Folk Blues Festival revue that was touring Europe at the time. The sessions finds her in great form with an ace backing band offering killer support on tracks such as 'Little Red Rooster', 'Unlucky Girl' and 'Hound Dog'. The band consists of Buddy Guy - guitar, Fred Below - drums, Eddie Boyd - piano and organ, Jimmy Lee Robinson - bass, Walter 'Shakey' Horton - harmonica. Essential blues. Limited edition of 500 on solid red mono vinyl."

F 1028LP

THORNTON, BIG MAMA: Big Mama the Queen at Monterey LP (F 1032LP) 21.00
"Big Mama Thornton was one of the greatest Blues shouters of all time. Her music has influenced the likes of Janis Joplin and Elvis, who would later cover songs originally recorded by Big Mama. She was inducted into the Rock and Roll Hall of Fame in 1984. In 1966 she joined up with the Muddy Waters Blues band to cut a classic album of down home shoutin' blues for Arhoolie Records. Tracks include 'Bumble Bee', 'I'm Feeling Alright' and 'Life Goes On'. Muddy Waters - guitar, Otis Spann - piano, James Cotton - harmonica, Sammy Lawhorn - guitar, Luther Johnson - bass, Francis Clay - drums. Limited edition of 500 on translucent gold vinyl."


ATL 1291LP

MARSH, WARNE: Warne Marsh LP (ATL 1291LP) 14.00
Exact repro of this 1958 release. Saxophonist Warne Marsh plays with Paul Chambers (bass), Philly Joe Jones (drums), Ronnie Ball (piano) and Paul Motian (drums).

SD 1492LP

"(Wayne Henderson) gathered the best musicians he could find for his group, selected material carefully, and cut the first album for The Freedom Sounds. There is the freedom here that only comes in the quality of their playing and there is freedom in choice of material and concept. "Respect", for instance, was a hit for Otis Redding and for Aretha Franklin (The King and The Queen of Soul). This version by The Freedom Sounds maintains that same high level of excitement... Originals like "Cucamonga" and "Orbital Velocity" are special surprises on this album, and the title track, "People Get Ready" (made famous by The Impressions) as well as "Sad Song" (another Otis Redding hit) show the group's sheer soul power." Exact repro of this 1967 album, manufactured by Rhino.

SD 1512LP

"...this album draws material from the repertoire of Sinata ("It Was A Very Good Year"), the Staple Singers ("Are You Sure"), Bacharach-David ("What The World Needs Now"), and Lennon-McCartney ("All You Need Is Love")." Exact repro of this 1968 release, manufactured by Rhino.


AUS 1582EP

GEEEMAN: Wanna Go Bang EP 12" (AUS 1582EP) 14.00
Gerd aka Geeeman has consistently soundtracked peak-time moments across releases on Catch, Royal Oak, Clone, and his own 4 Lux, punctuated by such classics as "The NY House Trak" as NY Stomp, "Bang't" as Geeeman, and his stellar remix of George FitzGerald's "Child," which first instigated his link with Aus (AUS 1241EP, 2012). The dense, persistent bass of "Wanna Go Bang" circles under swinging hats alongside a hacked-up vocal; bit-crushed signals and powerful analog drums pepper the free-form "Tribute Instrumental"; Clone's very own mastering engineer Alden Tyrell lifts the track further with capacious laser stabs and brazen, overdriven 909 drums.



CELIBATE RIFLES, THE: Sideroxylon LP (BANG 088LP) 21.00
Originally released in 1983, this is Australian punk band The Celibate Rifles' first album, a work that immediately confirmed the band's place as one of Australia's most influential bands ever, with the high-energy sounds alongside Radio Birdman and The New Christs. With Kent Steedman on guitar and a rock-solid rhythm base, Damien Lovelock guided the band with his personal voice and vocals. Remastered to sound as it was originally intended, pressed on 150-gram vinyl, and presented in a gatefold sleeve with liner notes by Lovelock and Steedman.


LUNDBERG, EBBOT: The Immaculate Concept Album 2LP (BANG 092LP) 30.50
Ebbot Lundberg (leader of Swedish legends The Soundtrack of Our Lives and Union Carbide Productions) presents an awesome double LP collection of singles and EPs, as well as previously unreleased tracks, including his electric and acoustic sides. A gathering of sounds in which psychedelic music exposes melodies that seem to be taken from The Beatles' Sgt. Pepper's (1967) and The Beach Boys' Pet Sounds (1966), all marked by his unique stamp and taking the listener to the highest moments of The Soundtrack of Our Lives. The first LP contains the electric material, while the second covers the acoustic approach. Pressed on 150-gram vinyl and presented in a deluxe gatefold jacket with inner sleeves and fully detailed artwork.


BEC 5156161

MAJOR LAZER & DJ SNAKE: Lean On (feat. MØ) 12" (BEC 5156161) 14.00
Mad Decent label release licensed thru Because Music. Limited vinyl version of massively successful digital track; 224 million Spotify streams and 200 million YouTube views at the time of this release. UK producer Fono, whose track "Real Joy" on Relentless Records has been smashing in clubs, rips apart Major Lazer & DJ Snake's global hit "Lean On (feat. MØ)," chopping up the vocals and adding some pulse to the rhythm. A relentless piece of electronic propulsion that has the clubs going insane.

BEC 5161605

CHAO, MANU: Clandestino 2LP+CD (BEC 5161605) 26.50
2015 repress. Originally released in 1998. Gatefold double LP with a CD copy of the album. "The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock 'n' roll to French pop to experimental rock to techno... Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry." --All Music Guide



HALL, EMILY: Folie à Deux CD (HVALUR 023CD) 17.00
Award-winning British composer Emily Hall presents Folie à Deux, a work that uses finely crafted songs to tell a modern folk-tale. Folie à Deux is a lyrical and intense investigation into love and loneliness within a relationship. Insanity, electricity, and love collide in a sonic voyage into the psychiatric syndrome known as "folie à deux" or "shared psychosis," in which a delusion is transmitted from one person to another. The piece is composed for two singers, an acoustic harp, and an electro-magnetic harp. This electro-magnetic harp, commissioned and built for this piece, uses vibrating magnets to evoke an underlying electronic presence representing the pylon -- the third character that presides over this story. Against a backdrop of responsive light and sound, the result is a hauntingly beautiful soundscape. Much of Hall's music is formed from close creative relationships with singers and writers. Here she has teamed up with hailed Icelandic lyricist, writer, and longtime Björk collaborator Sjón. Folie à Deux features beats from Mira Calix and was co-produced and mixed by composer and producer Valgeir Sigurðsson (Björk, Feist, Bonnie 'Prince' Billy...). Emily Hall studied composition at York University and the Royal College of Music, London. She has written for many different ensembles and orchestras including the London Sinfonietta, London Symphony Orchestra, BBC National Orchestra of Wales, the Brodsky Quartet, Opera North, and the Hungarian Radio Chorus. Her music has been performed in diverse venues ranging from Latitude Festival to the Cité de la Musique, and broadcast on BBC Radio 2, 3, 4, and 6. Her first opera, "Sante," produced by Aldeburgh Music, was described by The Times as "a dynamic new opera worth everyone's time and hopes." Hall received the Royal Philharmonic Society Composition Prize in 2005, the Genesis Opera Prize in 2006, and the Paul Hamlyn Foundation Award for Artists in 2013.



TERAUCHI, TAKESHI: Nippon Guitars LP (WIKD 297LP) 25.00
2015 repress. Subtitled: Instrumental Surf, Eleki & Tsugaru Rock 1966-1974. "The first ever retrospective in the west of one of Japan's guitar pioneers, Takeshi Terauchi. Charting his career from the surf boom, to groovy '60s instrumentals, fuzz freak-outs and funk rock. A must-have item for any collector of guitar 'n' beats from around the world or anyone with a curiosity for vintage Japanese and Oriental popular music. Big Beat International release, compiled by Howard Wiliams, previously held responsible for the Killing Melody album, a compilation of Japanese gangster soundtracks. Now venturing into the choppy waters of surf and electrified Japanese folk. Takeshi Terauchi was the main man behind the mid '60s Eleki (electric guitar) boom. A powerhouse of guitar pyrotechnics with an understanding of the circuit board; he made his own echo machines and the first Japanese-made PA system. With his two groups, the Blue Jeans and the Bunnys, he led the field and still plays today. The album Nippon Guitars is a sample of his huge catalogue, mainly focusing on hard-edged surf, adapted versions of traditional Japanese folk songs and '60s Japanese pop grooves. For beat scavengers there are breaks, backed with melodies in the Japanese pentatonic scale."



ROMARE: Love Songs: Part One EP 12" (ACRE 040EP) 12.50
2015 repress. Romare presents his thesis on the classic love song, drawing influences from yesterday's sounds to craft music for tomorrow. "Your Love (You Give Me Fever)" is a deft fusion of footwork shuffle with vintage texture, already garnering support from Gilles Peterson and Huw Stephens. "Jimi & Faye (Part One)" is a chopped and screwed blues groove, "Taste of Honey (From the City)" is a breakbeat-harvesting anthem saturated in early '90s club-land, and "Hey Now (When I Give You All My Lovin') is a dirt-under-the-nails blues/hip-hop jam.



DEEP'A & BIRI: Circular Sector/Parallel (incl. ROD & Markus Suckut Remixes) 12" (BLACKCROW 004EP) 12.50
Tel Aviv's Deep'a & Biri return to their own Black Crow imprint following the huge success of their 2014 split EP with Aril Brikha (BLACKCROW 002EP). Circular Sector/Parallel showcases the tougher side of their expansive techno sound, with an intensity that marries well with the dub sonics they've long made their calling card. The originals are backed by a pair of stellar remixes from Klockworks affiliate ROD and Figure techno veteran Markus Suckut, with the former tying the bassline of "Circular Sector" to a swung-out groove and the latter turning "Parallel" into an acid-infused tribute to Berlin's '90s techno heyday.



DEADBEAT: Walls & Dimensions I 12" (BLKRTZ 012EP) 14.00
"In November of last year I closed up my studio in Berlin to embark on a 3 month journey with my family... I limited myself technically to focusing on collecting field recordings and renewing my interest in free form software synthesis experiments... the tragic death of my father in law in an accident in mid December would ultimately lend these exercises an entirely new level of gravitas... Music offers a singularly powerful opportunity for catharsis beyond any written word. It is my hope that others may find similar room for reflection amongst these humble drones." --Deadbeat, March 2015


BB 188LP

SCHNITZLER, CONRAD: Kollektion 05: Conrad Schnitzler Compiled and Assembled by Thomas Fehlmann LP (BB 188LP) 25.00
LP version. Things come full circle. In 1976 Thomas Fehlmann arrives in Hamburg to study art at the Hamburg University of Fine Arts. In 1979 he attends a guest lecture by Conrad Schnitzler, who demonstrates how the "extended definition of art" established by Joseph Beuys can be applied to music. This proves to be a crucial element in Fehlmann's decision to become a musician. And now, in 2015, over 35 years later, Fehlmann has compiled the fifth installment in Bureau B's Kollektion series, arranging, in uniquely harmonious fashion, 16 pieces from the early 1980s by the man who broadened his horizons, Conrad Schnitzler. The gateway to Schnitzler's sonic cosmos has been flung wide open. Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967/'68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius), and released countless solo albums. Thomas Fehlmann rose to prominence in the seminal band Palais Schaumburg with Holger Hiller. Their debut album in 1981 was a milestone in German post-punk music. In 1988 Fehlmann founded the Teutonic Beats label and in 1990 he became a member of The Orb. He has played an important role in Berlin's electronic and club scenes ever since, as a musician, producer, remixer, and DJ. Thomas Fehlmann on this Kollektion: "I have strung together various pieces from Conrad Schnitzler's white period -- the CON series -- in a seamless arrangement which creates its own state of dramatic tension. The tracks retain their original form and tempo. This is not a study in montage. I have restricted myself to picking the right moment to move from one piece to the next, cross-fading. Okay, I did edit one track... I was looking for a form which would condense Conrad Schnitzler's versatility, his inventiveness and wit into a single journey. The new running order adds a certain friction to the aura of each as new connections are made. My choices were musical, not chronological, bathing these works from the early 1980s in new sensuous light. It is quite remarkable to see how intensely the sparks still fly. Preparing this collection closes an elementary circle in my life, without which I may have followed a completely different path."

BB 189CD

Conrad Schnitzler (1937-2011), composer and concept artist, was one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967/'68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius), and released countless solo albums. Pyrolator, born Kurt Dahlke in 1958, cofounder of the legendary German label and publisher Ata Tak, member of various seminal post-punk bands including D.A.F. and Der Plan, has released solo albums under his artist name from 1979 on. The Con-Struct series has its roots in Schnitzler's daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in subsequent live performances and amassed a vast sound archive. When the Berlin-based m=minimal label reissued two Conrad Schnitzler albums in 2010 and '11 (MINIMAL 001LP, MINIMAL 004LP), label honcho Jens Strüver was granted access to this audio library. Strüver came up with the idea of constructing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD/LP), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound. Andreas Reihse (Kreidler) was responsible for the second installment in 2013 (MINIMAL 014CD/LP), and now Strüver has chosen Pyrolator to assume Schnitzler's mantle. A few words from Pyrolator: "It was a great honour for me to be asked to curate an edition of the Con-Struct series. Conrad's work is simply too important to turn down such an offer. The guidelines for the Con-Struct series require the curator to select individual tracks which Conrad had used in his live shows and rearrange them to create something new. I must admit, I could not resist the temptation to add one or two of my own ideas. The original tracks were so inspiring, I just had to. My prime objective was to present a side of Conrad which I had always heard in his music but one which often goes unnoticed: a darker, technoid side. In my opinion, Conrad has always been one of the great pioneers of classic Berlin techno music. I look forward to many more chapters in the Con-Struct collection. Conrad's oeuvre is so extensive and so diverse that many more fascinating aspects await discovery."

BB 206CD

QLUSTER: Tasten CD (BB 206CD) 18.00
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.


BB 208EP

MOEBIUS PLANK NEUMEIER: Remixed by Richard Fearless 12" (BB 208EP) 14.00
Zero Set (BB 037CD/LP) was a milestone in latter-day krautrock, created in 1983 by a hugely authoritative triumvirate of the German avant-garde: Dieter Moebius, Conny Plank, and Mani Neumeier. Richard Fearless delivers two remixes of outstanding album opener "Speed Display." On the A-side he grafts rhythmic patterns onto a four-to-the-floor beat and compelling bass signature. Feedback, echoing voices, a sprinkling of synth -- only the most essential elements, none of which risks overloading the mix. On the B-side, he plucks just a few notes from the bassline and crafts a fine slice of hypnotic electro-dub with minor chord echoes.



C-EDITS: Long Player 1 LP (CEDI 005LP) 22.00
Since 2010, C-Edits has been producing some exquisite edits and covers of tracks including Duke Ellington's "I'm So in Love with You" and Mariah Carey's "Make It Happen." This long-player features eight songs with some very special covers, paying tribute to more musical influences. For fans of Chris Isaak, Arthur Russell, Larry Levan, Jocelyn Brown, Etienne de Crécy, The Staple Singers, KFDA, Black Devil Disco Club, Paradise Garage, David Mancuso, The Loft, and Nikos.



SUN RA: Strange Celestial Road LP (CELEST 3035HLP) 14.00
2015 repress. Exact repro reissue on 180 gram vinyl. "The music on the record gives a strong indication of the willingness to experiment, the desire to take changes. You will hear young voices new to the test alongside the experience magnificence of Sun Ra and John Gillmore, the unsung tenor giant who has earned the praises of John Coltrane and Sonny Rollins, and if that isn't peer group recognition of the highest sort, I don't know what is. There's plenty of safe records all around you. But if you're interested in being safe, 'safe' from cosmic tones for mental therapy, then what are you doing reading this? If you're reading this then you've already begun your journey anyway." Keith Spring, from the back cover.


CT 115LP

PERRY & THE UPSETTERS, LEE 'SCRATCH': Blackboard Jungle Dub LP (CT 115LP) 11.00
2015 repress. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".



KHOST: Corrosive Shroud CD (CSR 211CD) 16.50
Corrosive Shroud is the second album from Birmingham band Khost, following the 2014 debut Copper Lock Hell (CSR 202CD). The album has a singular theme: the hand-me-down concrete relics in which we necessarily live and from which we draw perceptions. The music is the sound of lightless blocks, oxygen-starved sheds, and apparitions, using stark and unrefined found sounds stacked against Khost's massively detuned guitars. The album features Eugene Robinson of Oxbow and Syan, who add their stories to the narrative, along with personnel Jo Quail, Daniel Buess, and Gustave Savy and a remix from Tel Aviv-based Hostage.



GHENACIA, STEPHANE: Mamajunk 12" (COLORS 003EP) 14.00
Staying true to its family-and-friends ethos, Colors presents an EP from the London event group and label's co-founder, Stephane Ghenacia. Three tracks, with an appearance from Aaron.



SIREN WITH MR. REED: A/Way (Featuring a Remix from Faze Action) 12" (COMP 471EP) 12.00
Darshan Jesrani (Metro Area, Startree) and Dennis Kane (Disques Sinthomme, Ghost Town) shared residencies at NYC's storied APT and produced parties together (Camille 3000, Adult Section, Strobe Lodge) in APT's wake. They now follow their acclaimed 2014 debut as Siren, Gauntlet (COMP 458EP), with "A/Way," a sunny, wind-swept trip anchored by a strong-but-easy bassline recalling Norman Whitfield, punctuated by horns that hint at Burt Bacharach, propelled forward by a joyous '60s/'70s rock guitar groove, and tied together by Mr. Reed's soaring, plaintive vocal. Includes remix by Faze Action. Released in advance of Siren's autumn 2015 tour as a DJ unit.



MOTOR CITY DRUM ENSEMBLE: Compost Black Label 27 12" (COMP 277EP) 12.00
Very few producers have built their reputation as quickly as Inverse Cinematics, the duo of Danilo Plessow and Joachim Tobias. In addition to solo releases on Pulver, Plessow has recorded tracks as Hipster Wonkaz and Aphro Pzyko for Pablo Valentino's Faces label and Mad Mats's Raw Fusion imprint. Motor City Drum Ensemble concentrates on Plessow's electronic side. Before he started to go more leftfield/broken-beat-ish with his Inverse Cinematics project, he was heavily influenced by the likes of Larry Heard, Chez Damier, UR, Moodymann, and Mike Huckaby, and labels like Soul City, KMS, Prescription, Harmonie Park.



KERRIDGE: Sonic Instruments of War 7" (CNTRT 003EP) 12.50
Following a mighty 2015 drum and bass mixtape from Karl O'Connor, Sam and Hayley Kerridge's Berlin-based event-series-turned-label returns with a killer addendum to its first release, Sam Kerridge's 2015 Always Offended Never Ashamed album. These two tracks are a clarion call-to-arms -- both sides excerpted from a live Kerridge performance for the NTO, Berlin, 2013. Convulsing chunks of distorted, heaving junglist venom on the A-side's brutal "Sonic Instruments of War #01." The flipside explores more abstract terrain thru vicious, atonal outbursts. Highly recommended for those into the Downwards catalogue, HATE, or late Shapednoise.



L_CIO & AROOP ROY: People Talk 7" (DOC 006EP) 10.00
Laercio Schwantes Iorio aka L_cio creates highly evocative music; to listen to it is to watch a scene unfold. In 2012, he toured Europe, stopping in Cologne (Cologne University Radio), London (Egg and Bunker 184), Lithuania, and Vienna. In 2013, he was one of five winners of CDR Berlin's contest to remix the Jazzanova's "I Human (feat. Paul Randolph)." On People Talk, L_cio and Aroop Roy create dancefloor music full of groove, lush harmonies, and organic undertones. Engineered to perfection by D.O.C. mastermind Gui Boratto, it's an exciting step for the imprint and the project alike.


DK 76915LP

DAVIS, TYRONE: Home Wrecker LP (DK 76915LP) 12.00
Exact repro reissue of soul singer Tyrone Davis' 1975 album for Dakar Records, produced by Carl Davis and Otis Leavill.



VA: Dreizehn 12" (DDR 013EP) 12.50
Der Dritte Raum copilot Ralf Uhrlandt opens this three-way-split with his elegant motor-skills on his house-to-techno track "New Sight." When the guitar hook appears, the listener is kissed by the sun in a manifestation of easygoing, feather-light dance expression. Click Farm crafts a wonderfully layered, deep, minimal, bassline-driven hunter-techno masterwork perfect for summer dancefloors. With "El Sonido," Der Dritte Raum once again exemplify the great school of easy, swinging techno grooves.



VA: All Part 3 12" (DIAL 072EP) 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 3 of the 12" edition includes tracks by Lawrence, Efdemin, Roman Flügel, Dawn Mok, and Pawel.



JAURES: Silence 12" (ORKL 005EP) 14.00
Jaures fulfill their prophecies with their second Die Orakel installment, following Tsoyberbarg (ORKL 003EP, 2014).



NURSE WITH WOUND: Sylvie and Babs (Expanded Edition) 2CD (DPROM 113CD) 22.00
Deluxe reissue of this '80s classic from Nurse With Wound. Expertly remastered by Denis Blackham. Beautifully packaged in six-panel gloss laminated digipack, with special gloss 12-page booklet with artwork by Babs Santini. Includes a bonus disc of outtakes, previously unreleased material, and remixes from Irr. App. (Ext.) and Andrew Liles.


MERZBOW: Wildwood CD (DPROM 116CD) 15.50
The mighty Merzbow presents four tracks of blistering music recorded and to be played at maximum volume. This leaves the also-rans at the gate and is full of psychedelic twists and turns, with one completely guitar-based track. Incredible stuff from Masami. It's also a benefit release for the Wildwood Trust in Kent. All proceeds from sales will go to them, toward the care of two rescued European brown bears. For more information about this wonderful organization, go to Comes in beautiful reverse board digipak.


DOL 1453LP

DIXON, WILLIE: Walkin' The Blues LP (DOL 1453LP) 19.00
2014 release. "Willie Dixon was a songwriter / guitarist during the heyday of Chess Records, writing material for such artists as Muddy Waters, Howlin' Wolf, Little Walter and Bo Diddley. His songs not only laid the foundation for the Chicago blues sound, but also helped shape rock and roll as well. Walkin' the Blues is a collection of Dixon songs taken from recordings made in 1951-1956 for Chess and performed with some of the greatest artists of the day: Little Walter, Eddie Boyd, Muddy Waters, Howlin' Wolf, Little Walter, to name a few. Dixon, who was also an accomplished singer, can also be heard singing on four of the 18 tracks."


MONK, THELONIOUS: Brilliant Corners LP (DOL 739LP) 19.00
"During his early years, Thelonious Monk was considered one of the 'most challenging, provocative and disturbing figures in modern music.' His music was considered difficult to listen to and understand, causing many fans initially to shy away from trying to 'dig Monk.' This album helped remedy that problem. Recorded in December 1956 for Riverside with a quartet featuring primarily Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), Ernie Henry (alto sax), Clark Terry (trumpet), Brilliant Corners, an album of mostly self-penned numbers, is one of his greatest recordings. While still not casual listening, its pure brilliance and vitality can reach just about any listener."


MONK, THELONIOUS: 5 By Monk By 5 LP (DOL 744LP) 19.00
"Recorded in 1959 for Riverside, Thelonious Monk's 5 By Monk By 5 is exactly that: 5 Monk originals played in a quintet setting. Monk, who was famous for trying to showcase many of the lesser-known talents out there, uses this album as an opportunity to highlight the cornet playing of Thad Jones, and the two new pieces on this album--'Jackie-ing' (named for Monk's niece) and 'Played Twice'--were written with Jones' cornet playing in mind. The quintet is filled out by Charlie Rouse (tenor sax), Sam Jones (bass), and Art Taylor (drums). Rouse would go on to become one of Monk's main sidemen over the next decade."


MONK, THELONIOUS: Plays Duke Ellington LP (DOL 746LP) 19.00
2013 release. "An absolute genius, Monk brought jazz piano to levels unheard before, both for composition and interpretation. A musician so ahead of his time that he was often sheepishly denied the credit he deserved, leaving to future and more finely tuned ears the capability to fully understand his potential. Doxy's plan to bring back the magnificent opus of this strong personality in music and art is now enriched with this incredible tribute to one of modern music maestros, along that same trail blazed by Duke Ellington. Faithfully re-released on 180 gram virgin vinyl, this 1955 album, originally released on Riverside, is back in black for all who want to experience the beauty of music on the grooves that it was made for."


SHORTER, WAYNE: Wayning Moments LP (DOL 780LP) 19.00
2014 reissue of trumpeter Wayne Shorter's 1962 album, originally released on Vee Jay Records. Featuring Freddie Hubbard (trumpet), Eddie Higgins (piano), Jymmie Merritt (bass), Marshall Thompson (drums). Mono version on 140 gram vinyl.


JACKSON, WANDA: Wanda Jackson LP (DOS 614LP) 20.00
2014 release. "Originally released in 1958, by the time her debut album came out Jackson, only 21 at the time, was already a seasoned performer. Discovered while still in high school singing country for an Oklahoma City radio station, by 1955 she was touring with Elvis Presley, who encouraged her to sing more in the rockabilly style, where she soon gained a huge fan base. However, this first album for Capitol shows just how versatile she could be, able to sing anything from traditional country to pop. She was also, interestingly the first country singer to bring a more glamourous style (one that would soon become standard in the country world) into her stage image, thanks to her mother's handmade flashy stage costumes."



ELY, JOE: Live in Austin Texas CD (ECHO 2034CD) 17.00
Aside from Joe Ely's hugely influential hold on Joe Strummer of The Clash and his own fascinating road to notoriety, the man's music remains largely unacknowledged outside of his loyal fanbase. Such savage neglect can only be met with bewilderment considering his impact on punk and country music and his rebel spirit that keeps both genres alive and interesting. KGSR-FM's broadcast of Ely's intimate solo appearance for the Austin Chamber of Commerce Star Award on December 3, 1993, survives as testament to his grueling schedule and commitment to rock and roll as not only a music form, but a way of life. Ely's fiery spirituality is in abundance in his performance here and signifies his own statement that "Muscle is muscle. Put that with riffs and wisdom and you've got something." Professionally remastered original FM broadcast with background liners and rare archival photos.


EKS 74080LP

VOICES OF EAST HARLEM, THE: Right On Be Free LP (EKS 74080LP) 14.00
Voices Of East Harlem are a 20-member ensemble featuring lead vocalists Gerri Griffin, Cynthia Sessions, and Bernice Cole. This is their 1970 debut for Elektra. Exact repro, manufactured by Rhino.



ED RUSH & OPTICAL: FabricLive 82 CD (FABRIC 164CD) 16.00
The team of Ed Rush & Optical unleashed upon the world an album, label, and audiological echo that would inspire thousands of producers and spawn an entire generation of artists. Their '98 debut album Wormhole changed drum and bass forever and is widely regarded as the best album of the genre. While both DJs have won widespread acclaim individually, it is commonly said that their best work is done together -- and never more so than when delivering their signature Virus sound direct to the dancefloor. Implicit with drum and bass at Fabric since year zero, Ed Rush & Optical at last step up to the FabricLive plate with a typically frenetic session. The mammoth 39-track mix is peppered with exclusives (Ed Rush & Optical's "The Host" and "The Turnover," Ed Rush's "Scarab VIP"), previously unreleased tracks (Signs's "Clockout" and "Acid Test," Optical & BTK's "Inside Out," De:tune's "Purge"), and brief journeys back in time (Ed Rush & Optical's "Watermelon" (1999), Konflict's "Messiah (Noisia Remix)" (2005), Ed Rush & Optical's "Chubrub" (2009), Audio's "Collision" (2010)), completing a relentless exhibition of drum and bass supremacy. Also includes tracks by Phace; State of Mind; Optiv & BTK; Noisia; Current Value; Black Sun Empire & State of Mind (including a track featuring PNC); June Miller & Mefjus; Dimension; Maztek & Grotesque remixed by Maztek; State of Mind, Mindscape & Jade; Mefjus; Neonlight & Wintermute; Noisia, Hybris & Mefjus; Hypoxia; Spor remixed by Calyx & TeeBee; DC Breaks; Misanthrop; Hybrid Minds feat. Tempza & Laurence Baker and remixed by Neonlight; The Qemists remixed by Spor; Mefjus & Misanthrop; and BTK, Maztek & Optiv. Packaged in bespoke slipcase containing die-embossed tin.



MOOMIN: Fuck Reality 02 12" (FUCK 002EP) 14.00
Fresh three-tracker, certainly Moomin-style. Well-tested and approved on the road within his live- and DJ-sets around the globe, now ready for the world. Fuck reality!



BAREM & ALEXIS CABRERA: Turn on the Fun 12" (FUN 001EP) 14.00
140-gram vinyl. Globally recognized and respected DJ and producer Barem pairs up with producer and live specialist Alexis Cabrera to launch Fun Records. Barem is known for numerous releases on M_nus; Cabrera has production credits on labels like Mindshake, Raum...musik, and Time Has Changed. Here, they evolve away from minimalism to focus on fun techno funk. "Turn on the Fun" features slithering synth lines, a nimble and inviting baseline, and plenty of warming emotion. "Funcy" is more rubbery and direct, with clacking perc, freewheeling synth lines, and bubbly, roaming drums. "Funatics" has a somber, minor-chord bassline alongside crisp, clean hi-hats.



GOLDBERG: Misty Flats CD (FDR 612CD) 15.00
"Barry Thomas Goldberg was 23 in 1974, the year his Minneapolis power pop group, The Batch, split up. Rudderless, he set about recording solo album Misty Flats, and though few would hear it in its day, he hit on something very special indeed. 'In 1974, the world was weary, the Vietnam War was ending, America was at this place where it didn't know where it was heading, it was the fumes of Watergate days,' says Goldberg now. 'I'd just left my band, and I didn't know where I was heading either. And that's what Misty Flats represents: neither high road nor low, but somewhere in between.' Where The Batch were a harmony-drenched power pop band in the mold of Big Star and The Rubinoos, Misty Flats was an album of ecstatic desolation, an unhinged loner-folk gem that came from a unique place: 'I wanted to make the first punk rock album, and if I'd recorded those songs with a band, maybe that's what it would've been,' Goldberg says. The album was, instead, recorded in mono in a two-day recording binge on a two-track Ampex tape machine. It features just Goldberg and his friend Michael Yonkers, author of the cult 1968 LP Microminiature Love, playing guitar, bass, harmonica, and vocals between them. In it, we hear echoes of Goldberg's childhood in Las Vegas, where trips to the movies were surrogate babysitters for his single mother. 'Hollywood' and 'Stars In The Sand' dream of LA life, where 'Pop And Ice' has a narrative straight from hard-edged '70s cinema about a drummer who's drafted into the army. 'Never Came To Stay' details his return to Minneapolis, where he remains to this day, working as an administrator for the Minnesota Twins baseball team. Back in '74, Yonkers had crushed several vertebrae at work and used his payoff to fund five albums: four of his own and Goldberg's Misty Flats, which was pressed in a run of just 500. 'We were into art, not commerce,' notes Goldberg now, but at the time he was frustrated his album was allowed to drift off into obscurity. Goldberg forged ahead to record a 24-track rock album called Winter Summer which languishes in the vault to this day; Misty Flats, however, is finally widely available in this first-ever reissue."


GOLDBERG: Misty Flats LP (FDR 612LP) 22.00
LP version. Pressed on 180-gram vinyl and housed in deluxe tip-on gatefold jacket. Includes download code.


GET 51306LP

BIG PUN: Capital Punishment 2LP (GET 51306LP) 26.00
"Big Pun remains on the best rappers ever list to this day. Reasons for this weigh largely on his debut Capital Punishment. His commanding voice and rapid fire delivery make it clear there will never be another Big Pun. Pun was New York. His confidence on the mic made him stand out among his contemporaries. Similarly, the production -- by a cast of many -- remains ever so New York loyal. The close cousins 'I'm Not a Player' and 'Still Not a Player,' may have been the hits off this album but it is packed with so many more that show Pun's true abilities. 'Beware' and 'Dream Shatterer' are great examples of Big Pun at his best, dark cinematic production with just enough room to let him breathe fire. On 'Twinz (Deep Cover)' Big Pun is trading bars with his mentor Fat Joe over a remake of Dr. Dre's classic beat. Here Pun delivers one of his most quoted verses that contains among others 'Dead in the middle of Little Italy little did we know that we riddled some middlemen who didn't do diddly.' There are numerous guest appearances, the best of which include afore mentioned Fat Joe (on several tracks), the Roots' Black Thought on the MC showcase 'Super Lyrical,' Prodigy and Inspectah Deck on 'Tres Leches (Triboro Trilogy),' and an extra-insane Busta Rhymes on 'Parental Discretion.'"


DEVILS, THE: The X-sorcist/Hip Hug-Her 7" (GET 722EP) 11.00
"In 2014, Get On Down released the For The People Pt. 1 box set, which featured a selection of heavy funk 45s from James Brown's 1970s imprint People Records, as a celebration of the label and its' most famous singles. Now we're proud to present the five singles available for individual sale, lovingly re-created with visuals taken from the original artwork! First in the series is a truly left field selection, from the deeper regions of the People Records discography. Back on 45 for the first time since 1974, it's The Devils' psych-funk excursion 'The X-sorcist', with a bouncy cover of Booker T & The MGs' 'Hip Hug-Her' as the B-Side. No doubt inspired by the horror film The Exorcist, The Devils' track combines eerie experimental effects and ambience with blisteringly raw funk instrumentation, courtesy of People Records stars Fred Wesley on ARP synthesizer, Maceo Parker on alto sax, and production from James Brown himself."


COLLINS, LYN: Think (About It)/Ain't No Sunshine 7" (GET 723EP) 11.00
"Lyn Collins had a reputation as one of the strongest hit-makers to come out of People Records, and her R&B hit 'Think (About It)' is one of the most enduring to come from James Brown's label. Famed equally for Collins' powerhouse vocals as its frequent sampling in hip-hop and dance tracks, (Most prominently the Rob Base & DJ EZ-Rock hit 'It Takes Two') it features contributions from Fred Wesley and Brown himself, and is reissued as a standalone single for the first time since 1973. Her powerful and emotional cover of Bill Withers' 'Ain't No Sunshine' is featured as the B-side."



SLEAFORD MODS: Key Markets CD (HARB 150CD) 16.50
Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.


SLEAFORD MODS: Key Markets (Green Vinyl) LP (HARB 150COL-LP) 22.00
Gatefold LP version on green vinyl. Independent stores only.


SLEAFORD MODS: Key Markets LP (HARB 150LP) 22.00
Gatefold LP version. Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.



MOCKY: Key Change CD (HEAVY 003CD) 15.50
Performer, producer, songwriter, composer, and multi-instrumentalist Dominic "Mocky" Salole rose to prominence in the Berlin electronic scene of the mid-2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's Multiply (2005) and Feist's The Reminder (2007), and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist, and Chilly Gonzales. A critical favorite, his 2009 album Saskamodie was described by Pitchfork as "an exceptionally musical album -- there's no other word for it -- that could fail to seduce only the hardest of hearing, or the hardest of hearts." Key Change documents Mocky's move from the musical community of Berlin to that of LA, and reflects the city's underground jazz and psychedelic scene. "Frank Sinatra was the first techno artist," declared Mocky in a 2015 interview on PRI's The World. As Sinatra was one of the first singers to use microphone technology to bring more intimacy to his sound, Mocky uses software and laptop-recording to bring the listener within close range of his music. Mocky is a radical multitracker -- he plays most of the instruments on Key Change himself -- but he strictly avoids presets and uses no samples. As Mocky said in a 2015 interview in Wired, "The most modern thing I can do in 2015 is make music with my bare hands." Key Change is also a testament to Mocky's musical family: the wondrously lush "When Paulie Gets Mad" features frequent Flying Lotus collaborator Miguel Atwood-Ferguson on strings; the infectious "Living in the Snow" features a Feist cameo on drums; Moses Sumney and Joey Dosik, two singers for whom Mocky has written and produced and who have been making a mark on the LA scene, turn in a smoother-than-smooth vocal performance on "Tomorrow Maker"; and longtime collaborator Chilly Gonzales sits in on piano and Rhodes on "Head in the Clouds." Mocky draws on the past and the future to give us back the present as only someone with deep roots in electronic music can. If "machines have become the arbiters of emotion," as Mocky claims, then Key Change offers another way. Deeply familiar yet utterly new, dreamy and ethereal yet earthy and grounded, this is the music of paradox. It resists classification, as many a music journalist has discovered. It lives on its own terms. You can talk about it all you want. But in the end, you just have to listen.


HH 011CD

WEATHER REPORT: 8.30 Live CD (HH 011CD) 17.00
With the addition of bass virtuoso Jaco Pastorius to their ranks in 1976, Weather Report cemented their standing as America's pre-eminent jazz-fusion band, playing sold-out international tours and generating impressive record sales. At the start of 1980 they recruited percussionist Bobby Thomas, Jr., and recorded this exhilarating live set for FM radio broadcast soon afterward at the Fox Theatre in Atlanta, Georgia. The complete broadcast is presented here in digitally remastered sound with background notes and images.

HH 014CD

CORYELL & THE ELEVENTH HOUSE, LARRY: Live at the Jazz Workshop CD (HH 014CD) 17.00
Amazingly, Larry Coryell's Eleventh House were somewhat overshadowed in their time by fusion counterparts such as Weather Report, Return to Forever, and The Mahavishnu Orchestra. However, the dynamics and interaction on display here feature not only beautifully intricate work, but ingenious melodic scales befitting musicians of the highest technical ability. While 1975's Level One never commercially achieved the classic status of its predecessor (Introducing the Eleventh House with Larry Coryell), it is an excellent follow-up piece that captures the band at their creative and technical peak, a peak that would spill onto the stage at Boston's Jazz Workshop where the band delivered a milestone performance in jazz-rock fusion that truly deserves wider recognition. This is the entire FM broadcast of the Eleventh House's performance at the Jazz Workshop, Boston, MA, on July 31, 1975. Professionally remastered; includes background liners and rare archival photographs.

HH 016CD

SILVER FEATURING WOODY SHAW, HORACE: Live at the Half-Note 2CD (HH 016CD) 23.00
Having played with and written for Stan Getz, Art Blakey, Miles Davis, and many others, by the late '50s saxophonist and pianist Horace Silver was pioneering hard bop, incorporating elements of gospel and R&B into his funky, rhythmic compositions. The superb sets captured here were taped at New York's Half Note club for FM radio broadcast, and include material from his influential 1965 Song for My Father LP, as well as boasting a searing guest appearance from the hugely gifted trumpeter Woody Shaw. The complete broadcast is presented here in digitally remastered sound, complete with background notes and images.



OSYNLIGE MANN: Snake Eye/Electrodes 7" (HNR 011EP) 11.00
Behind the alias Osynlige Mann is Timo Lundgren, one of the architects of legendary Gothenburg band Uran. This superb ruffneck selection of Osynlige Mann material lurks with timeless style. A-side "Snake Eye" is a pleasantly spooky journey; moody and dark, with a fresh beat and a haunting Carpenter-vibe. B-side "Electrodes"... the title speaks for itself.


HS 1013CD

DANIELS, CHARLIE: Live from Gilley's CD (HS 1013CD) 17.00
Regarding the style he developed as leader of The Charlie Daniels Band, Charlie Daniels told Rolling Stone in 1976, "Our stuff is kinda like Western swing, but with a much harder beat to it and a lot funkier. There's more emphasis on feeling 'cause I don't play perfect fiddle at all. I call it Southern swing." In a story in the same magazine three years later that described one of his performances as touching "on boogie, blues, swing, rock and bluegrass," he elaborated, "Anything that I feel is right to do musically, I'll do. To hell with what genre it falls into. As long as it sounds good, what difference does it make? There's too many people that have a stilted attitude toward things... I wish I could play to every man, woman and child on this planet at the same time, I really do." This complete 1987 radio broadcast is presented in digitally remastered sound with background liners.

HS 1016CD

JENNINGS, WAYLON: Turn Back the Years - Live in Dallas 75 CD (HS 1016CD) 17.00
In the mid-1970s, Waylon Jennings had just risen to country music superstardom as a figurehead of the outlaw movement. Originally broadcast in 1975 on KAFM/KLRD in Dallas, Texas, these performances from the city's Electric Ballroom include the hits "I'm a Ramblin' Man," "You Ask Me To," "Amanda," "Good Hearted Woman," "Clyde," "Are You Sure Hank Done It This Way," and "Bob Wills Is Still the King." Also featured is "Storms Never Last," which would become a duet hit for Jennings and his wife Jessi Colter, along with highlights from his 1975 album Dreaming My Dreams. The complete broadcast is presented here in digitally remastered sound with background liners.

HS 1020CD

PARTON, DOLLY: Live at the Bottom Line CD (HS 1020CD) 17.00
In the late 1970s, Dolly Parton, having already established herself as a country superstar, was on the verge of crossing over to a bigger pop audience. This May 14, 1977, performance, broadcast as part of the Live at the Bottom Line radio series, was recorded on the final evening of a three-night engagement at New York's prestigious Bottom Line club that marked her first concerts in the Big Apple. In addition to the big hits "Coat of Many Colors," "I Will Always Love You," "Jolene," All I Can Do," "The Seeker," and "Love Is Like a Butterfly," the set also features songs from her 1977 album New Harvest... First Gathering, as well as a Parton composition ("Do I Ever Cross Your Mind") she wouldn't release for another five years. The complete broadcast is presented here in digitally remastered sound with background liners.



SOFT AS SNOW: Chrysalis 12" (HTH 039EP) 14.00
Norway's finest purveyors of off-kilter, crystalline pop, Soft as Snow (Oda Egjar Starheim and Øystein Monsen), follow their 2014 debut, the Glass Body EP (HTH 022EP), and Glass Body Remixed (HTH 032EP), with the four-track Chrysalis EP. "I Adore" is characterized by abrasive synths and shimmering inflections, while "Fluid" builds from glassy restraint to synth freak-out. "Mouth" is a menacing statement of intent, all tribal percussion and primal yelps, calling to mind the unsettling production of Mica Levi's soundtrack for Under the Skin (2014). The energetic, skittering "Her Blood Is Gold" features Oda's strange, otherworldly vocal binding it all together.



DUSTY KID: The Arsonist 12" (ISOLA 004EP) 14.00
Dusty Kid follows his 2013 album III (ISOLA 001CD) with an homage to his native land, Sardinia, touching upon an issue that haunts the island every summer: arson. "The Arsonist Part 2" delves into '90s trance, reminiscent of rave parties and the legendary Jam & Spoon. The pathos peaks with "Doa," an emotional, melancholic track drenched in spaghetti western magic, honoring Dusty Kid's idol, Ennio Morricone. The balearic notes of "Serpentara" recall the likes of "Sueño Latino," 1988's summer of love, and Ibiza, when ravers needed a break from hysteric acid house in favor of softer and dreamier sounds.



KING TUBBY: King Tubby's Lost Treasures CD (JRCD 001CD) 14.00
2015 repress; 2001 release. Lost Treasures is an essential selection of rare and previously-unreleased dubs from the legendary King Tubby. Taken directly from master tapes, these heavyweight versions of Bunny Lee-produced Aggrovators rhythms have only previously seen the light of day as sound system dub plates or rare Jamaican 7" B-sides in the mid-'70s and none have ever appeared on CD. Available on 12-track 180 gram virgin vinyl and 14-track CD with extensive sleeve notes, this is the first in a series that includes similar releases from Augustus Pablo, Lee Perry, Studio One, Channel One, Sly & Robbie, and the Wailers.


PABLO, AUGUSTUS: Dubbing with the Don CD (JRCD 002CD) 14.00
2015 repress; originally released in 2001. A killer set from melodica maestro Augustus Pablo. Dubbing with the Don features a storming dubwise selection of rare B-sides and previously-unreleased dubplates and session recordings from the mid-to-late-'70s. Includes previously unheard versions of such classics as "Cassava Piece" and "King Tubby meets Rockers Uptown." CD includes a track not included on the LP version. Includes full sleeve notes.


HARRY J ALL STARS: Dubbing At Harry J's 1972-1975 CD (JRCD 009CD) 14.00
2002 release. A collection of rare and unreleased dubs from Harry J's studio, dating from the years 1972-1975. The underrated Harry J and his studio was responsible for some exceptional music throughout the 1970s. Burning Spear, The Heptones and Bob Marley & The Wailers, just to name a few who used the studio. Included on this set are dubs to the "The Best Is Yet to Come" by the Twinkle Brothers, John Holts' "Memories by the Score" and Ronnie Davies' "Every Rasta Is a Star." Players include Carlton Barrett, Aston "Familyman" Barrett, Earl "Chinna" Smith, Ansel Collins, Tommy McCook, Vin Gordon and Bobby Ellis. Available on limited heavyweight 180 gram vinyl and CD with two bonus tracks.


THOMPSON, LINVAL: Dub Story CD (JRCD 010CD) 14.00
2015 repress; originally released in 2002. A collection of previously-unreleased dubs from Bunny Lee's vaults, once again. This time the focus is on Linval Thompson and the dubwise versions of some of his best-known work. This original release followed Thompson's 2002 Phoenix Dub release on Motion Records and his 2002 Can't Stop Us Now compilation on Easy Star Records. CD includes two tracks not included on the LP version.


NINEY THE OBSERVER: At King Tubby's: Dub Plate Specials 1973-1975 CD (JRCD 011CD) 14.00
2002 release. At King Tubby's: Dub Plate Specials 1973-1975 features unreleased dubs from Niney's mastertapes. The majority of the tracks featured were mixed by King Tubby. To be found on this set are rare dubwise cuts to Dennis Brown's "Lately Girl," "Westbound Train," "I Am The Conqueror," "No More Will I Roam," "Here I Come," and "Silver Words," as well as Micheal Rose's "A Love Between Us" and "Freedom" -- plus many more.


BROWN, BARRY: Steppin Up Dubwise CD (JRCD 012CD) 14.00
2003 release. A collection of rare and unreleased dubs of Barry Brown vocal tacks dating from the mid- to late '70s. All tracks are produced by the legendary Bunny Lee. Players include the Aggrovators featuring Earl "Chinna" Smith, Sly & Robbie, Tommy McCook, Bobby Ellis and Winston Wright. Available on limited heavyweight 180 gram vinyl and CD with two bonus tracks.


DJ DUBCUTS: Dubbing With the DJs -- Volume 1 1970-1975 CD (JRCD 013CD) 14.00
2015 repress; originally released in 2003. A collection of previously-unreleased tracks from Bunny Lee's vaults, focusing on dub versions of deejay cuts from 1970 to 1975. Contained within are rare dubs of deejay cuts originally by Dillinger, U-Roy, I-Roy, Prince Jazzbo, Derrick Morgan, Prince Far I, Big Youth, Dave Barker, Trinity, Dennis Alcapone, Lee Perry, and Don Lee. Includes two tracks not included on the LP version.


RANDY'S ALL STARS: Dubbing At Randys 1969-1975 CD (JRCD 014CD) 14.00
2015 repress; originally released in 2003. Blood & Fire, Pressure Sounds, and Soul Jazz have already raided the vaults of Clive Chin's legendary Randy's Studio 17. However, Jamaican Recordings has dug even deeper with a selection of rarities and oddities. You will hear for the first time ultra-obscure dubs of Slim Smith's "Turning Point," Cornell Campbell's "Can't Get Me Out" and "Jah Jah Whip Them," Tommy McCook's "Springtime," and many more. Includes two tracks not included on the LP version.


SMART, LEROY: Mr. Smart in Dub CD (JRCD 020CD) 14.00
2005 release. Jamaican Recordings present a collection of dub versions of original Leroy Smart tracks, a great bulk of which have never been heard before, until now. Included are dubs of "Mr. Smart," "Jah Helps the Man," "Shame and Pride," "Wreck Up My Life," "Stop the Fighting," and "No Love" (on Horace Andy's "Zion Gate" rhythm). The "Satta" rhythm makes an appearance on a dub entitled "Keep Dubbing Everyday" and Horace Andy's "Money Money" rhythm surfaces as "Underprivileged Dub."


SOUL SYNDICATE: Niney The Observer Presents Soul Syndicate Dub Classics CD (JRCD 022CD) 14.00
2006 release. A selection of classic Niney The Observer-produced King Tubby dubs from the late '70s featuring the rhythm section talents of the Soul Syndicate. Includes previously-unreleased dubs of Barry Brown's "Fittest of the Fittest," Horace Andy's "You Are My Angel," an earlier version of Pablo's "555 Crown Street," and Cornell Campbell's "Stars."


DAVIS, RONNIE: Jamming in Dub CD (JRCD 024CD) 14.00
2015 repress; originally released in 2006. Excellent set of rare and previously-unreleased late-'70s Bunny Lee-produced Ronnie Davis dubs. Includes versions of such rhythms as "The Controller" (aka "The Gorgon"), "Ride the Donkey," "Tribal War," and "Living in a World." Musicians include: Santa Davis, Sly Dunbar (drums); Robbie Shakespeare, Lloyd Parks (bass), Earl "Chinna" Smith, Tony Chin (guitar), Winston Wright, Gladdy, Tarzan (keyboards), Scully, Sticky (percussion). Recorded at Harry J's Studio, Channel 1, King Tubby's Studio.


PROFESSIONALS, THE: Meet The Aggrovators At Joe Gibbs CD (JRCD 026CD) 14.00
2015 repress; originally released in 2007. The unsung heroes in the history of Jamaican music can be traced back to the musicians who cut the thousands upon thousands of tracks that we know and love today. In some cases the musicians would overlap and be involved in more than one project at the same time. A prime example would be the band that was called The Professionals when Joe Gibbs recorded them and The Aggrovators when Bunny Lee did. So two band names, two producers, one engineer (Errol "E.T." Thompson) and one agenda. Some of the finest dubs around, The Professionals Meet The Aggrovators at Joe Gibbs in fine form. Includes two tracks not included on the LP version (JRLP 026LP).


VA: Dynamic Dubbing At Dynamic Sounds CD (JRCD 027CD) 14.00
2015 repress; originally released in 2007. Dynamic Sounds Studio has its roots firmly set in Jamaica's history. It was the first state-of-the-art studio built in Kingston and a firm favorite with all the top-flight homespun artists. Bob Marley chose to record the bulk of The Wailers' seminal 1973 Catch a Fire album there. The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. Jamaican Recordings gets on board when the music had slowed down to the reggae skank listeners now know and love; this CD includes some fine cuts that best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris, an underrated studio master, delivers interesting effects to enhance the versions. Includes three tracks not included on the LP version (JRLP 027LP).


DJ JAMAICA: Inna Fine Dub Style CD (JRCD 028CD) 14.00
2008 release. One of the two great chapters in reggae's history was the DJ phenomenon that conquered the sound systems in and around Kingston town in those heady 1970s; the other was the dubplate specials that allowed the DJs to explore a tune in the first place. Giving some fine question and answers to its original vocal; emphasizing its meaning or taking it into another subject matter altogether. When you have these two styles and add to it that original vocal dubbed in at various points, you get a fantastic melting pot that lifts a tune and can take it almost anywhere it likes. But what makes the set of cuts chosen for this release that little bit more interesting are the working of the dubplates and effects alongside these vocal talents. Adding another layer to this musical cake. A fine selection of tunes worked over by the cream of the 1970s DJ circuit. U Roy, I Roy. Jah Stitch, U Brown, Dillinger, Prince Jazzbo, Dennis Alcapone, and the vastly underrated Shorty the President alongside some classic King Tubby dubs -- surely a match made in heaven. Includes two tracks not included on the LP version (JRLP 028LP).


ZUKIE, TAPPA: Horns Up! Dubbing With Horns CD (JRCD 032CD) 14.00
2009 release. Tappa Zukie is not only one of Jamaica's greatest DJs, he's a well-respected producer and arranger. Looking back through his master tapes, Jamaican Recordings found a lost release that had stayed on the shelf and been passed over... until now. When rhythm was king way back in the '70s, the predominant feature of the mix was the drums and bass, with horns, organ, guitar, and other instruments pushed back. This album was Tappa Zukie's attempt to rectify the imbalance and shine a light on the other talented musicians involved. When looking at the music with this approach, you can hear some of Tappa's other influences coming through. Maybe it's a jazzier or bluesy feel, and this almost makes the album feel like an unreleased film score. Includes three tracks not included on the LP version (JRLP 032LP).


LEE, BUNNY: Creation of Dub CD (JRCD 040CD) 14.00
2011 release. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard: the remix/version cuts to an existing vocal tune. Lee's propensity for hit making was unprecedented. In 1969, 1970, 1971, and 1972 he was awarded the title of Jamaica's Top Producer. In 1971 he won Jamaica's first Gold Record for Eric Donaldson's "Cherry Oh Baby," which was the runaway winner in that year's Festival Song Competition. Alternative instrumental or vocal versions of popular songs had by now become a prevalent part of the musical scene. As a creator of musical trends Striker was second to none and, for the best part of a decade, the rest of the business hung on his every word and tried to copy his every move. Over the years Striker has been one of the few enduring constants in an ever changing cast of characters and, although he rarely records nowadays, he is still one of the most important people in the Jamaican music business. CD includes two bonus tracks.


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


HOLT, JOHN: 500 Volts of Dub CD (JRCD 042CD) 14.00
2015 repress; originally released in 2011. John Holt was one of the finest and most versatile voices to come out of Jamaica, whether fronting The Paragons or as a solo artist. Born in Kingston, Holt was a child prodigy who began his career as a regular voice on the talent contests run by Vera Johns across Jamaica. He cut his first single, I Cried a Tear/Forever I'll Stay, in 1963, and sang many duets with various singers of the day, including "Rum Bumper" with Alton Ellis. The period from 1965 to 1970 was John Holt's paragon era, during which he also ran solo with such hits as "Fancy Make Up," "A Love I Can Feel," and "Let's Build Our Dreams." CD includes three tracks not included on the LP version.


MCCOOK, TOMMY: Dubbing with Horns CD (JRCD 043CD) 14.00
2011 release. Tommy McCook, founding member of the legendary group The Skatalites and a master session musician, left his mark over all the different styles of Jamaican music, from the big band sound that lead to the beginning of ska to the forefront of rocksteady and throughout the various stages of reggae music -- all with his distinctive stamp that always added a flavor to the song's style. The 1970s sound that reggae mutated into was heavier in feel, lead by bass and drums with the organ pushed to the forefront. But many of the up-and-coming producers, like Bunny Lee (The Aggrovators), Joe Gibbs (The Professionals), and studios like the Hookim brothers' Channel 1 setup had the foresight to keep using the musicianship of Tommy McCook and his arrangement skills to enhance this sound. It's from this rich period that Jamaican Recordings has compiled a selection of some of Mr. McCook's greatest cuts. Blowing over some great tracks that, stripped of their vocals, see McCook replace them with some fantastic lead lines. CD includes four extra tracks.


CONGOS, THE: Dub Feast CD (JRCD 046CD) 14.00
2012 release. The Congos possess what all bands look for: that unique, distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing, and falsetto voice makes that just the case. The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-'70s when the Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the rocksteady era, when he formed the vocal group The Tartans, taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson, and Lindbergh Lewis. They cut "Dance All Night" (1967) and "Coming On Strong" (1968). The lineup became The Royal Rasses and from this Myton moved on to form The Congos upon meeting Roydel Johnson, who had previously sung with Ras Michael and the Sons of Negas. Myton's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album Heart of The Congos at Perry's just-built Black Ark Studios in 1977. CD includes three bonus tracks.


KING JAMMY: Dub Kings (King Jammy at King Tubby's) CD (JRCD 047CD) 14.00
2011 release. Two "Kings" for the price of one!, King Tubby the master of the dub cut, has had many protégés that trained and worked with him over the years, as his services became more and more in-demand. Producer Scientist, singer Pat Kelly, Prince Phillip Smart, etc., all served their time at King Tubby's studio at his home on 18 Drummile Avenue, Kingston, Jamaica. But the person who would take his production skills on to another level and had cut his musical teeth with Tubby was Prince Jammy, who would soon be renamed King Jammy. King Tubby's (b. Osbourne Ruddock, 1941, Kingston, Jamaica) fascination with all things electronic grew out of working and repairing radios and TV sets. This would eventually lead to working with amplifiers and the lucrative work of winding transistors, a job that was much in-demand in Jamaica and work that Tubby carried on with throughout his career. This knowledge of the way sound/music was made and transferred, Tubby would adapt into groundbreaking ideas, like removing various parts of the recordings: for example, the vocals and distorting elements of the sound like the bass line or drums and adding delays and echo to enhance and reshape the song. King Jammy (b. Lloyd James, 1947, Montego Bay, Jamaica), then named Prince Jammy, took up the vacant spot as engineer at King Tubby's request around 1975, after what turned out to be a 5-year hiatus in Canada. Jammy had worked with Tubby for many years previous to this and had built a great working relationship, but Jammy had taken a work opportunity that would see him actually staying in Canada for 5 years. It was Tubby's offer of full-time work and missing Jamaica and family that would lead to his return. This would enable Tubby to continue his electrical business, knowing full well that Jammy could be trusted to run the studio sessions smoothly. Jammy was always the first to arrive and the last to leave during the hundreds of sessions he oversaw at Tubby's studio, honing his skills, that again, with Tubby's blessing and guidance, would lead to building his own studio not a stone's throw from Tubby's in the Waterhouse district of Kingston. Here is a selection of tunes that were worked on at King Tubby's with King Jammy at the controls. Yes, two Kings at the top of their game.


LEE, BUNNY: Creation of Dub LP (JRLP 040LP) 14.00
2011 release. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. Tubby's vast knowledge of electronics and Bunny's vast catalogue of rhythms would lay the foundations of what today is taken as a standard: the remix/version cuts to an existing vocal tune. Lee's propensity for hit making was unprecedented. In 1969, 1970, 1971 and 1972 he was awarded the title of Jamaica's Top Producer. In 1971 he won Jamaica's first Gold Record for Eric Donaldson's "Cherry Oh Baby" which was the runaway winner in that year's Festival Song Competition. Alternative instrumental or vocal versions of popular songs had by now become a prevalent part of the musical scene. As a creator of musical trends Striker was second to none and, for the best part of a decade, the rest of the business hung on his every word and tried to copy his every move. Over the years Striker has been one of the few enduring constants in an ever changing cast of characters and, although he rarely records nowadays, he is still one of the most important people in the Jamaican music business.


MCCOOK, TOMMY: Dubbing with Horns LP (JRLP 043LP) 14.00
LP version.


CONGOS, THE: Dub Feast LP (JRLP 046LP) 14.00
LP version.


KK 083LP

SAMSON & HEIMER, WILL: Animal Hands LP (KK 083LP) 17.50
LP version. Includes download code. Animal Hands is the collaborative venture of two close friends, Will Samson (Fenster) and Heimer. As the duo had worked closely together as mutual producers on Samson's solo releases Balance (KK 069CD/LP, 2012) and Light Shadows (KK 077EP, 2014), it was natural that a joint musical project would eventually materialize. However, in comparison with these two preceding records, this new body of truly collaborative work takes a different direction into more electronic-inspired sounds. The project first appeared in the form of "Beacon Island," a track that arose suddenly and organically during a weekend of email exchanges between Oxfordshire, England, and Berlin, Germany, in autumn 2013. Excited and surprised by the spontaneity of the song's fruition, the pair played with the notion of expanding the project into a full record and continued to casually exchange sketches and ideas, such as guitar loops, vocal melodies, and field recordings. Meanwhile, their debut track made its way to the ears of Will Saul (whom Samson had met after producing It Grows Again with Tom Demac, released on Saul's label, Aus Music, in 2013 (AUS 1353EP)), and Saul included the track on his 2014 DJ-Kicks mix CD for !K7 Records. It was after a string of tours (including shows with Marissa Nadler, Kurt Vile, Hauschka, Do Make Say Think, Ólafur Arnalds, and more), that Samson temporarily relocated to Heimer's native city of Berlin, enabling them to ditch the tedious file-sharing method of work for the immediacy of true communion in the studio. It was here where they began meticulously compiling and experimenting with new ideas that, over the course of year, eventually grew into this nine-track album, Samson's third full-length. Each piece of music took on many different shapes and went through twists and turns during this time, including the previously unplanned addition of live drums. Many early sketches that had been abandoned were reinvestigated, then sampled, processed, and/or reworked, interlacing their way back into the threads of the record. The resulting album is one that strikes a dynamic balance between the immediate and the intricate. LP includes download code.

KK 084LP

23S, THE: Flamingo LP (KK 084LP) 18.00
LP version. Includes download code. Welcome back to the vivid, resonant sound-world of The 23s. With 2008's Bolivia (KK 043CD/LP), the mysterious one-man-band delivered on an intention to make another kind of music -- something that isn't entertainment, something that isn't show, something that goes, gently, straight to your soul. Now the producer from North Rhine-Westphalia, Germany, has done it again with Flamingo. He delivers a special kind of cinematic journey that grooves in the opposite direction from his other, more rhythm-based, hypnotic dance productions. He does produce pattern-based music as The 23s, but it pursues a different intention; each listener should dive into a hallucinatory world of seen and unseen films projected by the inner eye. All ten tracks are romantic smooth-operators. They put themselves in service of an artistic vision in which the listener can get lost. The album can be seen as a love letter to the movie scores of 1970s French cinema or the impressionistic sound arrangements one hears in the early cinema of Peter Greenaway. With double-bass heat, discreet piano melodies, levitating guitar chords, some gentle horns here and there, and beats that recall the warm, jazz-influenced soul of old-school hip-hop, The 23s generate a sublime get-down-deep instrumental journey. You can listen to it attentively or play in the background, but it is recommended that you play Flamingo with a decent amount of volume, as all loungey tracks get bigger and brighter with sonic intensity, with an atmosphere that is alternately foggy and flooded with light. It's a 40-minute electronic journey that offers open-minded souls a chance to fill in the gaps between the notes with their very own milky fancy. The album is released in advance of a bunch of remixes by producers like Edward (Giegling, White), Christian S. of the Cómeme tribe, Canadian producer The Mole, and German post-rock/electronic band To Rococo Rot.


KH 9052CD

FORBERT, STEVE: Romeo's Tune... Live 2CD (KH 9052CD) 23.00
Following his acclaimed 1978 debut, Alive on Arrival, singer-songwriter Steve Forbert had a rocky ride, enjoying a hit single with "Romeo's Tune" in 1980 but having an album denied release in 1984. Following long-running contractual disputes, he was finally ready to launch a comeback in 1988, with the release of the superb Streets of This Town album, produced by Bruce Springsteen's bassist Garry Tallent. This stunning live set was taped for broadcast on WNEW-FM, and finds him performing almost all of the album, as well as a selection of other songs. It's presented here with background notes and images.

KH 9054CD

ZAPPA, FRANK: Bebop Tango Contest Live! CD (KH 9054CD) 17.00
With the success of his Apostrophe and Roxy & Elsewhere albums, 1974 saw Frank Zappa at his commercial peak. Evidently feeling a surfeit of goodwill towards his fans, at the close of the year he prepared a personally mixed reel of live performances from the previous year for broadcast on WLIR-FM in Garden City, New York, on New Year's Eve. Not to be confused with a show he was playing the same night in Long Beach, California, this is a typically adventurous and humorous compilation, and is presented here with background notes and images.


BEC 5161939

RYE RYE/BULLION: Keep Up/Did You Read U 12" (BEC 5161939) 14.00
Ryeisha Berrain aka Rye Rye began performing at 16. After her 2006 club hit with Blaqstarr, "Shake It to the Ground," she collaborated with Diplo, Robyn, Toddla T, M.I.A., and more. Here, she jumps on a spidery beat from mercurial West London producer and Deek Recordings founder Nathan Jenkins aka Bullion. With a slew of releases on One-Handed Music, Bullion drew the attention of Young Turks, with whom he released You Drive Me to Plastic in 2011 (YT 046CD/LP), before delivering 2012's hypnotic Say Arr Ee on R&S. This release precedes his mini-album Rooster, co-released by Greco-Roman and Deek.



HECKER, TIM: Ravedeath, 1972 2LP (KRANK 154LP) 21.00
2015 repress; gatefold 2LP version. "...approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. While the title of the piece 'Hatred of Music' might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker's continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears."



SUN RA & HIS MYTH SCIENCE ARKESTRA: The Paris Tapes: Live at le Théâtre du Châtelet 1971 LP (KSAY 006N-LP) 15.50
2015 repress; originally released in 2010. Previously unreleased live recordings from the legendary 1971 performance at Théâtre du Châtelet, Paris, France. The three stunning full-length tracks featured on this LP must have sounded incredible to the audience witnessing the Sun Ra Arkestra in full swing at such a time in France. No doubt this had a long-lasting effect on the city and its creative direction.



FIS: The Blue Quicksand Is Going Now LP (LPY 000LP) 19.50
LP version. Following a series of EPs on the likes of Samurai Horo and Tri Angle, Olly Peryman wrote The Blue Quicksand Is Going Now during stints living in Europe and his hometown of Wellington, New Zealand. The album strikes a spectacular balance between the meditative and disruptive, and marks a continued move away from the high-octane experimental D&B productions that initially marked Peryman out (notably 2012's Duckdive EP), toward something that both viciously rips away and cascades with calm. Ultimately, despite its alien sounds, it is a move toward something more human; sonic explorations made in glorious isolation. Hand-drawn artwork by Brian DeGraw.



NORMAL ECHO: Accidental Forever LP (MAMI 005LP) 17.50
Accidental Forever. The title itself captures the alienation that pervades the music. It could be the title of a creepy 1980s sci-fi television program directed by Krzysztof Kieslowski for the BBC, to which this album could easily function as a soundtrack. The album's sound is a unique take on coldwave, new romantic, and '90s pop music, built from raw, strange textures and straightforward lyrics sung in an ornately-accented English casting shadows of desperation. Listening to it feels at many moments like finding yourself in a new city, lost and unable to ask anyone for directions; at other moments like being trapped in a software demo run on Windows '95, which has been running for the last two decades, growing abandoned and decrepit. Suffused with isolation, it speaks to public spaces at once frictionless and oppressive, urban centers simultaneously hermetically modern and decaying, and to the claustrophobia of daily routine. It is music for life as a maze. But while it can be quite gloomy, it is not pessimistic: the centerpiece of the album is the serene, simply beautiful instrumental "Entertain." Originally from Poland, Normal Echo's Dawid Szczesny has released experimental music on labels around the world. Since 2010 he's made his home in Berlin, making him a natural addition to Mansions and Millions's growing roster of expats, transplants, and others linked by the city's far-reaching cosmopolitan gravity. He recorded Accidental Forever almost entirely with just a Korg M1 synthesizer, one of the most popular synths of the '80 and '90s, though somewhat forgotten since. Includes download code.


12BACH 003LP

VA: PocketSymphonies LP (12BACH 003LP) 23.00
There was a time when ringtones were important. At first, they simply identified the few who actually owned cell phones, before the possibility emerged of distinguishing oneself by choosing a cool ringtone. In May 2014, the Doofe Musik (Stupid Music: Songs for Dreaming, Sedation and Forgetting) festival took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the HKW's Anthropocene Project, the festival focused on escapism and the special function of music when retreating from reality. HKW curator Detlef Diederichsen and Sound Studies Lab principal investigator Holger Schulze decided to focus not only on music that music-lovers usually hate -- e.g. Schlager music, easy listening, light jazz -- but also on ringtones. The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning, so it acted as a starting point from which to question the usual conceptual understanding of ringtones. Using Christian Kellersmann's idea of the "Pocket Symphony," Diederichsen and Schulze invited ten artists to come up with adaptations of Telekom's audio logo. The results were performed for the first time during Stupid Music and once again in October 2014, when most of the recordings on this album were made. The short motif, as simple and unforgettable as it is, is ideal musical material. Everyone knows it; everyone has some sort of connection to it, and these ten different versions open up the most varied possibilities for associations. It is time to take the ringtone seriously again. As the most reduced yet most widely available form of music in the world, it contains enormous unrealized potential. Includes tracks by John Kameel Farah, Ana Maria Rodriguez, Zeitblom, Eliav Brand, Guido Möbius, Juliana Hodkinson, Alex Paulick, Ari Benjamin Meyers, Adi Gelbart, and Patric Catani.



DALTON, KAREN: It's So Hard to Tell Who's Going to Love You the Best CD/DVD (MEGAUK 010CD) 20.00
Major 2015 re-release of this absolutely essential all-time classic folk/blues album, originally released in 1969 and reissued by Megaphone in 2006. Includes booklet and stunning DVD with archival footage. Discovered by Fred Neil, produced by Nik Venet (the man who signed The Beach Boys and took The Beatles to America), and hugely influential on Tim Hardin, Karen Dalton is the lost girl of Greenwich Village, and this is her debut album. Bob Dylan, in his bestselling memoir Chronicles: Volume One (2004), writes, "My favorite singer in the place was Karen Dalton. She was a tall white blues singer and guitar player, funky, lanky and sultry... Karen had a voice like Billie Holiday's and played the guitar like Jimmy Reed and went all the way with it. I sang with her a couple of times."


DALTON, KAREN: Cotton Eyed Joe 2CD (MEGAUK 015CD) 14.00
2015 repress of this acclaimed 2007 double album of previously unheard Karen Dalton live recordings from 1962. These recordings were an unexpected treat, following the hugely acclaimed 2006 reissues of Karen Dalton's studio albums It's So Hard to Tell Who's Going to Love You the Best (1969) and In My Own Time (1971). Karen Dalton met Joe Loop in Boulder, Colorado, in 1962; Joe Loop made these recordings of Dalton singing and playing 12-string guitar and banjo at The Attic in Boulder in October 1962. Colorado was a hotbed of folk music; folk singers would stop off in Denver and Boulder en route to California and New York. The area's sparse population welcomed their company, at a time when young nonconformists were personae non gratae in most states. It was a cheap place to live, Boulder had a large university, and both Denver and Boulder had very active folk entrepreneurs. After missing her name in every music history book and encyclopedia for decades, it has since been noted that Karen Dalton was hugely influential on the founding father of folk rock, Fred Neil. Fred Neil only ever broke his reluctance to make public statements on one subject: his awe for and debt to Dalton. Karen Dalton's first LP was recorded in 1969 and it was hard to guess whether she was inspired by Neil or the reverse. His song, "Red Are the Flowers," for instance -- released on his 1964 debut album Tear Down the Walls (as "Red Flowers") in a duet with Vince Martin -- was more in line in terms of style and tempo with the day's hootenannys than with the LPs that Neil would eventually record in 1966 (Fred Neil) and 1967 (Sessions) under the benevolent laissez-faire production of Nik Venet. Karen Dalton's rendition of "Red Are the Flowers" showcase her playing Neil's song in the style that he would later evolve into, when unhinged, and foretells the lyricism that one Tim Buckley would self-admittedly lift from his all-time model, Neil. Another example is "It's Alright," a breath-taking cover of a Ray Charles tune. Another major singer-songwriter under Dalton's spell, Tim Hardin, made no secret of his passion for Ray Charles's music. Hardin is known to have turned from art to music because of his encounter with Dalton in New York, and he spent most of the '60s with her and Joe Loop around Boulder.


DALTON, KAREN: Green Rocky Road CD (MEGAUK 018CD) 14.00
2015 repress; originally released in 2008. Another chapter in the ever-evolving story of Karen Dalton. These are home recordings, taped by Joe Loop, as was the acclaimed double live album Cotton Eyed Joe (MEGAUK 015CD, 2007). These recordings were made at Dalton's home in Boulder, Colorado, on a reel-to-reel. It sounds like the album Dalton would have released in 1963 had she been given the opportunity. Here are the first takes of "Ribbon Bow," "Katie Cruel," and "In the Evening," and a more complete document of Dalton's repertoire on banjo. During their first long stay in Colorado, Dalton and her husband Richard Tucker were lucky enough to find in Joe Loop an enlightened club owner who would book them often but who was also a self-taught sound engineer. Joe Loop recorded a couple of Dalton's shows, and would also occasionally bring his reel-to-reel machine to Dalton and Tucker's house on Pine Street so they could record their burgeoning musical ideas. Some jams were recorded with Tucker trying his hand at the saxophone, without the ease he showed on vocals. But Dalton was overwhelmed by the reel-to-reel machine's possibilities and would gladly experiment by herself with overdubs -- something of a portastudio a couple of decades before it became a musician's household commodity. By the grace of Joe Loop's faith, we now have a document of what a 1963 Karen Dalton album would be like.



GHOST HARMONIC: Codex (Limited Edition Hardcover Book) CD (META 056LTD-CD) 27.50
Ghost Harmonic are violinist Diana Yukawa and electronic pioneers John Foxx and Benge (John Foxx and the Maths). Working at Benge's MemeTune Studios in Shoreditch, London, they combined the purity of Yukawa's violin with the complexity and textured noise of analog machinery. As Benge puts it, "there is something very satisfying about combining Diana's beautiful 17th Century violin with a subsonic tone-blast from a Moog Modular." "It was fairly open," says John Foxx, "but I guess the underlying intention was we all wanted to see what might happen when a classically trained musician engaged with some of the possibilities a modern recording studio can offer... multi-tracking, vast notional spaces, long echoes, looping, retuning, layering, synthesisers, sound effects, vintage and cheap equipment etc. Also we wanted to improvise, since that seldom happens in the classical world. Diana was a welcome revelation... She picked up themes immediately and took them off in all directions. Very exhilarating." "There was a really good flow between us all," explains Diana. "You never know what to expect in the beginning, creating a new dynamic between three different people but I think it's our different backgrounds and influences that made everything come together with such fluidity." Using a tape delay system, Yukawa was able to play along to her own parts, layering the sound. Any background noise was treated as part of the recording. John Foxx: "I noticed an interesting effect when multi-tracking into long or complex reverbs -- certain harmonics would be suppressed or enhanced and previously unheard ones would emerge from the miasma. This can be really beautiful... I know a piece is going somewhere new when this sort of thing begins to occur." "Benge's studio is so full of character that the energy of that is embedded into the album," states Diana. The five tracks on Codex are linked into one continuous piece, by turns elegant, dark, and gently blissful. Some tracks recall the overgrown cities of Delvaux and Ernst, especially "A Green Thought in a Green Shade" and "The Pleasure of Ruins." "Dispersed Memory" has a strange, alien atmosphere, as the dreamlike languor and melting time of the opening becomes more isolated and chilling. "When We Came to This Shore" is serene but eerie, like being pulled by the tides to a submerged city or underwater forest. "Codex" closes the album with a sense of stillness and faded beauty. Limited hardcover book edition.



VA: Enter.Ibiza2015 4CD (ENTER 2015CD) 29.00
Richie Hawtin returns to Ibiza in the summer of 2015 for season four of his award-winning club concept ENTER. Enter.Ibiza2015 is the return of the acclaimed Enter.Ibiza mix CD, featuring four exclusive mixes by Dubfire, Heidi, TM404, and Hito -- one CD mixed by each artist. The set represents a stunning collection of the different sounds and moods of four of the different areas from the ENTER.Ibiza experience. Includes exclusive poster. Includes a previously unreleased track by TM404 and tracks by Premiesku, Edgar de Ramon, Ellen Allien (including remixes by Aux 88 and Ejeca), Pig&Dan, Pele & Shawnecy, Metodi Hristov feat. Shosho, Dubfire & Oliver Huntemann feat. Xenia Beliayeva, Kreon Marc Houle remixed by Popof, Julian Jeweil, Kikiorix & Satoshi Otsuki, David Pher feat. Dekay, Paul Ritch, Atree, David Mayer, Nagaya Kazuya Catz 'n Dogz feat. Green Velvet, Mark Henning, Magda, John Tejada, Brett Johnson, Radio Slave, Paul Johnson, DMX Krew, Daniel Bell, Robotman, Mutlu San remixed by John Tejada, Terrence Parker remixed by Carl Craig, KiNK & Neville Watson, Roman Flügel, Shit Robot feat. Reggie Watts and remixed by Johnny Aux, Sebastian Mullaert & Eitan Reiter, Wigbert, Stephan Barnem, Barem remixed by Dubfire, Alex Mine, Emika, Shaded, The Junkies, Carlo Lio, Cleric, Victor Calderone, Maksim Dark, Gaiser, Kobosil, Dadub, Cari Lekebusch, Tilliander, Jana Sleep, Acronym, Tomas Kanerva, Slam, Fjäder, Daniel Araya, Joey Beltram, Marina Rosenfeld, Khan & Walker, Smyglyssna, FUSE, Isaac Spayes, Sort Joey, and Plastikman.


MR 019LP

HURLEY, MICHAEL: Armchair Boogie LP (MR 019LP) 17.00
2015 repress. "Improved version complete with a comic book and an old school 'tip on" cover. Michael Hurley's most popular album, and with good reason. Contains all time classics such as 'Werewolf,' 'Sweedeedee,' 'Troubled Waters,' 'Open Up' and more. Recorded in 1970. The real deal as it was meant to be heard and seen."


OWENS, ISAIAH: You Without Sin Cast the First Stone LP (MRP 054LP) 15.00
"A truly unique Gospel stylist, Isaiah Owens plays guitar and sings in his own very distinctive and otherworldly way. Isaiah plays loud and with quite a bit of dissonance, his voice floating above beautifully. This LP features some of his finest performances, captured from his radio broadcasts in Montgomery Alabama and from studio recordings. We are very proud to present this material. Liner notes by Kevin Knutt (of the greatest radio show of all time, Sinners Crossroads, as well as the Case Quarter label)."


VA: I'm in a Strange Town: Blues And Gospel 1927-1967 LP (MRP 081LP) 13.00
"Compilation of top notch Gospel and blues recorded between 1927 and 1967. A mix of very well known artists such as Blind Lemon Jefferson, Gary Davis and Robert Wilkins and more obscure folks like John Lee and Charles White. A record filled with some of Mississippi Records favorite recordings -- ripping guitar work outs, soulful ballads, loping drunken jug bands and more. All songs are on the theme of travel, death and transcendence. Got an existential crisis? This may be the record for you."


DEAD MOON: Nervous Sooner Changes LP (MRP 091LP) 13.00
"Another all time Dead Moon classic. The band really hit their stride on this one! The best rock band of the 90's and 2000's kicks out some of their finest rockers and ballads. Features all time greats like 'Diamonds in the rough,' 'Say it isn't so,' 'Running out of time,' 'Somewhere far away' and 'Windows of time.' A must have for any fan of the band and rock music in general."


"A classic and seldom heard LP from Bamako! Not just your average Malian LP, Ampsa features has to be heard to be believed organ, hypnotic guitar and amazing sweet vocals. A truly great LP and must have for fans of Malian music. A faithful reproduction of the original with the addition of liner notes by Florent Mazzoleni. A co release with Singasongfighter."



EDIZIONI MONDO: Collezione CD (MND 001CD) 17.00
Mondo takes its name from the Italian mondo film genre born in the '60s, characterized by documentary-like content concerning topics from around the world ("mondo"). The Mondo label's goal is to produce music that is descriptive of concepts, images, and environments. Mondo is inspired by library music frequently used as theme or background music in radio, film, and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically worked anonymously, have rarely become known outside their professional circle, and have produced what probably is the most creative music catalog ever. The Mondo productions started with four releases to describe locations, dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes. Landscapes surrounded by plains, mountains, lakes, forests, beaches, and marches. A land that still recalls legends, fantastic tales that tell the story, the events, the origin of a real place, when past and present coexist in perfect harmony. Four records to describe the seasons. A journey through the rise and fall of the sun, the bright light of a spring day, the warm wind that dissolves the sand on its way to the rainy season. This CD collects these four records, released individually in 2015: Precipizio (MONDO 001EP), Laguna (MONDO 002EP), Dune (MONDO 003EP), and Selva (MONDO 004EP), with music by L.U.C.A., Rotla, Studio 22, and Odeon.



SOULEYMAN, OMAR: Bahdeni Nami CD (MONKEY 056CD) 14.50
Perhaps Syria's most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7" planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album's heartrending ballads by The Black Lips' Cole Alexander. Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits "Kaset Hanzel," "Khattaba," and "Shift -al Mani"), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa'id's keyboards improvise devotedly to every tune and turn of Souleyman's choice. The lyrics are familiar territory for the singer -- declarations of eternal love, consolation of one's aching heart, pleas to his lover to sleep in his arms forever -- realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region -- be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world's insistence in associating him with his home country's unending war, Omar Souleyman gives back nothing but love.


SOULEYMAN, OMAR: Bahdeni Nami 2LP (MONKEY 056LP) 21.00
Gatefold double LP version. Includes download code. Perhaps Syria's most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7" planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album's heartrending ballads by The Black Lips' Cole Alexander. Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits "Kaset Hanzel," "Khattaba," and "Shift -al Mani"), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa'id's keyboards improvise devotedly to every tune and turn of Souleyman's choice. The lyrics are familiar territory for the singer -- declarations of eternal love, consolation of one's aching heart, pleas to his lover to sleep in his arms forever -- realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region -- be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world's insistence in associating him with his home country's unending war, Omar Souleyman gives back nothing but love.



BON & VIRGO FOUR, JACQUES: Machine Love 12" (MUSIQ 188EP) 14.00
Smallville's Jacques Bon presents his second release of 2015, following mona (MUSIQ 182EP) with a collaboration with legendary Chicago house duo Virgo Four. Their 1989 track "In a Vision" is one of mule musiq's favorite Chicago house tracks. This 12" includes Jacques Bon's sweet original version, the instrumental version, and a great rework from longtime label friend Superpitcher.


MR 004LP

CEREBROS EXPRIMIDOS: Mas Suicidios LP (MR 004LP) 19.50
In 1990 Munster Records released Más Suicidios by Cerebros Exprimidos, one of the label's first albums. The band from Majorca had reached beyond their island's borders with a mini-LP on Romilar-D and a cassette that compiled their early demos. They were making a name for themselves within the punk scene thanks to a personal style that blended proto-punk with a classic '77 sound and California punk. At the time there were no other bands in Spain paying tribute to The Controllers. Más Suicidios, despite a demo-like sound (it was recorded by Vicente Caldentell, an experienced musician who had been a member of Z-66), showed a band that walked confidently between punk and early hardcore. The recent addition of bass player Cañete, who came from bands with a faster sound, had provided an extra strength that allowed guitar player Juanmi to unleash his special style that drew equally from Black Flag and the New York Dolls. Jaume's straightforward vocals told stories of maladjustment, rage, and cocky attitude. The album includes the band's own compositions and a cover of The Controllers' "Another Day," and echoes Black Flag, The Heartbreakers, and The Replacements. Sleeved in a lysergic cover by Josetxo Ezponda (Los Bichos), the album was almost unanimously received by the press as a breath of fresh air. However, the reception within the most traditional sectors of their own scene was a little colder: too punk rock for hardcore fans, too hardcore for lovers of classic punk rock. Nevertheless, the LP planted a seed that would grow over their next two albums, Bonzomania (1991) and Demencia (1996), which, along Más Suicidios, would form the holy trinity of the genre in Spain. Munster Records now reissues this piece of history for the first time, with which some guys from Palma managed to shake their island and become the center of attention thanks to the everyday stories of their raw and direct songs. Remastered for this reissue.


NW 004LP

NOT WAVING: Voices 2LP (NW 004LP) 25.50
Alessio Natalizia's limited three-volume Voices cassette series (2014) is reworked and extended for this limited double vinyl release, marking a point of transition for Natalizia's Not Waving project in advance of a crushing dancefloor album for Diagonal, forthcoming at the time of this release. These 18 reshaped mixes of the tapes' original 23 tracks are shuffled up like a deck of tarot cards to form a new narrative. Drawing inspiration from Ivan Pavlov, Oliver Sacks, B. F. Skinner, and "the relationship between perception, memory, attention and comprehension," they render a quietly burning mind full of ideas and synæsthetic sensation, from the lush drone harmonics of "A Part of Thought" to pulsing EBM lab golems like "The Behaviourist Approach," with a really special touch for beautifully wistful, Eldritch/Italian analog electronics in the likes of "No Kill" or lump-in-throat closer "Voices." Perhaps the best comparison would be with Pye Corner Audio's Black Mill volumes, but Not Waving's varied yet coherent aesthetic feels more like a lost compilation of library music or early industrial music than the work of one super-talented guy. Mastered and cut by Matt Colton.


OT 2251CD

DJ KOCO AKA SHIMOKITA: Hydra: Underground's Finest CD (OT 2251CD) 20.00
Hydra: Underground's Finest is an aural history of Queens, NY-based underground hip hop label Hydra Entertainment's 12" output from 1995 through 2005, selected and presented by DJ Koco, one of Tokyo's premier hip hop DJs. Hydra was a powerhouse in its day, holding its own with other mid-1990s independent labels Rawkus, Fondle 'Em, Eastern Conference, Game, Landspeed, Fat Beats, and D.I.T.C. An integral part of the East Coast underground hip hop movement from 1995 through 2005, Hydra is world renowned for sought-after singles by major label-affiliated artists Mobb Deep (Loud/Sony), Screwball (Tommy Boy), Cormega (Def Jam), and The Beatnuts (Relativity), as well as the top tier of a burgeoning independent movement -- The High & Mighty, Godfather Don, Nick Wiz, and Ghetto Professionals -- and was the launching point for a string of A-list producers; A Kid Called Roots, Alchemist, E-Boogie, Mike Heron, EZ Elpee, Ayatollah, and DJ Fusion are just some of the producers who had their debut or nearly-debut credit on a Hydra single. This is the first CD release for most of these tracks, which were taken from vinyl and skillfully sequenced and mixed by Japan's DJ Koco (Donuts Record), who's as well known for his deep underground hip hop knowledge as he is for his battle, beat-juggling, and scratching skills. DJ Koco has a handful of critically-praised mixes circulating, and is in demand as an opener for Japanese dates for US hip hop acts. Includes tracks by Mobb Deep, Kamakazee, Screwball, The Unsociables, A Kid Called Roots, The High & Mighty, Slade Savage, E-Boogie, Godfather Don, Dennis Kellman, Mike Heron, Hostyle, K. Fanat, The Beatnuts, Nick Wiz, Big Meal, DJ Fusion, Powerule, Ghetto Professionals; appearances from Cormega, Kamakazee, MC Shan, Prince A.D., Offdamental, and Quik; and productions by Marley Marl, Pete Rock, The Unsociables, A Kid Called Roots, Alchemist, Bezo, E-Boogie, Godfather Don, Mike Heron, EZ Elpee, Ayatollah, The Beatnuts, Nick Wiz, V.I.C., and DJ Fusion.

OT 2290CD

KANKICK: Kankick vs DJ Choku: Beat Life CD (OT 2290CD) 20.00
Kankick proves here that he deserves to be name-checked alongside the more famous fellow 'Nard-bred beatmaker brothers Madlib and Oh No. Indeed, he is closely associated with the members of Lootpack, and, as part of the Likwit Crew family (Tha Alkaholiks, Madlib, Lootpack, Defari, King Tee...), has several major-label production credits to his name. This mostly instrumental collection, heavily sample-based with a strong weed vibe, closely echoes Madlib's successful Medicine Show series (2009-2012), and was culled by Jazzy Sport crew member DJ Choku from Kankick's 20-plus years of musical output on a variety of labels including Stones Throw, Groove Attack, Ramp, Poo-Bah, and Up Above. This collection has as much in common with the contemporary LA beat scene (The Gaslamp Killer, Exile, Low End Theory, Tokimonsta, Nosaj Thing) as it does with the fondly-recalled "backpack" hip hop movement of the late 1990s/early 2000s (J Dilla, D.I.T.C., Da Beatminerz, Lyricist Lounge). MCs crop up on only a handful of the 20-plus cuts here, providing a "weededed" accent to a laid-back, blunted, jazzy ride. Features Declaime, Kazi, Mad Men, Medaphoar, and Oh No.

OT 2798CD

JEMINI THE GIFTED ONE: Scars and Pain CD (OT 2798CD) 20.00
Jemini the Gifted One's Scars and Pain, one of the most promising debuts of 1995, is now reissued in a Japanese edition with five additional remixes previously only available on vinyl and promo-only CD singles. The original album was shelved indefinitely -- deemed "commercially unviable" (as the story goes) -- and followed up by a critically-praised string of solid singles, including a single on Tommy Boy in 1998 and a Danger Mouse collaboration in 2002. This expanded edition shines with production and remixes from Godfather Don, Buckwild, Organized Konfusion, Minnesota, Goldfinger, The Fat Man, Kenyatta Bell, Rah Boogy, and Soul G, with Jemini showing lyrical skills and a soulful potential that put him solidly alongside other gritty hip hop releases of 1995, such as Mobb Deep's The Infamous, Ol' Dirty Bastard's Return to the 36 Chambers: The Dirty Version, and Raekwon's Only Built 4 Cuban Linx..., although the best comparison would probably be D.I.T.C., with Jemini's laid-back delivery and gritty street vibe perfectly suiting the sample-based beat backdrop.



AYHUN, ONI: Oar 003 12" (OAR 003EP) 12.00
2015 repress. Discover steep, rugged canyons, painted rock minarets, desert vistas framed by blooming wildflowers, soaring raptors and singing canyon wrens on the wildest remaining rivers. Join this amazing journey composed of quiet floating as well as exciting whitewater rapids. Search for birds, including both the zone-tailed and gray hawk, elegant trogon, elf and whiskered screech owls, and eight species of hummingbird. Drink in spectacular canyon vistas. Watch elk, deer, bighorn sheep -- and ranchers at work -- in this rugged habitat.



URBAN FORCE: The Outer Space Connections 12" (ORN 036EP) 14.00
Fine, moody, and dubbed-out techno and electronica cuts from another space. Clear marbled vinyl.



TEREPA: Terepa EP 12"/PIC DISC (OP 028LTD-EP) 17.50
Double-sided white vinyl picture disc in printed PVC sleeve, both beautifully crafted. Limited edition of 500. Rashad Becker, Charlotte Collin, Lucrecia Dalt, Laurel Halo, Julia Holter, Kohei Matsunaga, and Grégoire Simon, following a method conceived by Kohei Matsunaga (NHK'Koyxen), recorded simultaneously in disparate international locations without non-telepathic communication and shaped the results. They used the same method with drawing, the result of which is printed directly onto this record. Side A slow-cooks and smears with murky piano, softly plucked strings, high-pitched drone, and distant brass. Side B is lighter, aerated by faint voice, subby purr, dull chimes, and bulbous trombone accents.



BACHS, THE: Out of the Bachs LP (OSR 039LP) 25.50
'60s garage-psych moody monster! Out of The Bachs was originally released in 1968 as a private pressing of 150 copies; it's one of the rarest USA '60s garage/teenbeat albums ever. The band consisted of five young kids from Chicago, regulars at local teen dances, who decided to release an album for their fans before splitting up. Recorded and mixed in just ten hours at a makeshift studio, Out of The Bachs offers 12 amazing self-penned songs with a sound ahead of its time. Pure teenage-angst vocals, crashing Rickenbackers, fuzz outbursts, killer moody tracks... Sadly, all previous reissues of the album failed to capture the true sound of the original, until the Time-Lag label reissued it in 2011 with remastered sound from a pristine original vinyl copy. This reissue uses the same audio master as the out-of-print Time-Lag edition. File next to The Rising Storm, The Fantastic Dee-Jays, The Savages. Includes insert with detailed liner notes and rare photos.



HOO, BEN: Breathe EP 12" (OVM 256EP) 14.00
London-based producer and multi-instrumentalist Ben Hoo follows releases on Kindisch, Highgrade, and Mute with Breathe, standing alongside Ovum's bombs from the likes of Vince Watson (OVM 250EP, 2014), M A N I K (OVM 253EP, 2015), and Josh Wink (OVM 254EP, 2015). The slow-burning "Breathe" delivers a sexy, seductive groove with swathes of lush sub-bass and chiming, echoing melodies before the snarling, industrial-edged "Cloaked Mix." Israeli tech house hero Shlomi Aber delivers a balls-to-the-wall, no-nonsense techno blast remix of "Breathe." The spine-tingling "561595" nods to ambient trip hop with a soothing plain of heartbeat drums, piano chords, and melancholic melodies.



M.E.S.H.: Piteous Gate CD (PAN 066CD) 16.50
Following his acclaimed 2014 Scythians EP (PAN 052EP), M.E.S.H. returns to PAN with his debut album, the opulent and dystopian Piteous Gate. Alongside fellow members of Berlin's Janus collective, behind nights at Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club dynamics and production. On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut-and-paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo-feudal moods offset by the recurrence of hydraulic hiss and flanger. A synthetic fuel injector revs opener "Piteous Gate" to life. Drawing from action-scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into "Optimate" -- stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. "Thorium" sends a slow-motion camera through a melting test reactor; all burnt VSTs and synthetic theorbo and loose drums. "The Black Pill" smears high-end renaissance sample libraries through arcs of static. In "Epithet," temple sewer atmospheres are ruptured by "Scythians"-style cut-up drums. "Jester's Visage" indulges a minute-long baroque guitar improv, and territorial youths air their beef in "Kritikal & X." Closing out the album, "Methy Imbiß" is a machinic rhythm track, and "Azov Seepage" mingles birdlike granular noises with rusted steel clanging. Recorded in Berlin in winter 2015. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.


M.E.S.H.: Piteous Gate LP (PAN 066LP) 25.50
LP version. Pressed on 140-gram vinyl.



VA: Fabric Safety Apparatus Vol. 1 2x12" (PAR 005EP) 25.00
The inaugural volume in a series of club-oriented selections presented by Parachute. Featuring exclusive music from Italian industrialist Ayarcana, Parachute co-founders Avatism and Clockwork, Meze, Metrist, the late M_REC founder Max_M, South London Ordnance, and Wrong Assessment. Double 12" package designed by Kero.


PENN 45004EP

NERVOUS EATERS: Just Head 7" (PENN 45004EP) 10.00
An authentic '70s USA proto-punk gem by Nervous Eaters, one of the key groups of the rich late-'70s Boston rock scene along with The Real Kids, DMZ, etc. A long-awaited reissue of their second single, originally released on Rat Records in 1979. Recorded in 1975 during the same sessions as their debut, Loretta (PENN 45005EP), this 45 was their last release for an independent label; the following year they signed with Warner. Both songs display the class and bad attitude that saw them included in the best punk compilations and incited many covers of their material in the years since.

NERVOUS EATERS: Loretta 7" (PENN 45005EP) 10.00
Originally released by Rat Records in 1976 and recorded in the same session as "Just Head" and "Get Stuffed" (PENN 45004EP), Nervous Eaters' debut really put the band on the map. Playing as a trio without their second guitarist, Stanley Clark, Cataldo and co. display all the band's trademark elements: great songs, love of classic rock 'n' roll, and raw simplicity. "Loretta," a true gem of the Boston rock scene, is perhaps their best-known song; it would later open their 1980 self-titled debut LP. Both tracks, including the cool Stonesy B-side "Rock with Me," have been remastered. Original sleeve.



VA: Funfair EP 12" (PERMVAC 140EP) 12.00
Three artists; four tracks that can be worked by the versatile DJ during the day as well as on the night shift. Berlin native Thomalla's "Funfair" rubs the listener's back with sunscreen before "Colossus" throws the listener in the water. London residents Casino Times launch a dry acid rocket in "Reality Hits." Benjamin Fröhlich delivers a rattling house refix of Lobster Theremin and Riotvan man Panthera Krause's 2014 hit "If." So put on your rave shoes while nibbling on your ice cream cone.



"Long sought after reissue of this avant-populist Chicago jazz classic. Includes 2 tracks never before released on vinyl."



MOVE D: Got Thing/Reflect Stray 12" (PHP 021EP) 14.00
2014 repress. Philpot presents three house tracks from David Moufang aka Move D, which range from deep to minimal and from dark to funky. While Move D takes a break with his label-work, he's pushing his output as an artist. The Got Thing/Reflect Stray 12" is directed at the club floor and for sure these three amazing, groovy tunes will work it.



LUCAS, BUDDY: I Can't Go/Get Away Fly 7" (POPC 138EP) 8.00
Most prolific as a session player, Buddy Lucas nevertheless recorded a good-sized handful of truly great R&B sides through the '50s. His "I Can't Go" is probably the most dancefloor-friendly, a stripped-back exercise in rhythm, riff, and atmosphere. Flip it over for a slow 'n' sleazy number about an unwanted encounter with a pesky fly.


WATERS/GENE STRIDEL, HAL: St. James Infirmary/Let Her Go 7" (POPC 139EP) 8.00
"St. James Infirmary" has existed in American folk traditions since the 18th or 19th century, but it entered the modern popular music lexicon with Louis Armstrong's 1928 rendition, after which numerous blues and jazz singers recorded perhaps a thousand times or more. Hal Waters's fantastic version from 1960 is notably up-tempo and swinging, complete with conga drum breakdowns and jazzy horn stabs. Gene Stridel's "Let Her Go" is a riff on "St. James Infirmary," with lyrics that play out as a kind of sequel to the original. The backing music, mid-tempo and heavy on atmosphere and drama, is pure popcorn!


GREEN & THE MEDALLIONS, VERNON: A Lover's Prayer/Shedding Tears for You 7" (POPC 141EP) 8.00
Beautiful group vocal rhythm and blues from Vernon Green & The Medallions. "A Lover's Prayer" is a shouldering gem guaranteed to get the dancefloor moving. Laid back, subtle, and played in minor key, the song also epitomizes the kind of moody mid-tempo R&B tunes that caught on with the Belgian popcorn scene -- records with an understated feel that meant they were likely neglected on other music scenes for a good while. But not now!



MURPHY, ROISIN: Exploitation 12" (BROADCAST 012EP) 14.00
"I've known Róisín a long time now and it was such a pleasure to find out she was releasing new music. I asked and got the stems for the second single, 'Exploitation,' sent to my Bongomachine Studios in Berlin. The results are here on Radio Bongo for a limited vinyl-only release! Welcome back, Róisín! Yours, President Bongo."



MARQUESE: No Matter How Long 12" (ROLI 003EP) 14.00
2015 repress; originally released in 2014. On Rote Liebe's third release, Marquese combines ambient soundscapes, a sun-drenched breakbeat workout, and groove-centered house to form a versatile release. Rote Liebe is a Cologne-based collective, founded in 2006 with a focus on events in various off-locations and clubs around the city. 2013 marked the launch of the Rote Liebe label, with the aim to build a catalog covering a broad musical spectrum of house, techno, broken beat, and experimental electronics, just like the regular Rote Liebe nights.


ERDBEERSCHNITZEL: The Attendants LP (ROLI 005LP) 21.00
Tim Keiling presents The Attendants under his Erdbeerschnitzel moniker, hovering over more subtle grounds in contrast to his more dancefloor-oriented EPs on Delsin (DSR H6-EP, 2013 and DSR H8-EP, 2014). The album features a mixture of contemporary electronic composition and hazy experimental pieces just outside the dancefloor proper. Rote Liebe is a Cologne-based collective, founded in 2006, with a focus on events in various off-locations and clubs around the city. 2013 marked the launch of the Rote Liebe label, with the aim to build a catalog that features a broad musical spectrum, including house, techno, broken beat, and experimental electronics, just like the regular Rote Liebe events.



HUNEE: Hunch Music CD (RHM 016CD) 17.00
Hunee presents his debut album, Hunch Music, the striking assembly of the artist's varied inspirations and versatile production talent. It is a rich musical journey that latches onto you and doesn't let go easily. Hun Choi, better known as Hunee, is a Korean Berliner now based in Amsterdam. In Berlin, he worked in a record store, where he could extend his unquenchable enthusiasm for music. First the DJ emerged, then the producer. As a DJ, Hunee manifested himself as a fine connoisseur of classic and contemporary music. Always smiling, he is determined to share every fine record he finds with the world. As a producer, Hunee has put out some highly acclaimed EPs, but only a handful before the release of Hunch Music. Hunch Music is a cinematic journey from the beginning to the end, with unique scenes. It starts with "Woods," the perfect introduction; a moody, mystic night haze that quickly changes into a warm and soothing whole. "Cross Road" follows, and the mystery transcends into something that moves the listener to the dancefloor, not quite sure whether to keep moving or just listen. Hunch Music has a nocturnal aura, an organic groove, and moments of glorious acid. It takes one up and throws one down, gently, with many cinematic and musical elements. As an artist who is also an avid vinyl collector, it might be difficult for Hunee to ensure that his numerous interests do not distract from his artistic signature, but he pulls it off; his production work is as colorful as his character, displaying a broad spectrum of inspirations that manifest themselves in a surprising and seductive artistic entity. CD includes one extra track.


HUNEE: Hunch Music 2LP (RHM 016LP) 23.00
Double LP version.



SUN RA: Monorails and Satellites LP (SATURN 509HLP) 14.00
2015 repress. 180 gram vinyl version. Tracklisting: Space Towers, Cogitation, Skylight, The Alter Destiny, Easy Street, Blue Differentials, Monorails and Satellites, The Galaxy Way. Recorded at Sun Studios, New York 1966 (a home recording).



VA: The Sound of Cape Verde EP 12" (SOFRSS 006EP) 15.00
2013 release. "Sofrito kicks off the new Island series with a celebration of the vital dancefloor sounds of Cape Verde - a mixture of local Funana rhythms, Batuque percussion and psychedelic disco synths. Originally released in the early '80s, Dionisio Maio's anthemic 'Corpim Sabe' is stretched into a 12" mix by the Alma Negra collective - bringing the thumping bassline to the fore and tweaking the piano-led groove into a slice of cosmic island perfection. On the flip the dynamic Hide & Smile duo splice an early track from trailblazing group Bulimundo into a percussive workout - a sure fire winner that bridges the gap between traditional styles and the sounds of Kuduro and Coupe Decal?e. Os Kings complete the EP with an ode to struggling youth, anchored by sweet guitars and a slick bassline."



VA: Somewhere Vinyl Sampler 12" (SOHASO 007EP) 14.00
Something Happening Somewhere collects singular recordings from separate artists, bound together through Nuno dos Santos's spellbinding powers of creation and combination, to form Somewhere I and II, two 2015 digital compilations previewed here. Quince, slowly crawling back from obscurity, delivers with "Europa," a never-ending trip through space. On acid. Stefan Vincent goes from space up to heaven with celestial, arped strings blended through beeps and blips into a gift from the gods. Kiani & His Legion dish out the basslines; pitch-bended into oblivion, "At the Violet Hour" is made for peak-time moments. Polynation's closes with the victory lap of "Anther."



PIG RIDER: Heterophonies LP (SOMM 024LP) 29.00
Although nearly 60 people have played in Pig Rider or its various offshoots over the years, there have only been two ever-present members, Colin Kitchener and John Mayes, who founded the band at Sevenoaks School in Kent, England, in the late '60s. They met when they were 12, and not long after began haunting the music rooms at the school to hammer out current three-chord pop songs on pianos. They went through a number of other names (including D Jabferg Flossyakkit and Bob Scratch and His Country and South Eastern Spring Blues Band), before deciding to perform as The Pig Rider Robinson Heterophony. After a failed attempt to build a seven-foot robot bassist called Peregrine Robinson to front the band, the name was abbreviated to its current form. Pig Rider's music has been described as "joke folk/mock rock," and although they claim that their minds were only altered by beer, there's a real psychedelic element to it, not to mention their pioneering DIY spirit. They recorded at home with rudimentary equipment, used handmade modified instruments, and self-released a series of acetate-only albums housed in primitive, handmade sleeves. Heterophonies was originally pressed by the custom label Deroy Sound Service in a private edition of five acetates in 1975. The music is an amazing mix of psychedelic electric folk, acid folk, and twisted pop with funny and bizarre lyrics, tape experimentation, effects, and a homemade, stoned atmosphere. Think The Incredible String Band, The Bonzo Dog Band, Syd Barrett, R. Stevie Moore... In 2009, a review of Heterophonies appeared in the Galactic Ramble book. Richard Falk wrote, "Heavy, lo-fi, electric folk with lots of weird electronic effects and a distinctly psychedelic atmosphere." That review incited French collector Alexandre Mansuy to track down the band in 2013. "What I was on the point to discover was way beyond my wildest dreams. Heterophonies was only one of their many, many great recordings." Thanks to Mansuy, Guerssen and Sommor present a comprehensive Pig Rider reissue campaign, which began with The Robinson Scratch Theory (GUESS 058CD/145LP), a compilation of their jaw-dropping '80s stuff. The series continues with first-ever reissues of two of their rarest acetates from the '70s: this edition of Heterophonies and a reissue of Bloody Turkey Sandwiches (SOMM 023LP). Both acetates are also available as a combined CD reissue (SOMM 023-24CD). Includes insert with photos and lyrics. Master tape sound. Limited to 300 copies.


SONIC 014-022CD

MOON ATE THE DARK: Moon Ate the Dark I + II 2CD (SONIC 014-022CD) 27.50
With their second album, presented here alongside their 2012 self-titled debut, Moon Ate the Dark takes the next step of contemporary piano composition. Moon Ate the Dark II is based on an extraordinarily playful and varied approach to melodies and drones, with a dedication to subtle yet complex details. The combination of Anna Rose Carter's piano, violin, and keyboard and Christopher Bailey's electronics, amplifiers, organs, and synthesizers creates something less shadowy than their first album in favor of a more melodic -- though still thoughtful -- endeavor that manages to move upon the thin line between nostalgia and optimism. While the album's shorter pieces are mostly based on lively piano tunes completed by forceful electronic components, the attentive "Sleepy Vipers" drags the listener into drones and violin that slow the pace to create an engaging peak in the duo's recordings. The album's excellent production grips the listener until the very last notes of the wonderful closing track "Lo." Moon Ate the Dark II is an impressive achievement and a testament to the perfect match between the project's two parts.



BABA STILTZ: DieHard+2 12" (BARN 032EP) 14.00
Baba Stiltz returns to his throne at Studio Barnhus, following his masterful 2014 Total album (BARN 026CD/LP). This 12'' delivers four highly exciting dance tracks straight from the House of Flogsta, ready to be worn and torn by all the shameless deejays, robot-curious lovers, and funky outcasts out there.



Classically trained composer and contrabass player Yair Elazar Glotman expands on his work with James Ginzburg on Nimbes (SUB 012EP, 2014) and his analog tape work as KETEV (Opal Tapes, Where to Now?) with a record exploring the hidden resonances of the contrabass. Yair Elazar Glotman's Études disrupts the subconscious processes and muscle memory learned as a classical contrabass player to interrogate his instrument, drawing out hidden resonances, physical vibrations, and explorations of uncharted territory of the instrument's acoustic dynamic range. Within the ten pieces presented here, each a solo performance, he looks to develop a black box scenario for composition. Creating a separation between action and outcome, he escapes learned restraint, abandons former training, and develops a method by which concentration and control are translated into a visceral interaction with the bass, uncovering hidden sounds and building an expansive and dynamic sonic palette for the contrabass beyond the confines of classical virtuosity. Deconstructing the contrabass into its sound components, he repeats and reveals the material properties of the instrument. Working outside the instrument's natural dynamic range, close-micing various parts of the instrument's body and strings, previously obscured resonances are revealed and energy expenditure is transferred into colossal rumbles and physical vibrations; the thrum and whirr of the contrabass and the hiss of tape amplified and interrogated into monolithic presence. The recordings preserve these resonances from the instrument's body and strings, but rather than attempt a neutral and accurate sonic representation of the traditional sound of the instrument, Études gives the analog recording and mixing process a tangible presence in the recordings, drawing out and exposing the medium of recording reflexively. Études was composed in Berlin, recorded at the legendary EMS studio in Stockholm, and mixed together with James Ginzburg (Emptyset) at Multiverse in Bristol, UK.


SH 9124LP

TREACHEROUS THREE, THE: The Treacherous Three LP (SH 9124LP) 14.00
1984 album from the pioneering hip hop group consisting of Kool Moe Dee, Special K, and L.A. Sunshine. Exact repro reissue manufactured by Rhino.



BARERA & WILL MARTIN, JOHN: This Time EP 12" (SUPPLY 011EP) 15.50
Supply boss John Barera and Will Martin follow two 2014 releases on Steffi's Dolly label -- the Milestones EP and the critically acclaimed Graceless album -- and a 2015 12" on hotly-tipped Chicago label Argot. "This Time" delivers dancefloor euphoria with rough-and-tumble 909 programming, well-seasoned percussion samples, and a soulful organ line. The introspective, swinging "The Maker" features Barera's trusty Juno 106 beautifully complemented by an eternal string line and bouncing synth stabs. The screaming disco loop of "Above" threads past teasing Juno licks until the roof blows off. The delicate beat of "Anchor" holds together its arcing, soaring synths.



URBAN SOUL: Lost Treasures Vol. 6: Alright (Remixes) 10" (SYST 1014EP) 15.50
Under names like South Street Player, Dark Clark, and, of course, Urban Soul, Roland Clark has influenced the evolution of house music like few others. His vocals on Fatboy Slim's records are timeless, such as "What the Fuck" and "Song for Shelter." Clark's "Alright," originally released in 1991, is a milestone of soulful house, like Adeva's "Respect" and Terrence Parker's "Love's Got Me High." Part of Marc Romboy's Lost Treasures, this package includes a respectful interpretation by none other than Gerd (Clone, 4 Lux) and a fine remaster of the original club mix from 1991.


TR 317LP

HOWARD & THE NIGHT MAIL, JOHN: John Howard & The Night Mail LP+CD (TR 317LP) 25.50
LP version. Includes CD. In 1975 CBS released Kid in a Big World, the debut LP by a golden-voiced young piano man called John Howard. But somehow, between glam and pub rock, this early masterpiece fell through the gaps. The world may have been ready for Bowie flirting with androgyny, but not quite ready yet for an out gay pop star. Forty years later, in 2015, Canterbury-based/Vienna-born pop writer and musician Robert Rotifer enticed this living singer-songwriter legend back to England from his Spanish exile to work on the collaborative project John Howard & The Night Mail. Apart from Howard himself on vocals and piano and Rotifer on guitar the band features Andy Lewis (Paul Weller's bassist, DJ and Acid Jazz label regular) on bass and Mellotron and Ian Button (Papernut Cambridge, ex-Death in Vegas, ex-The Thrashing Doves) on drums. Apart from the Roddy Frame cover "Small World" ("Great! Brilliant! I'm flattered," says Frame), Lewis, Button, and Rotifer share all the writing credits with John Howard. And as Howard's fingers touch the keys on "Intact & Smiling," the '60s soul-flavored lead single he co-wrote with Lewis, you can sense the electricity of finally playing together with a full band in the studio again after all those years. It's nothing less than the joyful rebirth of an almost forgotten hero of British pop history. "John, though he always creates fictional characters for his songs, had also given a lot away about himself between the lines. About his youth and discovering the magic of pop ('In the Light of Fires Burning'), his struggles with society's blinkered sexual attitudes ('Safety in Numbers'), his compulsive need for things to be just right ('Control Freak'), and the harsh realities of growing old ('Before'). As for the music... We'd hit the ground running and never stopped until the whole record was finished three days later in a grand tour de force of John doing all of his vocals in one single day... I'm listening to the record now, and I feel none of the doubts that usually hang around well after one has finished an album, because it was all done in such a breeze, with no time for self-conscience or second-guessing. I know Ian and Andy feel the same. But most of all we can't wait to see John again and take The Night Mail on the road." --Robert Rotifer, Canterbury, March 2015

TR 318LP

TELESCOPES, THE: Hidden Fields LP+CD (TR 318LP) 25.50
LP version. Includes CD. Founded in 1987 by Stephen Lawrie, The Telescopes have been mining a unique anti-myopic seam of highly influential experimental, drone, noise, dream, and psych ever since. Their first record was a split flexi-disc with Loop on Cheree Records. After a two more critically acclaimed singles for the label, they moved to What Goes On Records, with which they released another two EPs and their 1989 debut album, Taste, all of which found their way to the top of the UK independent charts. Tours followed with Spacemen 3, Primal Scream, and The Jesus and Mary Chain, and it wasn't long before The Telescopes were headliners themselves; Bark Psychosis, Whipping Boy, Slowdive, Bleach, The Cranes, and Ride all played some of their earlier shows supporting them. In 1990 the group appeared at one of the UK's biggest festivals of the time, Reading Festival, where they were one of the few bands that wasn't bottled off the stage. However, the increasing violent interactions with audiences at their shows saw the group step away from their noise origins and head toward a more introspective, psychedelic sound. It was around this time that What Goes On folded and Alan McGee stepped in to release the group's material on his Creation Records. The group released their second album and a string of EPs for the label, working with Douglas Hart (The Jesus and Mary Chain) on their videos, visual artist Paul Cannel on their sleeve work and Laika's Guy Fixsen in the studio. In 1992, the group began an eight-year hiatus, resuming output in the year 2000 with a revolving lineup and a stream of well-received releases. In 2011 Portishead invited The Telescopes to play at the first ever ATP festival at Alexandre Palace in London, and the following year The Black Angels and Reverberation Appreciation Society invited them to Austin Psych Fest. Following the 2013 release of their seventh LP, Harm, on Seattle-based label Neon Sigh, the group toured almost non-stop over the following two years, covering Scandinavia, Europe, Russia, Latvia, Estonia, the Ukraine, the UK, USA, the Middle East, and Ireland. Hidden Fields, The Telescopes' eighth album, is an unexpected return from the group's recent expeditions into the outer reaches of free-drone noise -- the psychiatric sounds of The Telescopes in a concise inner sensory rush, and their most song-based output in some time. Recorded in Glasgow with St Deluxe.



GOLDMANN, STEFAN: Presets - Digital Shortcuts to Sound Book (TBW 002BK) 11.00
For his first book, Presets - Digital Shortcuts to Sound, Stefan Goldmann has talked to industry leaders, programmers, producers, musicians, and fine artists to collect a comprehensive description of the world of preset audio. From synthesis to sample libraries, from instrument emulations and gear cloning to automated composition and performance, Goldmann explores short cuts in electronic music, classical and traditional musics, guitar rock, and fine arts. Disruptive gear and iconic presets, their background and impact -- from Korg's M1, Yamaha's DX7, and Roland's 909 to Ableton Live, Native Instruments Reaktor, Sidechain compression, and Auto-Tune -- are discussed with unprecedented depth and clarity. Featuring interviews with: Robert Henke aka Monolake (Berlin), musician, lecturer, and co-developer of Ableton Live; Mike Daliot (Berlin), former senior audio developer at Native Instruments and lecturer at Universität der Künste Berlin; Michael Wagener (Nashville), multi-platinum music producer and engineer; Cory Arcangel (New York), fine artist; Dinis Schemann (Munich), pianist; Tomoko Itoh and Junichi Ikeuchi (Inagi, Japan), members of the Korg M1 product development team; Toni Stevanovski (Sofia, Bulgaria), arranger; and Dimitar Kotev (Sandanski, Bulgaria), musician. Introductory essay and glossary by Stefan Goldmann. Stefan Goldmann is an electronic music artist and DJ. Together with Finn Johannsen he runs the Macro label, which releases work by such artists as Elektro Guzzi, KiNK, and Peter Kruder. He also writes a column for the flyer program of Berlin's Berghain club and is a co-author of its 2015 book Berghain 10. In 2014 he released Industry (MACROM 040CD/LP), an album based exclusively on presets. 220 pages; paperback; 110mm x 171mm. First edition industrially sized.


FAHLER, STEFAN: Zahntasia Book (TBW 003BK) 7.00
The Bookworm presents -- with a wide grin -- the first book by Stefan Fähler. Its title, Zahntasia, inflects the name of Walt Disney's 1940 animated masterpiece with the German word for "tooth" ("Zahn"), and accordingly, it depicts a psychedental journey starring an anthropomorphic molar who suddenly gets popped out of his daily grind. Across 80 black-and-white pages, our toothy protagonist is whisked into a world of sticky indulgence, sweet romance, and confectionary hallucinations. Seeing as there's no text, the plot welcomes the viewer's own interpretation, but it seems that just like Dorothy, this displaced tooth finds the way back to his roots. Stefan Fähler created the images during an artist residency in Brazil, as well as in Belgium and his home base of Berlin. To complement his pencil drawings -- adding some extra texture where necessary -- he also utilized nail polish remover and a rickety, nearly obsolete Xerox machine. Although the story is told purely in pictures, Fähler's dentist has provided a written introduction emphasizing the importance of caring for your chompers. This book makes a charming addition to any waiting room, a trusty companion for your next acid trip, or the perfect gift for that magical wingèd lady who leaves cash under your pillow. Stefan Fähler is a freelance art director and illustrator working primarily in the music and film industries. He has designed gig posters for performers like Ariel Pink, Baths, Death Grips, Lætitia Sadier, Merzbow, Mykki Blanco, Mogwai, Wolf Eyes, and Shonen Knife and album artwork for Leslie Winer, Marina Gasolina, and Damo Suzuki. He painted the graphic titles for Wim Wenders and Juliano Ribeiro Salgado's Oscar-nominated documentary about Sebastião Salgado, The Salt of the Earth, which premiered at Cannes Film Festival, 2014. He has directed music videos for the likes of Mediengruppe Telekommander and Heatsick, for whom he won an award for "Best International Music Video" at Leeds International Film Festival, 2014. Fähler's work can be seen in publications, exhibitions, and festivals around the globe including Berlin, New York, Los Angeles, London, Paris, Cannes, Milan, Sydney, São Paulo, Rio de Janeiro, Santiago de Chile, and Basel. 80 pages; paperback; 110mm x 171mm. Limited edition of 150 copies hand-numbered and signed by the artist.


WIRE 378

WIRE, THE: #378 August 2015 MAG/CD (WIRE 378) 9.50
"The Wire Tapper 38, our latest anthology of underground music will be on the cover of every copy, ensuring the issue will be scooped up by the maximum of discerning music fans. On the cover: Ashtray Navigations (Phil Todd's slime-surfing DIY outfit have been reverberating for 21 years, a constant presence in Yorkshire's ever-bubbling psych underground); Bristol UFOs (As guitarist David Pearce returns after 15 years in the wilderness with a new Flying Saucer Attack album, he and members of Movietone, Crescent and Third Eye Foundation tell the story of the West Country's cosmic reverse); The Primer: Yorkshire Psychedelia (Frances Morgan takes a trip through the essential catalogue of Ashtray Navigations and fellow seekers Vibracathedral Orchestra, Astral Social Club and more); Ornette Coleman (AB Spellman recalls his encounters with the late saxophonist in New York in the 1960s); Global Ear: Lodz (Confrontational music replaces heavy industry in the Polish city); Invisible Jukebox: Mark Perry (The ATV Frontman and Sniffin' Glue founder says "You bastard" to The Wire's mystery record selection)."



HARRISON, WENDELL: An Evening With The Devil LP (PRSD 2212LP) 12.00
Exact repro reissue of Wendell Harrison's 1972 release, featuring Marcus Belgrave (flugel horn), Charles Moore (trumpet), Will Austin (bass), Charles Eubanks (electric piano), Ike Daney (drums), and Phillip Ranelin (trombone).


VA10Y 003EP

VA: VA10Y3 12" (VA10Y 003EP) 14.00
Third VA10Y vinyl release, with four jams by Premiesku, Sons of Tiki, Cesare vs Disorder, and Quantum Entanglement.



VA: R&B Hipshakers Vol. 3: Just a Little Bit of the Jumpin' Bean 2LP (VAMPI 161LP) 25.50
Repressed, originally released for Record Store Day 2015. The third volume in Vampisoul's R&B Hipshakers series available on LP for the first time, featuring rockin' R&B and early soul from the King/Federal/DeLuxe catalog. Twenty terrific dance cuts from 1955 through 1964 selected by genre expert Mr. Fine Wine of WFMU's Downtown Soulville. "Here is what we dug: Drummer Cozy Cole's cymbals on 'Cozy's Mambo.' The same track would come out again three years later on King's Bethlehem subsidiary as 'Cozy and Bossa' to capitalize on the burgeoning bossa nova craze... New Orleans native Linda Hopkins's wails on 'Mama Needs Your Lovin' Baby'... the clippety-cloppety rhythm of Earl King's 'Old Faithful and True Love,' one of the earliest recordings on here, from 1955... (NB: This is Earl Connelly King, not the better-known New Orleans singer-songwriter-guitarist Earl King)... the galloping tempo of 'She's Mine,' by the rock & roll cowboy, Joe Tex -- just his third solo single out of several zillion. The whistled response to Mel Williams's lead vocals on 'Send Me a Picture Baby,' and practically everything else about this song, one of our favorites. The brilliant arrangement of Eugene Church's version of 'Sixteen Tons': those bass vocals, those sloppy finger snaps, the chorus of whomp-whomps. The lip-smacking cry of 'rib tips!' amid The Drivers' enumeration of skeletal components in 'Dry Bones Twist.' The irresistible swing of super-prolific keyboard man Bill Doggett's 'Hold It.' Lowman Pauling's electric (in every sense) guitar on 'Solid Rock' [by El Pauling and the Royalton]... All of the voices, especially Hank Ballard's, on 'Nothing But Good' [by Hank Ballard and the Midnighters]... Billy Gayles's caveman attitude in 'Take Your Fine Frame Home'... Jackie Brenston's hoarse, pissed-off kiss-off: 'Much Later' [with Ike Turner's Kings of Rhythm]... the slinky beat of 'Thanks Mr Postman' [by Bobby King]... All that percussion on 'Don't Play with Love' [by Little Willie John]... the tightly wound tension of guitar superstar Freddy King's 'In the Open'..." --Mr. Fine Wine. Also includes tracks by Jimmy Peterson, The King Pins, Tiny Topsy, The Mystics, and Harem Girl.



LAGHONIA: Etcétera LP (MRSSS 533LP) 25.00
In 1970, after four fantastic singles under the name New Juggler Sound, the Peruvian band formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samamé (bass), Carlos Salom (organ), and Manuel Cornejo (drums) changed their name to Laghonia and recorded their debut LP Glue for the Mag label. It was an album influenced by the British rock of the era, to which they added fiery guitars full of fuzz and wah-wah, the omnipresent and hypnotic Hammond organ sound, and Latin American percussion and rhythms. A perfect mix of the British beat melodies of the mid-'60s, Jimi Hendrix's intense rock, Cream's heavy blues, and Santana's Latin rock. Laghonia returned to the studio in 1971 to record their second LP for Mag. Packaged in a clearly psychedelic gatefold sleeve designed by the band's drummer, Manuel Cornejo, Etcétera shares all the elements of the first LP, though on this occasion, the compositions, while keeping their immediacy and featuring strong melodies and choruses, have a more complex structure, ranging from psychedelia to progressive rock through superb, dark King Crimson-esque passages and shining moments of pastoral folk. Sure to be cherished by lovers of Latin American rock, pop, and psychedelia as practiced by such other similar classic bands as Traffic Sound, We All Together, Black Sugar, and Telegraph Avenue. This reissue is presented in a replica of the original gatefold sleeve.



BENDER, JOHN: Memories of Mindless Mechanical Monologues 1976-1985 7LP BOX/7" (VOD 095RE-LP) 162.00
2015 repress of the 2012 box set, in a black, silver-embossed fine linen box (no longer the initial "folder"-presentation). John Bender is without a doubt the protagonist, if not the inventor, of the musical genre known as minimal wave. His synthesizer sounds carried elements of techno and acid a decade before the invention of techno. His voice and his somewhat sentimental, mournful lyrics made his music outstanding and extraordinary, an unprecedented mixture of elements. His three self-released LPs -- I Don't Remember Now (1980), Plaster Falling (1981), and Pop Surgery (1983) -- are must-haves for every serious collector and anyone interested in coldwave, minimal synth, and techno sounds. This seven-LP box set (with bonus 7") includes I Don't Remember Now, Plaster Falling (with selections from several tape releases known as Plaster: The Prototypes (1981)), Pop Surgery (also with selections from Plaster: The Prototypes), Packing List (1982), At the 4th St. Cage 1/83 (1983), Do the Cage (1983), and tracks from The Cassette (1986), originally released under Bender's Johnny Vortex moniker.


CLOCK DVA: Horology 2: The Future & Radiophonic Dvations 5LP BOX (VOD 136LP) 110.00
This five-LP box contains material that predates the contents of the 2012 Horology box set. Horology 2 is a companion collection of experimental recordings made in late 1977 and 1978 by Adi Newton before and during the formative period of development of Clock DVA. The first LP in the box includes recordings made by The Future, the trio of Newton, Martyn Ware, and Ian Craig Marsh, before the group developed into The Human League and Clock DVA. The Future pioneered an electronically synthesized sound that would later dominate the 1980s and synthpop. The remaining four LPs, titled Radiophonic Dvations, include previously unreleased experimental analog tape and synthesis works inspired by early acousmatics, radiophonics, psychotronics, the occult, and avant-garde electronics. These recordings are from the earliest period of Adi Newton's research and development, pioneering experimental work made at the outset of what became industrial and minimal electronic music in the late 1970s. Horology 2 includes a 40-page booklet that examines infrasound, psychoacoustics, psychotronics, and the development of tape music and radical experimental electronics, illustrated throughout with archival photos and artwork.

VOD 137-6LP

AIRAKSINEN, PEKKA: Afrodipankara LP (VOD 137-6LP) 21.00
Pekka Airaksinen is a Finnish composer of electronic music. Airaksinen formed his first band, The Sperm, in late 1967. The Sperm mixed elements of avant-garde music with free jazz and psychedelic pop. By 1970 Airaksinen had started his own label, O Records, to produce and distribute his solo LPs, including One Point Music (1972); The Sperm's Shh! Heinäsirkat (1970); and a 1972 LP by his free-jazz-dominated project Samsa Trio (together with Antero Helander and Mattijuhani Koponen) (all available in the Works 1968-1976 box (VOD 137LP)). Following The Sperm's breakup in the mid-1970s, Airaksinen turned to Buddhism, but kept producing music in the years to come, integrating Roland 808 drum machines into his music and releasing classic LPs like 1984's Buddhas of Golden Light (ALE 004LP); it was during this period that he produced Afrodipankara.


Pekka Airaksinen is a Finnish composer of electronic music. Airaksinen formed his first band, The Sperm, in late 1967. The Sperm mixed elements of avant-garde music with free jazz and psychedelic pop. Throughout its existence, the group's members included Antero Helander, Ilkka Lehtinen, J.O. Mallander, Markus Heikkerö, Mattijuhani Koponen, Nikke Nikamo, and Peter Widén. By 1970 Airaksinen had started his own label, O Records, to produce and distribute his solo LPs, including One Point Music (1972); The Sperm's Shh! Heinäsirkat (1970); and a 1972 LP by his free-jazz-dominated project Samsa Trio (together with Helander and Koponen) -- all included here. Live performances by Airaksinen and The Sperm often took the form of confrontational performance art; two of The Sperm's members were arrested for simulating sexual intercourse and screening pornographic films. Following The Sperm's breakup in the mid-1970s, Airaksinen turned to Buddhism, but kept producing music in the years to come, integrating Roland 808 drum machines into his music and releasing classic LPs like 1984's Buddhas of Golden Light (ALE 004LP). Works 1968-1976 contains The Sperm's 3rd Erection EP (1968) with three bonus tracks, Shh! Heinäsirkat (1970), and Suite 71 (originally included on the 1998 CD reissue of Shh! Heinäsirkat on Dharmakustannus); Samsa Trio's 1972 self-titled album; Airaksinen's One Point Music (1972) and his Pagoda EP (1973) with Omar Williams and Donald Bane; and Golden Age (1976) by Mytologinen Duo (Airaksinen and Helander).

VOD 138-01-2-LP

PORTION CONTROL: Progress Report 1982-1986 2LP (VOD 138-01-2-LP) 34.00
This material from Portion Control clearly demonstrates their early experimentation at the advent of analog electronic machines. The eclectic material ranges from cassette port-a-studio material, recorded in Peckham and Kennington, South London, to high-end studio recordings. Portion Control's punk roots are on display, as the group demonstrates unrivalled creativity and bridges the gap between UK industrial, early ambient, and the formative stages of electronic dance music. The music features rising arpeggiators, proto bass lines (a true Portion Control signature), dark sound design, and recurring beats and rhythms -- many elements that became the bedrock of future darker electronic music. During this highly-charged period, Portion Control established themselves at the forefront of the formative underground UK electronics scene. This double LP contains a selection of tracks from the Raise the Pulse 12" (1983), the Hit the Pulse 12" (1983), the ..Step Forward LP (1984), the Rough Justice 12" (1984), the Go-Talk 12" (1984), the Great Divide LP (1986), the Psycho-Bod Saves the World LP (1986), and the Purge 12" (1986), as well as a previously unreleased tape from 1982 called Kiss Kiss - Sex and live recordings from a 1984 performance in Amsterdam.

VOD 138-03LP

DOK-U-MENT: Kum De Profundis 1982-1984 LP (VOD 138-03LP) 21.00
In late 1982, Jessie Last and Malcom Smith, both from Cambridge, Massachusetts, launched their pioneering electro-experimental-techno project Dok-U-Ment. They self-released a very limited self-titled tape, and it caught the ear of Sleep Chamber's John Zewizz, who joined the project while trying to convince Last and Smith to join Sleep Chamber. In 1983 they re-released the first tape in edited and extended form on John Zewizz's Inner-X-Musick label. One track was also licensed to Gut Level Music's 1983 Gut Level One: A Compilation, and two tracks were included on the 1984 Inner X-Musick compilation The Oblique Collection.... Smith and John Zewizz became increasingly involved with Genesis P-Orridge's Temple ov Psychick Youth, and supported Psychic TV on their first American tour; the Dok-U-Ment was terminated just three years after it had started. Although an output of about ten officially released tracks isn't much, the influence and quality of those tracks simply cannot be ignored. This LP includes the entirety of the original self-titled tape, plus two tracks that were added for the 1983 Inner-X-Musick reissue.

VOD 138-04LP

ROB VAN/(HEAVY) MENTAL: Rob Van/(Heavy) Mental LP (VOD 138-04LP) 21.00
Pop drones and minimal synth from the Dutch mountains. This LP, which is also available as part of the expansive 80's Minimal.Synth.Wave: Volume III box set (VOD 138LP), covers the early-'80s work of Rob van Wijngaarden. It opens with captivating minimal synth instrumentals from his 1981 split cassette with Les Chats as Rob Van, originally released on Ptôse's Ptôse Production Présente label. Recording sound on sound, always using the first take for each layer, van Wijngaarden created a series of dark, moody, melodic pieces inspired by Bowie's Low (1977) and punk's DIY attitude. Van Wijngaarden founded Heavy Mental some time in 1980 for his contribution to Dutch post-punk label Plurex's 17 to 7 on 33 compilation EP, included here. Van Wijngaarden enlisted his friend Jacob Baars, who owned a guitar, and bought a Korg MS-20 synthesizer and a Revox A-77 tape deck (inspired by its mention in the notes of Eno's Discreet Music (1975)). The band played several gigs (including a supporting slot for Bush Tetras) in several incarnations. They later changed their name to Mental and continued as a trio, with Baars and Hans Deen on guitars and van Wijngaarden on drum machine and synthesizer; their sound was a grunge-like wall of guitars over industrial bass, with one-chord songs lacking any verse-chorus structure. The trio was at its best in live performance, a power captured here on "Charles Manson," originally released on the 1981 Wpk Festival compilation cassette, as well as two tracks from the Mental Live cassette, originally released in 1981 on van Wijngaarden's Mental Cassettes label. Van Wijngaarden was part of the cassette-trading scene that Throbbing Gristle's Industrial Records newsletter had helped to foster; he occasionally mailed out one-off cassettes hours after recording them, and tracks from one of these extremely rare tapes are included here. One of the tape-traders with whom van Wijngaarden exchanged work was Ruud Kluivers, who sent Heavy Mental their only letter after hearing 17 to 7 on 33. Kluivers had an MS-20 too, and wanted to jam; a 1981 collaboration with van Wijngaarden is represented here as well. The collection also includes a few tracks from other splits and compilations released between 1980 and 1982. There are many tales about the Dutch post-punk movement, and most are probably more captivating than this one, but van Wijngaarden's work is just as intense as anything that was happening in the Netherlands at the time.

VOD 138-05-6LP

BRADBURY, GARRY: Panspermia 2LP +7" (VOD 138-05-6LP) 37.50
Garry Bradbury is widely considered one of Australia's pioneers of electronic music. From 1980 to 1985, Bradbury was a member of the seminal electronic post-punk project Severed Heads alongside Tom Ellard, Richard Fielding, and others. The group released a series of seminal albums, including Blubberknife (1982), Since the Accident (1983), City Slab Horror (1985), and the retrospective Clifford Darling, Please Don't Live in the Past (1985). These works were characterized by dynamic integration of experimental musical practices, such as tape manipulations, cut-ups, and the use of found sounds, with more conventional musical forms containing recognizable beats and melodies. Bradbury also directed and designed, with various collaborators, three Severed Heads videos, for the tracks "Goodbye Tonsils," "Canine," and "Big Car." In 1988 he released his first solo album, Drug Induced Sex Rituals (titled for a young American audience). In 1992, with Jason Gee, he formed the band Size. They played live, drank beer, and smoked copious cigarettes throughout the '90s and eventually released the album Actual Size in 1997. Bradbury followed this with two solo CDs -- Ruffini Corpuscle (2003) and Instant Oblivion (2005) -- released on Dual Plover, a notorious label that specialized in "smashing windows of opportunity." Throughout this time he also worked extensively in theater, providing soundtracks for works ranging from experimental movement theatre -- most notably Burn Sonata, featured at the 1998 Adelaide Festival -- to the Sydney Theatre Company's productions of Shakespeare. His soundtrack for Macbeth (2002) is particularly infamous for its relentless, nightmarish brutality, consisting as it did, for the most part, of samples of pinball machines. Panspermia, also available as part of the expansive 80's Minimal.Synth.Wave: Volume III box set (VOD 138LP), is an assemblage of remastered and re-edited works by Bradbury, recorded sporadically from 1986 to 2005. It's released in advance of Bradbury's 2015 album Yakovlevian Torque.

VOD 138-07LP

TI-THO: Ti-Tho LP + 7" (VOD 138-07LP) 28.50
Christina Marisa Calcagno and Thomas Stelter, who recorded as the Hamburg new wave duo Ti-Tho in the early- and mid-'80s, met when Calcagno was 13 and Stelter was teaching guitar to her friend Oliver. Calcagno and Oliver were in a band called Tempelfreuden, together with Markus Lipka and Johan Pop; Stelter had been following the band and going to their gigs, and eventually asked Calcagno sing in a project he was working on. Calcagno agreed, and began playing keyboard, writing lyrics, and singing with Stelter. During their first rehearsal the duo didn't have any lyrics in mind, so Calcagno picked up Die große Überfahrt, a 1975 volume of the Asterix comic book series, and improvised. The result was their first recorded track, "Asterix" (included here), with many crazy lyrics and compositions to follow. The music scene in Germany, and especially the rising neue Deutsche welle (NDW), was very open-minded, and received even the craziest projects with open ears. Ti-Tho wrote lyrics based on experiences of everyday life and combined elements of traditional, flamenco, and punk musics... Everything was possible, and nothing was off-limits. One of the duo's very first fans and admirers was Alfred Hilsberg, who was running the highly influential ZickZack label and writing for Sounds magazine. He produced and released Ti-Tho's first 7", Traumtänzer, in 1982, both sides of which are included here, and got them a deal with Polydor to release three more 7"s and one 12", plus compilation-contributions for Polydor and ZickZack -- most of these tracks are included here. An LP produced in 1985 by famous producer Tom Dokoupil (Siluetes 61, The Wirtschaftswunder, Die Radierer, Die Partei...) is still waiting for release at the time of this writing. Ti-Tho made several TV-appearances and even music videos in the early-to-mid-'80s. They also produced a musical, Dodona, which was performed at the Planetarium Hamburg. Sadly, moving to a major label pushed them in a commercial direction and suppressed their wonderful simplicity and artistic freedom. The pair's interest in the project waned; Calcagno began concentrating on her art and Stelter moved to the countryside, producing tracks for Calcagno to sing over when she was ready, but, unfortunately, the reunion never happened.

VOD 138-09LP

ZEPHYR IN THE SWAMP: Sessions 81-83 LP (VOD 138-09LP) 21.00
Zephyr in the Swamp (Brendan Coyle and Colin Hughes) originated from the Wirral, England-based synth trio The Games. The duo's friend Martin Graham joined briefly as a vocalist, but after he passed away the band continued as a duo. This album contains hypnotic, moody, melodic instrumentals created after the breakup of The Games, between 1981 and 1983. They created the music at Melva Rooms and The Loft (spaces provided by the late Mr. Whooley in Oxton, Wirral) with a Roland SH-09, a Boss Dr. Rhythm, and a Roland Organ/Strings 09, using sound-on-sound echo effects through an Akai 4000D and triggering the drum machine into various patterns. The recordings, some of which the band didn't realize existed, were unearthed from cassette and reel-to-reel tapes and were extremely fragile -- in some cases unsalvageable. And so Zephyr in the Swamp took the best tracks from the collection and had them mastered for vinyl.

VOD 138-10LP

TOY SHOP, THE: Synth Pop Art LP + 7" (VOD 138-10LP) 28.50
The Toy Shop was initially a minimal synthpop-based solo project for Leeds-based vocalist, keyboardist, and guitarist Paul Klein. He released the single The Maze in 1981 before moving to Sheffield and teaming up with Oldham-born keyboardist Philip Walsh in 1982. Their first gig together was in the Star/Webster's inaugural Battle of the Bands competition in May of that year; they went on to win the competition and courted attention from major record labels for a while afterward. The guys played a handful of gigs including supporting slots for Dead or Alive, A Flock of Seagulls, Nico, and Dr. Feelgood. After signing to Towerbell Records, they recorded four songs but only two were ever released, as the Attack Decade 7" in 1984. After Towerbell decided not to renew their contract, Klein and Walsh drifted apart, and Klein began to record solo again. He released the Give Me Lip-Lock I Love You single in 1986 before moving on to other projects. At the time of this release, Klein lives in Melbourne, Australia, where he records material for his Psykik Volts project and hopes to work on more Toy Shop songs in the future. Walsh is believed to be living in Sofia, Bulgaria, where his musical exploits are unknown. This LP (with 7") collects tracks from the group's singles and other sources, including both Klein's solo work and the duo tracks.

VOD 138-11-12LP

ART INTERFACE: Secretaries from Heaven/Wild Card 2LP (VOD 138-11-12LP) 32.00
Art Interface was a synth band uninfluenced by the direction of mainstream European synth stylings. A band from the American Midwest (except for the Swedish drummer), it was initiated in 1979 by Douglas Vasey, Steven Curran, and Claes Roswall, with Roger Deason joining later. They disdained Kraftwerk but loved NEU! and bands like The Stooges. Propelled by live drums instead of marching lockstep to the beat of a drum machine, they twisted knobs on impulse with no idea of what would happen. They recorded many songs in the studio with all members playing at once but recording on separate tracks, which gives them a looseness and a life contrary to the more robotic feel of the time. Some songs had a sociopolitical bent and thus a purpose; others were merely wild, unexpected accidents of immediate creation, ranging from melodic to ambient to noise to all of the above. Unlike many synth bands, guitar often figured into the mix -- sometimes in the background, and sometimes as a striking accent over the synths, but never as a traditional lead. Their first synth-based tape, Secretaries from Heaven, released on their own If Records in early 1982, was meant as a kind of parody. The combination of simple, self-playing sounds and Vasey's great lyrics was stronger than anyone expected. Two 7" (Secretaries from Heaven and Wardance) followed 1983 and '84, respectively. In 1986 they released their full-length debut, Great Big World of Noise and Shit, and another demo tape called It's Not the Way It Should Have Been But That's the Way It Is. This double LP collection, also available as part of the expansive 80's Minimal.Synth.Wave: Volume III box set (VOD 138LP), combines tracks from all of the releases described above.

VOD 138-11BLP

ART INTERFACE: Secretaries from Heaven/Wild Card (Deluxe) 2LP + 7" + SHIRT (VOD 138-11BLP) 68.00
Deluxe edition. Includes bonus reissue of the 1984 Wardance/Raygun Assassins 7" and T-shirt. Art Interface was a synth band uninfluenced by the direction of mainstream European synth stylings. A band from the American Midwest (except for the Swedish drummer), it was initiated in 1979 by Douglas Vasey, Steven Curran, and Claes Roswall, with Roger Deason joining later. They disdained Kraftwerk but loved NEU! and bands like The Stooges. Propelled by live drums instead of marching lockstep to the beat of a drum machine, they twisted knobs on impulse with no idea of what would happen. They recorded many songs in the studio with all members playing at once but recording on separate tracks, which gives them a looseness and a life contrary to the more robotic feel of the time. Some songs had a sociopolitical bent and thus a purpose; others were merely wild, unexpected accidents of immediate creation, ranging from melodic to ambient to noise to all of the above. Unlike many synth bands, guitar often figured into the mix -- sometimes in the background, and sometimes as a striking accent over the synths, but never as a traditional lead. Their first synth-based tape, Secretaries from Heaven, released on their own If Records in early 1982, was meant as a kind of parody. The combination of simple, self-playing sounds and Vasey's great lyrics was stronger than anyone expected. Two 7" (Secretaries from Heaven and Wardance) followed 1983 and '84, respectively. In 1986 they released their full-length debut, Great Big World of Noise and Shit, and another demo tape called It's Not the Way It Should Have Been But That's the Way It Is. This double LP collection, also available as part of the expansive 80's Minimal.Synth.Wave: Volume III box set (VOD 138LP), combines tracks from all of the releases described above.

VOD 138-13LP

CACOPHONY '33': Park Holme Recordings 1983-89 LP + 7" (VOD 138-13LP) 28.50
Kevin Kettle, from Lincoln, England, started Cacophony '33' around 1982. Formed out the ashes of a post-punk/new wave band, Cacophony '33' was embraced by the cassette culture bedroom recording movement, and Kettle traded his tapes worldwide with other artists. He released most of his 20 tape releases on his own Park Holme Recordings label in ultra-limited editions, almost all with unique, DIY packaging. His wonderful style, combining minimal synth with psychedelic elements, is an essential must for every fan of music in the vein of The Legendary Pink Dots.

VOD 138.08LP

IRSOL: First Contact/Half Life LP (VOD 138.08LP) 21.00
It's late 1981 and Attrition's embryonic Black Prince Studio has set up in band member Ashley Niblock's bedroom in Coventry, England. Analog synthesizers, drum machines, and a primitive four-track recorder with tape echoes and spring reverbs. They would write and rehearse regularly during those early days. Niblock would also moonlight with two of his school friends, Edward Pearson and Richard Woodfield as Irsol. A different beast from the anarchic post-punk noise and rhythms of the early Attrition, Irsol was a more polished affair, and far more influenced by the electronics of, for example, Tangerine Dream. By summer 1982 they had produced their first self-released tape, First Contact, which attracted some attention from local figures, including Alan Rider, who released their second tape, Half Life, on his Adventure in Reality label in 1983, and reissued First Contact in 1984. Half Life contained a side of studio recording and a side of a one-off live show at the old school -- founded in 1344 -- that they all attended. The track "Reesoning" from First Contact appeared on Volume Five of Gary Levermore's legendary Third Mind five-tape compilation Rising from the Red Sand (1983). This LP includes the entirety of First Contact and the studio side of Half Life.


VA: VOD-Records Presents: 80's Minimal.Synth.Wave Volume III 13LP BOX/4x7" (VOD 138LP) 220.00
The third volume in a series of box sets covering a wide range of '80s minimal synth and minimal wave music. Some well-known bands, some less familiar, forming a superb mix of styles over 13 LPs and four 7"s. The components of the box set, which are also available individually by artist, include works by Portion Control (VOD 138-01-2-LP), Dokument (VOD 138-03LP), Rob van Wijngaarden/(Heavy) Mental (VOD 138-04LP), Garry Bradbury (VOD 138-05-6LP), Ti-Tho (VOD 138-07LP), Irsol (VOD 138.08LP), Zephyr in the Swamp (VOD 138-09LP), The Toy Shop (VOD 138-10LP), Art Interface (VOD 138-11-12LP), and Cacophony '33' (VOD 138-13LP).


BS 2563HLP

YOUNGBLOODS, THE: Ride The Wind LP (BS 2563HLP) 12.00
The sixth album from the Bay Area band, originally released in 1971. 180 gram exact repro reissue, manufactured by Rhino.

WB 23583HLP

ZAPP: Zapp II LP (WB 23583HLP) 14.00
180 gram reissue of the second album from the Parliament Funkadelic-affiliated Roger and Zapp Troutman, originally released in 1982.

WB 25327HLP

ZAPP: The New Zapp IV U LP (WB 25327HLP) 14.00
180 gram reissue of the fourth album from the Parliament Funkadelic-affiliated Roger and Zapp Troutman, originally released in 1985.

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Last Updated on Sunday, 26 July 2015 19:12  


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